The Rita Hayworth Handbook - Everything you need to know about Rita Hayworth

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Rita Hayworth (October 17, 1918 - May 14, 1987) was an American film actress and dancer who attained fame during the 1940s as one of the era's top stars.

She appeared in 61 films over 37 years and is listed as one of the American Film Institute's Greatest Stars of All Time.

This book is your ultimate resource for Rita Hayworth. Here you will find the most up-to-date information, photos, and much more.

In easy to read chapters, with extensive references and links to get you to know all there is to know about her Early life, Career and Personal life right away: Cruz Diablo, In Caliente, Charlie Chan in Egypt, Dante's Inferno (1935 film), Meet Nero Wolfe, Hit the Saddle, Paid to Dance, The Shadow, There's Always a Woman, The Renegade Ranger, The Lone Wolf Spy Hunt, Only Angels Have Wings, Susan and God, The Lady in Question, Angels Over Broadway, The Strawberry Blonde, Blood and Sand (1941 film), You'll Never Get Rich, My Gal Sal, Tales of Manhattan, You Were Never Lovelier, Show Business at War, Cover Girl (film), Tonight and Every Night, Gilda, Down to Earth (1947 film), The Lady from Shanghai, The Loves of Carmen, Affair in Trinidad, Salome (1953 film), Miss Sadie Thompson, Fire Down Below (1957 film), Pal Joey (film), Separate Tables, They Came to Cordura, The Story on Page One (film), The Happy Thieves, Circus World (film), The Money Trap, The Poppy Is Also a Flower, Sons of Satan, Road to Salina, The Wrath of God

Contains selected content from the highest rated entries, typeset, printed and shipped, combining the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mission.

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Biography

Autobiography

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Publié par	Emereo Publishing
Date de parution	24 octobre 2012
Nombre de lectures	0
EAN13	9781743447826
Langue	English
Poids de l'ouvrage	8 Mo

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Rita Hayworth

Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped.

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A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mission: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally.

The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu-rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need speciîc advice (for example, medical, legal, înancial, or risk management) please seek a professional who is licensed or knowledgeable in that area.

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Contents

Articles Rita Hayworth Cruz Diablo In Caliente Charlie Chan in Egypt Dante's Inferno (1935 film) Meet Nero Wolfe Hit the Saddle Paid to Dance The Shadow There's Always a Woman The Renegade Ranger The Lone Wolf Spy Hunt Only Angels Have Wings Susan and God The Lady in Question Angels Over Broadway The Strawberry Blonde Blood and Sand (1941 film) You'll Never Get Rich My Gal Sal Tales of Manhattan You Were Never Lovelier Show Business at War Cover Girl (film) Tonight and Every Night Gilda

Down to Earth (1947 film) The Lady from Shanghai The Loves of Carmen Affair in Trinidad Salome (1953 film) Miss Sadie Thompson Fire Down Below (1957 film) Pal Joey (film)

1 15 16 17 18 20 25 27 28 41 42 43 44 47 49 50 52 54 58 61 63 67 70 71 74 76 80 82 86 88 90 92 95 97

Separate Tables They Came to Cordura The Story on Page One (film) The Happy Thieves Circus World (film) The Money Trap The Poppy Is Also a Flower Sons of Satan Road to Salina The Wrath of God

References Article Sources and Contributors Image Sources, Licenses and Contributors

Article Licenses License

100 102 104 106 108 110 111 113 115 118

119 121

123

Rita Hayworth

Born

Died

Parents

Relatives

Eduardo Cansino, Jr. (brother, deceased)

Edward C. Judson (1937–1942) Orson Welles (1943–1948) Prince Aly Khan (1949–1953) Dick Haymes (1953–1955) James Hill (1958–1961)

Spouse

Years active1934–1972

May 14, 1987 (aged 68)New York City, New York, U.S.

Rita Hayworth

inBlood and Sand Margarita Carmen CansinoOctober 17, 1918Brooklyn, New York, U.S.

Actress, dancer

Occupation

Rita Hayworth17, 1918 (October –May 14, 1987) was an American film actress and dancer who attained fame [1] during the 1940s as one of the era's top stars. She appeared in 61 films over 37 years and is listed as one of the American Film Institute's Greatest Stars of All Time.

