Gilda directed by Charles Vidor is set in the Argentine with a diverse cast of characters. Within the first ten minutes of the film the director introduces the audience to three Hispanic characters with clear distinctions. First, Detective Obregon is introduced; he walks up behind Johnny while he is in the bathroom looking in the mirror. He tells him the spot is not on his nose, a cocky confident comment as if he has authority in the casino. He instantly leaves the frame and is shown again sizing up Johnny by the roulette table. Obregon has a mustache and slick back hair; his is neat unlike the other two which are introduced towards the beginning of the film. The second Latin character introduced is the bathroom attendant. An old short Spanish man who throughout the film proves he is wiser then his career position portrays him to be. The third man is perhaps the weakest of the three, a small man with a messed up goatee messy short hair and a well sculpted mustache. The man who had a deal with a casino to pay him off, who later on in the movie shows his weakness by attempting a failed assassination and running to the bathroom to commit suicide. The other two Hispanic characters are of greater interest to the story line.
Detective Obregon is always behind the scenes, he seems to be read between the lines of the games being played by Gilda and Johnny. He is behind Gilda at the roulette table she bets on 13 black a very superstitious number. Obregon calls her on her superstitious nature as well as referencing and old saying which Gilda knows “Lucky at cards unlucky at love,” Gilda however her superstition. Obregon is again behind the scenes when the small Argentine man with the goatee is denied his usual winning bet at the roulette table. Towards the end of the film the detective is waiting for Johnny in his casino office. He comments about the Tungsten cartel and then says “you’re breaking up in pieces right in front of my eyes”. This shows how insightful the detective is and that the director placing him behind the scenes in most of his shots was tactful and in the end effective in carrying the story.
The bathroom attendant is old and wise, like the other two characters he also has a mustache. He calls Johnny a peasant in the beginning of the film judging him by his attire and the tip he gave. The attendant does not refute his claim Johnny being a peasant even when Johnny is promoted to a higher position; Johnny has not yet gained the respect of the lowly bathroom attendant. Respecting elders is an important part of culture and Vidor places emphasis on this using the old Hispanic man. The bathroom attendant shares his enjoyment of placing shoes on people with Johnny. He also adds several words wisdom including “the worms eye view is so often the true one”. He seems to see right through Johnny’s secret about Gilda.
Later in the film the washroom attendant comes into Johnny’s office and gives him a choice between two costumes for the party at the casino. The two costume choices were an angry bull and a jester. The Argentine man claimed that no matter which he would choose he would start out being angry like the bull and end up looking like a clown. He claimed Gilda had taken over the party plans and listed changes she was making. He wanted to add to his list that she was going to change her husband but Johnny cut him off with an angered voice. Johnny tells the bathroom attendant that he is fired but the man disagrees he says he will be “here after you are gone…Mr. Peasant”. After calling Johnny a peasant the Argentine begins to describe why a philosopher likes the job in the washroom but he is cut off by the Germans, foreign characters displayed stereotypically in the film, entering the room. The washroom attendants final moments are much like those of his first, he starts with offering exotic toiletries and accessories to Johnny and ends by offering them to Gilda. In the end it is he who takes Mundsons “friend”, the bladed staff, and ironically, figuratively and literally, stabs him in the back. Johnny shows his love for the old man by trying to take the fall for the murder however the Detective is too smart, he points out that Mundson had already committed suicide and there is no reason to press charges.
Vidor’s use of cinematography was masterful in this film. Certain details such as Gilda wearing all black at her and Johnny’s wedding and then wearing a white dress when she thought she was free from Johnny and then reverting back to black when she danced at the casino were all nice touches. Additionally the transformation of Johnny from a street hustler towards a Mundson type person is notably shown by the set and the wardrobe. The set was characteristic of studio film noir Mundson’s house was decorated with the typical items a viewer would see in a film noir set of an older man’s house with many extravagant decorations and statues. Vidor shows Johnny’s transformation as his home becomes very similarly decorated to that of Mundson. Johnny’s hotel room also includes a portrait of Mundson himself.
