Statements (377)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:novel
gptkb:film |
| gptkbp:adaptation |
gptkb:radio_station
gptkb:theater gptkb:film gptkb:stage_play A novel The Lady from Shanghai (film) |
| gptkbp:audience |
positive
|
| gptkbp:author |
gptkb:Ernest_Hemingway
gptkb:Sherwood_King |
| gptkbp:awards |
gptkb:Academy_Award_nomination
Nominated for Academy Award for Best Cinematography nominated for BAFTA nominated for Academy Awards nominated for Golden Globe Awards |
| gptkbp:based_on |
gptkb:If_I_Die_Before_I_Wake
The Lady from Shanghai (1947) The Lady from Shanghai (novel) The Lady from Shanghai by Sherwood King novel by John Banville |
| gptkbp:box_office |
gptkb:N/_A
$1.2 million $1.5 million $150 million |
| gptkbp:budget |
$1.5 million
$50 million |
| gptkbp:character |
gptkb:Elsa_Bannister
gptkb:Michael_O'_Hara gptkb:Judge gptkb:Elsa gptkb:Michael gptkb:Arthur_Bannister gptkb:Inspector gptkb:George_Grisby |
| gptkbp:character_development |
gptkb:Elsa_Bannister
gptkb:Michael_O'_Hara gptkb:complex Michael O' Hara's transformation |
| gptkbp:character_motivation |
gptkb:survival
desire for love quest for truth |
| gptkbp:character_relationships |
internal conflict
external conflict Elsa and Arthur O' Hara and Arthur O' Hara and Elsa |
| gptkbp:cinematography |
gptkb:Phedon_Papamichael
gptkb:David_Johnson gptkb:Charles_Lawton_Jr. deep focus use of shadows unconventional angles |
| gptkbp:cinematography_by |
gptkb:Charles_Lawton_Jr.
stylized |
| gptkbp:climax |
the courtroom scene
|
| gptkbp:color |
gptkb:Technicolor
Black and white black-and-white |
| gptkbp:conflict |
gptkb:murder_mystery
|
| gptkbp:costume_design |
contemporary
|
| gptkbp:country |
gptkb:United_Kingdom
gptkb:United_States |
| gptkbp:critical_analysis |
feminist readings
psychological interpretations socio-political critiques |
| gptkbp:critical_reception |
Mixed reviews
mixed mixed reviews Mixed reviews upon release. Mixed reviews upon release |
| gptkbp:cult_status |
yes
Gained a cult following over the years |
| gptkbp:cultural_aspect |
American expatriates
|
| gptkbp:cultural_impact |
notable
considered a classic Referenced in various media referenced in popular culture reference in popular culture inspired future works Influential in film noir genre Cited in various film studies. influenced film noir genre Considered a classic of film noir Influenced many later films. influential in film noir genre |
| gptkbp:cultural_significance |
feminist interpretations
considered a classic Considered a classic of American cinema moral ambiguity themes complex female characters identity and betrayal themes post-war disillusionment themes Exploration of betrayal and trust Rita Hayworth's performance |
| gptkbp:design |
modern
|
| gptkbp:directed_by |
gptkb:Orson_Welles
|
| gptkbp:director |
gptkb:James_Mangold
gptkb:Orson_Welles gptkb:Michael_E._Briant |
| gptkbp:distributor |
gptkb:Walt_Disney_Studios_Motion_Pictures
gptkb:Columbia_Pictures gptkb:BBC_Worldwide |
| gptkbp:edited_by |
gptkb:Orson_Welles
|
| gptkbp:editing |
gptkb:Orson_Welles
gptkb:John_Wilson fast-paced Owen Marks |
| gptkbp:famous_quote |
' I don't want to die.'
' You can't trust anyone.' ' I never thought I would be so happy to see you.' ' The world is full of fools.' ' You have to be careful who you trust.' |
| gptkbp:features |
Twists and turns
|
| gptkbp:features_character |
gptkb:The_Hall_of_Mirrors
|
| gptkbp:film_editing |
gptkb:Orson_Welles
gptkb:Academy_Award_nomination Owen Marks |
| gptkbp:film_festival |
gptkb:Cannes_Film_Festival
|
| gptkbp:film_length |
87 minutes
|
| gptkbp:film_score |
gptkb:Hugo_Friedhofer
Orchestral score Hugo Friedhofer's score |
| gptkbp:film_technique |
gptkb:Symbolism
Non-linear narrative dramatic lighting non-linear narrative Visual motifs deep focus Use of deep focus nonlinear narrative unconventional angles |
| gptkbp:filming_location |
gptkb:California
gptkb:San_Francisco gptkb:United_Kingdom |
| gptkbp:filmography |
Analyzed for its cinematography and themes.