She attended dance classes every day for a few years in a Carnegie Hall complex under the instruction of her uncle Angel Cansino. When she was eight years old, her father moved his family west to Hollywood, where he established his own dance studio. Famous Hollywood luminaries, including James Cagney and Jean Harlow, received specialized training from Cansino himself. Hayworth's rise to fame was a silver lining of the Great Depression. The

Rita Hayworth

Eduardo Cansino, Sr. Volga Hayworth

Early life and career Born asMargarita Carmen Cansinoin Brooklyn, New York, Hayworth was the daughter of Spanish flamenco dancer Eduardo Cansino, Sr. and Ziegfeld girl Volga Hayworth who was of Irish and English descent. She was [2] raised as a Roman Catholic. Her father wanted her to become a dancer while her mother hoped she would become [3] an actress. Her grandfather, Antonio Cansino, was the most renowned exponent in his day of Spain's classical dances; he made the bolero famous. His dancing school in Madrid was world famous. He gave Hayworth her first [4] instruction in dancing. "I didn't like it very much ... but I didn't have the courage to tell my father, so I began taking the lessons. [5] Rehearse, rehearse, rehearse, that was my girlhood." "From the time I was three and a half ... as soon as I could stand on my own feet, I was given dance lessons."

Rita Hayworth

family's investments were wiped out instantly. Musicals were no longer in vogue. Interest in her father's work collapsed as dancing classes were no longer prioritized during difficult economic times. But, when his nephew's dancing partner in a theater play broke a leg, her mother suggested her daughter could replace him: "Margarita can do it!" Her mother's idea led to her father having an epiphany. He saw his daughter could be his partner in a dancing team called "The Dancing Cansinos". Since Hayworth was not of legal age to work in nightclubs and bars according to California state law, she and her father traveled across the border to the city of Tijuana in Mexico, a popular tourist spot for Los Angeles citizens in the early 1930s. Hayworth performed in such spots as the Foreign Club and the Caliente Club. It was at the Caliente Club where Hayworth was first discovered by the head of the Fox Film Corporation, Winfield Sheehan. A week later, Hayworth was brought to Hollywood to make a screen test for Fox. Impressed by her screen persona, Sheehan signed Hayworth (who was now being referred to asRita Cansino) to a short-term six-month contract. During her time at Fox, Hayworth appeared in five pictures, in which her roles were neither important nor memorable. By the end of her six-month contract, Fox had now merged into 20th Century Fox, with Darryl F. Zanuck serving as the executive producer. Taking little concern for Sheehan's interest in her, Zanuck decided not to renew her contract. By this time, Hayworth was eighteen years old and she married businessman Edward C. Judson, who was twice her age. Feeling that Hayworth still had screen potential, despite just being dropped by Fox, Judson managed to get her the lead roles in several independent films and finally managed to arrange a screen test for her with Columbia Pictures. Studio head Harry Cohn soon signed her to a long-term contract, slowly casting Hayworth in small roles in Columbia features. Cohn argued that Hayworth's image was too much of a Mediterranean style, which caused Hayworth to be cast into stereotypical Hispanic roles. She began to undergo a painful electrolysis to broaden her forehead and accentuate her widow's peak. When Hayworth returned to Columbia, she had transformed into a redhead and changed her name to Rita Hayworth (Hayworth from her mother's maiden name).

Becoming a major star Hayworth had an awkward transition from teen nightclub dancer to major movie star. She was a dancer first and foremost; acting was an afterthought seen as a way to earn a living. Gossip columnist Louella Parsons did not think Hayworth would be successful. She met Hayworth just when she was starting out, and saw her as a "painfully shy" girl who "couldn’t look strangers in the eye" and whose voice was so low it could hardly be heard. In 1935, when Hayworth was 17, she was dropped from the movieRamonaand replaced by Loretta Young. "It was the worst disappointment of my life," Hayworth said. She was devastated but did not give up. In 1937, she appeared in five minor Columbia pictures and three minor independent movies. In 1938, Hayworth appeared in five more Columbia B films. In 1939, Cohn pressured director Howard Hawks to use Hayworth for a small but important role as a man-trap in the aviation dramaOnly Angels Have Wings, in which she played opposite Cary Grant and Jean Arthur. A large box-office success, fan mail for Hayworth began pouring into Columbia's publicity department and Cohn began to see Hayworth as his first and official new star (the studio had never officially had large stars under contract, except for Jean Arthur, who was trying to break out of her Columbia contract). Cohn began to build Hayworth up the following year, in features such asMusic in My Heart,The Lady in Question, andAngels Over Broadway. He even loaned Hayworth out to Metro-Goldwyn-Mayer to appear inSusan and God, opposite Joan Crawford.

