Orson Welles' film noir thriller is an undeniable classic boasting so much imagination and verve that labelling it a crime movie seems completely inadequate.

Welles' marriage to the film's star, Rita Hayworth, was disintegrating as they made the film, and a fevered bitterness runs through the film like the word "regret" through a poisoned stick of rock.

The story is hard-boiled enough; a loveable sailor (Welles with a bizarre "Oirish" accent) is hired by a rich businessman to help him fake his own death.

Enticed by the businessman's beautiful wife (Hayworth), Welles accepts the job, but when the old geezer turns up dead realizes how high the stakes actually are.

Columbia head Harry Cohn offered money to anyone who could explain the plot to him, which just proves studio bosses let their cheque books do the thinking.

The Lady from Shanghai is not difficult to follow, and Welles uses all his tricks to astonish and enthral the audience.

He also took film noir out of the shadows and set it under the harsh glare of the Californian sun, and climaxed with a stunning shoot-out in a hall of mirrors (homage'd in Woody Allen's Manhattan Murder Mystery).

In a publicity stunt for the film, Welles personally cut Hayworth's hair in Central Park, then angered Columbia Studios by dyeing the famous red mane bleach blond.

He also denied her any close-ups, and had to insert a number of "glamour shots" at the studio's behest.

But, from all this ill-will and interference came one of classical Hollywood's finest thrillers: a tightly constructed tale of jealousy and murder, brimming with bristling dialogue and directed with effortless brilliance.

Rob Daniel