The Lady from Shanghai (1947) | |
| Director(s) | Orson Welles (uncredited) |
| Producer(s) | William Castle (associate), Orson Welles, Richard Wilson (associate), Harry Cohn (executive uncredited) |
| Top Genres | Crime, Drama, Film Adaptation, Film Noir, Mystery, Thriller/Suspense |
| Top Topics | |
Featured Cast:
The Lady from Shanghai Overview:
The Lady from Shanghai (1947) was a Crime - Drama Film directed by Orson Welles and produced by Harry Cohn, Orson Welles, William Castle and Richard Wilson.
BlogHub Articles:
Silver Screen Standards: The Lady from Shanghai (1947)
By Jennifer Garlen on Jun 14, 2022 From Classic Movie Hub BlogSilver Screen Standards: The Lady from Shanghai (1947) Despite the icy cold shade of Rita Hayworth?s hair, The Lady from Shanghai (1947) plays like a fever dream, confusing and sweat-soaked, long before it reaches its famous funhouse climax. It?s a favorite among classic noir fans even though it ... Read full article
Orson Welles pursues Rita Hayworth in “The Lady from Shanghai”
By Stephen Reginald on Jun 17, 2021 From Classic Movie ManOrson Welles pursues Rita Hayworth in “The Lady from Shanghai” The Lady from Shanghai (1947) is a film noir directed by Orson Welles and starring Rita Hayworth, Orson Welles, and Everett Sloane. Initially snubbed by the critics upon its initial release, the film has garnered a reput... Read full article
The Lady from Shanghai (1947, Orson Welles)
By Andrew Wickliffe on Sep 2, 2019 From The Stop ButtonIt?s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, th... Read full article
The Lady from Shanghai (1947, Orson Welles)
By Andrew Wickliffe on Sep 2, 2019 From The Stop ButtonIt?s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, th... Read full article
The Lady from Shanghai (1947, Orson Welles)
on Sep 2, 2019 From The Stop ButtonIt?s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, th... Read full article
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Quotes from
Michael O'Hara: New York is not as big a city as it pretends to be.
Michael O'Hara: It's a bright, guilty world.
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Facts about
Orson Welles thought of Everett Sloane as primarily a radio actor who didn't move particularly well on film, so he introduced crutches to the character.
Near the end of shooting, Orson Welles told Columbia executives that he wanted a complete set repainted on a Saturday for shooting on Monday. Columbia exec Jack Fier told Welles it was impossible, because of union rules and the expense that would be incurred by calling in a crew of painters to work on a weekend. Welles and several friends broke into the paint department that Saturday and repainted the set themselves, and when they were finished they hung a banner on the set that read "The Only Thing We Have to Fear is Fier Himself". When the union painters arrived at work on Monday and saw that the set had been repainted by someone else, they refused to work, threw a picket line around the studio and threatened to stay on strike until a union crew was paid triple time for the work that had been done (which was why Fier had refused to authorize the work in the first place). To placate the union, Fier agreed to pay them what they wanted but put the cost on Welles' personal bill. In addition, he had the union painters paint a banner saying "All's Well That Ends Welles".
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