|
| gptkbp:genre |
gptkb:Film_Noir
gptkb:Thriller gptkb:Fiction gptkb:mystery gptkb:drama gptkb:thriller film noir |
| gptkbp:has_cameo |
Everett Sloane as Arthur Bannister
Gloria Grahame as George Grisby Orson Welles as Michael O' Hara Rita Hayworth as Elsa Bannister |
| gptkbp:has_theme |
gptkb:Betrayal
gptkb:Deception |
| gptkbp:historical_context |
gptkb:Great_Depression
1940s America |
| gptkbp:home_media_release |
gptkb:DVD
gptkb:Blu-ray DVD and Blu-ray releases Released on DVD and Blu-ray |
| https://www.w3.org/2000/01/rdf-schema#label |
The Lady from Shanghai
|
| gptkbp:influence |
gptkb:detective_fiction
film noir inspired future films |
| gptkbp:influenced |
directors like Quentin Tarantino
subsequent film noir films directors like Martin Scorsese Directors like Martin Scorsese many neo-noir films Many later films Future film noir films directors like Brian De Palma directors like David Lynch |
| gptkbp:influenced_artists |
inspired future noir novels
|
| gptkbp:influenced_by |
gptkb:Chinatown
gptkb:German_Expressionism gptkb:Citizen_Kane gptkb:Double_Indemnity gptkb:The_Maltese_Falcon gptkb:The_Third_Man gptkb:The_Big_Sleep American film noir Orson Welles' previous works Rita Hayworth's stardom |
| gptkbp:influences |
gptkb:Citizen_Kane
hardboiled fiction film noir classic thrillers Cinematic style of later films |
| gptkbp:inspiration |
gptkb:Shakespeare's_Othello
Hemingway's experiences Cinematography techniques The Lady from Shanghai (novel) Sheridan Le Fanu's novella ' Carmilla'. Sherwood King’s experiences Orson Welles' personal life The novel by Sherwood King |
| gptkbp:is_cited_in |
An example of film noir style
|
| gptkbp:is_considered |
A landmark film
A classic of film noir |
| gptkbp:is_influenced_by |
gptkb:German_Expressionism
|
| gptkbp:is_known_for |
Its complex narrative
|
| gptkbp:is_notable_for |
Its visual style
Rita Hayworth's performance |
| gptkbp:isbn |
978-0684801220
|
| gptkbp:language |
English
|
| gptkbp:legacy |
cult classic
Considered a classic of film noir. Influenced filmmakers like Martin Scorsese |
| gptkbp:literary_movement |
gptkb:Modernism
|
| gptkbp:literary_significance |
exploration of morality
influential work examination of human nature classic of American literature |
| gptkbp:main_character |
gptkb:Elsa_Bannister
gptkb:Michael_O'_Hara gptkb:Elsa_Mc_Leod |
| gptkbp:makeup_artist |
realistic
|
| gptkbp:motif |
gptkb:illusion
gptkb:identity |
| gptkbp:music |
gptkb:John_Altman
gptkb:Hugo_Friedhofer |
| gptkbp:music_by |
gptkb:Hugo_Friedhofer
gptkb:Hans_Zimmer |
| gptkbp:music_composer |
gptkb:Carmen_Dragon
|
| gptkbp:narrative |
non-linear
unreliable narrator |
| gptkbp:narrative_style |
first-person
stream of consciousness hard-boiled |
| gptkbp:notable_for |
The Hall of Mirrors scene
|
| gptkbp:notable_quote |
" You can't trust anyone."
" I don't know what you're talking about." ' I don't know what you're talking about.' ' You can't trust anyone.' " The world is a very strange place." “ I was in love with a woman who was in love with a man.” " I never thought I'd be so happy to see you." " I was just trying to help you." ' I never thought I'd be so happy to see you.' ' I was just a pawn in their game.' ' The truth is a matter of opinion.' ' I never thought I would die in a place like this.' |
| gptkbp:notable_scene |
Funhouse climax
The funhouse climax funhouse sequence |
| gptkbp:notable_themes |
gptkb:betrayal
gptkb:revenge gptkb:murder gptkb:deception love |
| gptkbp:original_language |
English
|
| gptkbp:page_count |
320
|
| gptkbp:parody |
Parodied in television shows
|
| gptkbp:plot |
A man becomes entangled in a murder plot involving his wife.
