![]() He was both delighted and surprised at the prospect of working with Hayworth, a family friend. Pictures of her and Betty Grable became iconic for our boys overseas, the ideal women waiting back home for them.Īlthough Hayworth was primarily a dancer, those skills weren't put to use until Fred Astaire signed a two-picture contract with Columbia and requested he work with Hayworth. ![]() This was perhaps the first true appearance of the "Rita Hayworth" persona. Of course, Hayworth's biggest success during this time was off the screen, as a LIFE magazine photo spread adorned thousands of GIs' barracks walls during World War II. ![]() and (ironically) 20th Century Fox, to help develop her stardom. Only half of them were at her contract studio Columbia studio president Harry Cohn loaned her out to Warner Bros. Hayworth's career boomed in the early 1940s, as she filmed twelve movies in the span of three years. Her green quality still shows even in Howard Hawks' Only Angels Have Wings, her first major role. Like many young actresses of the time, she cut her acting teeth in such films. Hayworth's initial roles at Columbia were in B-movies, few of which are memorable and fewer that are commercially available today. Three years, a couple of dye jobs, a studio, and a name change later, moviegoers would know her not as Margarita Cansino, but as Rita Hayworth. Zanuck, who didn't see any star potential in her. Six months into her contract, she was dropped by new chief Darryl F. When the family moved to Hollywood, she partnered with her father as The Dancing Cansinos, eventually catching the eye of Fox Film head Winfield Sheehan in 1934. She was groomed to become a dancer at an early age. Born in Brooklyn in 1918, Margarita Carmen Cansino was the oldest child of famous flamenco dancer Eduardo Cansino. Hayworth's life reads like a fairy tale in reverse, with the happy ending being her youth and the gradual conflicts being her silver screen career, right up to the very end. ![]() The very scene I mentioned is a prime example Gilda is more as an object of desire than an actual person. Whether in heavy drama or splashy musical, every role she took seemed overshadowed by her sex appeal. Columbia called her the Love Goddess, and it was a part that she played for over thirty years. Margarita Cansino, the woman who became Rita Hayworth, was very different from the personality she projected onscreen. Like many actors of the time, "Rita Hayworth" was more of a product than a person. She often remarked how men fell in love with Gilda but woke up with her, and part of that had to do with how she was marketed. The cameras loved her more than anyone else.īut Rita Hayworth was nothing like temptress Gilda Mundson Farrell. That brief bit, as she looks towards but not quite at the camera, became an iconic image for Rita Hayworth. I couldn't help but start my review of Sony's new DVD collection The Films of Rita Hayworth: The Collector's Choice with the moment that truly defined her career. "Sure, I'm decent," she eventually says, pulling up a shoulder on her dressing gown. Seventeen minutes and twelve seconds in, George Macready asks, "Gilda, are you decent?" The camera then cuts to Hayworth: her head swings up, her hair falls back, and she smiles. ![]() In the Golden State, Columbia Pictures premieres its newest picture: Gilda, starring Rita Hayworth. An earthquake unexpectedly strikes Seattle, Washington. ENIAC, the world's first computer, is unveiled at the University of Pennsylvania. Movies Not Rated See Below for Cast, Directors and Other Film Details Six-sided Digipak with cardboard slipcover Running Time: 503 Minutes (8 Hours, 23 Minutes) plus 150 Minutes (2 hours, 30 Minutes) of Extrasįive single-sided, single-layered discs (DVD-5s) Gilda (1946), Salome (1953), and Miss Sadie Thompson (1953)ġ.33:1 Full Screen (Original Aspect Ratio) The Films of Rita Hayworth: The Collector's Choiceĥ-Movie Set Contains: Cover Girl (1944), Tonight and Every Night (1945), ![]()
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