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The Lady from Shanghai (1947)

Director(s) Orson Welles (uncredited)
Producer(s) Harry Cohn (uncredited), Orson Welles, William Castle, Richard Wilson
Top Genres Crime, Drama, Film Adaptation, Film Noir, Mystery, Thriller/Suspense
More Films Directed by Orson Welles More Films Produced by William Castle More Films from 1947 More Films from the 1940s Top Classic Movies of the 1940s

The Lady from Shanghai Overview:

The Lady from Shanghai (1947) was a Crime - Drama Film directed by Orson Welles (uncredited) and produced by Harry Cohn, Orson Welles, William Castle and Richard Wilson.

The Lady from Shanghai BlogHub Articles:

Silver Screen Standards: The Lady from Shanghai (1947)

By Jennifer Garlen on Jun 14, 2022 From Classic Movie Hub Blog

Silver 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... Read full article

Orson Welles pursues Rita Hayworth in “The Lady from Shanghai”

By Stephen Reginald on Jun 17, 2021 From Classic Movie Man

Orson 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 Button

It’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, ... Read full article

The Lady from Shanghai (1947, Orson Welles)

By Andrew Wickliffe on Sep 2, 2019 From The Stop Button

It’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, ... Read full article

The Lady from Shanghai (1947, Orson Welles)

on Sep 2, 2019 From The Stop Button

It’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, ... Read full article

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The Lady from Shanghai Quotes:

Michael O'Hara: The only way to stay out of trouble is to grow old, so I guess I'll concentrate on that.
Michael O'Hara: New York is not as big a city as it pretends to be.
Michael O'Hara: One who follows his nature keeps his original nature in the end.
Michael O'Hara: It's a bright, guilty world.
Michael O'Hara: Well, Mr. Bannister's picnic party was most typical of him. A lot of trouble and a great deal of money went into it, but it was no more a picnic than Bannister was a man.
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The Lady from Shanghai Facts
Orson Welles' original rough cut of this picture ran 155 minutes. Numerous cuts made by Columbia Pictures executives included a shortening of the famous "funhouse" finale.
Errol Flynn's own pet dachshund is seen in the yacht scenes, since it is Flynn's yacht Zaca in the film. Flynn also did all the aerial photography for that film's yacht scenes and is in the film incognito.
After distinguished service during WWII in coastal patrol off California, the Zaca was sold out of Errol Flynn's estate and went through years of neglect and disputes in ownership. Rescued from certain destruction and restored by a wealthy Italian businessman, it sails now out of Monte Carlo, and is recognized as one of the finest yachts in the world.
Filmed in 1946, not released until 1947.
According to Orson Welles, this film grew out of an act of pure desperation. Welles, whose Mercury Theatre company produced a musical version of "Around the World in 80 Days," was in desperate need of money just before the Boston Preview. Mere hours before the show was due to open, the costumes had been impounded and unless Welles could come up with $55,000 to pay outstanding debts, the performance would have to be canceled. Stumbling upon a copy of "If I Die Before I Wake," the novel upon which this film is based, Welles phoned Harry Cohn, instructing him to buy the rights to the novel and offering to write, direct and star in the film so long as Cohn would send $55,000 to Boston within two hours. The money arrived, and the production went on as planned.
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