Review of The Lady from Shanghai (1947) by Juan C — 11 Jan 2011

The Lady from Shanghai is a unique oddity in Wellesâ(TM) work. It is hideously convoluted and chaotic and features an extreme pace that never slows from its abrupt beginning. However this almost adds to the appeal as with the best noir, at times it is hard to know what is going on in an off-kilter world. All the characters display brilliant eccentricities. It is an inspired choice to give Rita Hayworthâ(TM)s lover such an impediment that exploits visual stylings. Ritaâ(TM)s femme fatale character is ever manipulative in playing mind games. The psychotic private eye also adds a further level of dread to the film.

There is a brilliant and surreal climax in the hall of mirrors. If only more of these sequences had been saved the films impact would have been greater. Then there is the cold and calculated ending where Orson leaves Rita Hayworth to die. The court sequence that follows is perhaps the least powerful, with all the larger than life characters constrained within the court environment. Still some brilliant visuals exist in this sequence with court shot in a way resembling chess.