A man becomes entangled in a murder plot after falling in love with a beautiful woman. A woman is caught in a web of deceit and betrayal. |
| gptkbp:plot_element |
gptkb:mystery
gptkb:thriller romance |
| gptkbp:plot_twist |
final confrontation
betrayal revealed |
| gptkbp:premiere |
gptkb:New_York_City
gptkb:Cannes_Film_Festival gptkb:2000_Cannes_Film_Festival |
| gptkbp:produced_by |
gptkb:Orson_Welles
|
| gptkbp:production_company |
gptkb:20th_Century_Studios
gptkb:BBC gptkb:Columbia_Pictures |
| gptkbp:protagonist |
gptkb:naval_warfare
|
| gptkbp:published_in |
1938
1947 |
| gptkbp:publisher |
gptkb:Charles_Scribner's_Sons
|
| gptkbp:rating |
TV-14
PG-13 |
| gptkbp:reader_demographic |
engaging
thought-provoking entertaining |
| gptkbp:release_country |
gptkb:United_States
|
| gptkbp:release_date |
gptkb:1980
gptkb:2000 gptkb:2016 gptkb:2017 1947 1950 1947-04-10 October 10, 1947 October 1947 |
| gptkbp:release_format |
gptkb:film
theatrical black-and-white theatrical release Theatrical release |
| gptkbp:release_year |
gptkb:2018
gptkb:2023 1947 |
| gptkbp:released_in |
1947
|
| gptkbp:released_on |
1947-04-30
|
| gptkbp:remake |
The Lady from Shanghai (1980)
The Lady from Shanghai (2016) The Lady from Shanghai (2000) The Lady from Shanghai (2018) The Lady from Shanghai (1950) The Lady from Shanghai (2023) The Lady from Shanghai (2017) |
| gptkbp:remastered |
In 2016
|
| gptkbp:resolution |
ambiguous ending
|
| gptkbp:restoration |
gptkb:Criterion_Collection
2016 restoration Restored versions available Restored in 1998 Restored by the Criterion Collection |
| gptkbp:role |
gptkb:protagonist
gptkb:antagonist |
| gptkbp:runtime |
120 minutes
87 minutes 90 minutes |
| gptkbp:screenings |
gptkb:Cannes_Film_Festival
Regularly screened in film festivals |
| gptkbp:screenplay |
gptkb:Orson_Welles
gptkb:Michael_E._Briant |
| gptkbp:screenplay_by |
gptkb:James_Mangold
gptkb:Orson_Welles |
| gptkbp:set_in |
gptkb:Mexico
gptkb:New_York_City gptkb:San_Francisco |
| gptkbp:setting |
gptkb:California
gptkb:Mexico gptkb:San_Francisco gptkb:United_States |
| gptkbp:setting_time |
1930s
post-World War II |
| gptkbp:soundtrack |
available
Released on vinyl |
| gptkbp:special_effects |
minimal
|
| gptkbp:starring |
gptkb:Orson_Welles
gptkb:Margot_Robbie gptkb:Rita_Hayworth gptkb:Sebastian_Stan gptkb:David_Hayman gptkb:John_Hannah gptkb:Gina_Bellman gptkb:Ethan_Hawke gptkb:Everett_Sloane gptkb:Gloria_Grahame gptkb:Ted_de_Corsia Glenn Anders |
| gptkbp:symbolism |
the sea
the mirror the funhouse |
| gptkbp:theme |
gptkb:betrayal
gptkb:murder gptkb:deception love |
| gptkbp:themes |
gptkb:betrayal
gptkb:murder gptkb:Betrayal gptkb:Deception gptkb:mystery gptkb:deception love romance Love and obsession |
| gptkbp:viewership |
high
|
| gptkbp:won_award |
Academy Award nominations
Golden Globe nominations Cannes Film Festival recognition |
| gptkbp:writer |
gptkb:Orson_Welles
gptkb:Sheridan_Le_Fanu |
| gptkbp:writing_style |
descriptive
dialogue-driven suspenseful |
| gptkbp:bfsParent |
gptkb:Orson_Welles
gptkb:Carmen_Miranda gptkb:Joan_Fontaine gptkb:Maria_Montez gptkb:Cybill_Shepherd gptkb:Peter_Lorre gptkb:Henry_Koster gptkb:William_Wellman gptkb:Paulette_Goddard |
| gptkbp:bfsLayer |
4
|