Flick Pick

Among the most pleasurable entries in director Orson Welles’s filmography are those projects that find him trying to wedge his eccentricities into a standard genre template and failing to do so with fascinating results. The Lady From Shanghai, a late-’40s noir elaboration being screened on Tuesday, May 5, as part...

By Michael Roberts

April 30, 2009

[
        {
          "name": "Air - MediumRectangle - Inline Content - Mobile Display Size",
          "component": "12017618",
          "insertPoint": "2",
          "requiredCountToDisplay": "2"
        },{
          "name": "Editor Picks",
          "component": "17242653",
          "insertPoint": "4",
          "requiredCountToDisplay": "1"
        },{
          "name": "Inline Links",
          "component": "18838239",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Air - MediumRectangle - Combo - Inline Content",
          "component": "17261320",
          "insertPoint": "8th",
          "startingPoint": 8,
          "requiredCountToDisplay": "7",
          "maxInsertions": 25
        },{
          "name": "Inline Links",
          "component": "18838239",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        },{
          "name": "Air - Leaderboard Tower - Combo - Inline Content",
          "component": "17261321",
          "insertPoint": "8th",
          "startingPoint": 12,
          "requiredCountToDisplay": "11",
          "maxInsertions": 25
        }
      ]

Among the most pleasurable entries in director Orson Welles’s filmography are those projects that find him trying to wedge his eccentricities into a standard genre template and failing to do so with fascinating results. The Lady From Shanghai, a late-’40s noir elaboration being screened on Tuesday, May 5, as part of the Denver Public Library’s Fresh City Life series, is the most prime of examples.

Rita Hayworth, Welles’s co-star (and then-wife), was among Hollywood’s most glamorous figures of the era, renowned for her long, luxurious red hair — so, of course, he had her chop her locks and dye them blond in order to play an adulteress with more than her share of secrets. The plot, about a fake murder scheme that may be more genuine than claimed, is filled with twists and double-crosses that Welles accentuates via jagged editing and a thrillingly baroque visual style that reaches its peak in late sequences set in a Chinese theater and a hall of mirrors that reflects anything and everything — including Welles’s twisted genius.

Get an eyeful of this particular Lady at 6 p.m. in the Level B2 Conference Center at DPL’s central branch, 10 West Fourteenth Avenue Parkway. There’s no charge for admission. To learn more, call 720-865-1111 or visit www.DenverLibrary.org.
Tuesdays, 6-9 p.m. Starts: April 7. Continues through May 5, 2009

Become A Member

BEFORE YOU GO...
Can you help us continue to share our stories? Since the beginning, Westword has been defined as the free, independent voice of Denver — and we'd like to keep it that way. Our members allow us to continue offering readers access to our incisive coverage of local news, food, and culture with no paywalls.

Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

Contact: Michael Roberts

Follow:

Facebook: 111180895657427

Twitter: @mikerobertscolo