Rita Hayworth

On loan to Warner Brothers, Hayworth appeared as the second female lead inThe Strawberry Blonde(1941), opposite James Cagney and Olivia de Havilland. A large box-office success, Hayworth's popularity rose and she immediately became one of Hollywood's hottest properties. So impressed was Warner Brothers that they tried to buy Hayworth's contract from Columbia, but Harry Cohn refused to release her. Her success in that film led to an even more important supporting role inBlood and Sand(1941), opposite Tyrone Power and Linda Darnell, ironically by Fox, the studio that had dropped her six years before. In one of her most notable screen roles, Hayworth played the first of many screen sirens as the temptress Doña Sol des Muire. This was another box-office hit. She returned in triumph to Columbia Pictures and was cast in the musicalYou'll Never Get Rich(1941), opposite Fred Astaire in one of the highest-budgeted films Columbia had ever made. So successful was the picture that the following year, another Astaire-Hayworth picture was releasedYou Were Never Lovelier. In 1942, Hayworth also appeared in two other pictures,Tales of ManhattanandMy Gal Sal. It was during this period that Hayworth posed for a famous pin-up inLife Magazine, which showed her in a negligee perched seductively on her bed. When the U.S. joined World War II in December 1941, Hayworth's image was admired by millions of servicemen, making her one of the top two pin-up girls of the war years, the other being [6] blonde Betty Grable. In 2002, the satin nightgown she wore for the picture sold for $26,888. Rita Hayworth was called the "Love Goddess". (One biopic and one biography used the moniker in reference to her.) Despite being a sex symbol, due to her Spanish heritage of female decency she showed discretion. "Everybody else does nude scenes," Hayworth said, "but I don't. I never made nude movies. I didn't have to do that. I danced. I was [7] provocative, I guess, in some things. But I was not completely exposed."

The peak years at Columbia

For three consecutive years, starting in 1944, Rita Hayworth was named one of the top movie box office attractions in the world. In 1944, she made one of her best-known films, the Technicolor musicalCover Girl(1944), with Gene Kelly. The film established her as Columbia's top star of the 1940s. Hayworth was adept in ballet, tap, ballroom, and Spanish routines. Cohn continued to effectively showcase Hayworth's talents in Technicolor films:Tonight and Every Night(1945), with Lee Bowman, andDown to Earth(1947), with Larry Parks.

Hayworth in October 1941 in a pink and silver lamé evening dress designed by Howard Greer.

Rita Hayworth

Her erotic appeal was most notable in Charles Vidor's black-and-white film noirGilda(1946), with Glenn Ford, which encountered some difficulty with censors. This role–in which Hayworth in black satin performed a legendary one-glove striptease–made her into a cultural icon as the ultimatefemme fatale. Alluding to her bombshell status, in 1946, it was reported that her likeness was placed on the first nuclear bomb to be tested after World War II (at Bikini Atoll in the Pacific Ocean's Marshall Islands) as part of Operation Crossroads. However, recent research suggests all that was on the bomb was [8] the word "GILDA".

Hayworth in the strip scene fromGilda.Hayworth performed one of her best-remembered dance routines, the samba fromTonight and Every Night(1945), while pregnant with her first child, Rebecca Welles (daughter with Orson Welles). Hayworth was also the first dancer to partner with both Fred Astaire and Gene Kelly on film.

She delivered one of her most acclaimed performances in Welles'sThe Lady from Shanghai(1947). Its failure at the box office was attributed in part to director/co-star Welles having had Hayworth's famous red locks cut off and the remainder of her hair dyed blonde for her role. This was done without Cohn's knowledge or approval and he was furious over the change. Her next film,The Loves of Carmen(1948), again with Glenn Ford, was the first film co-produced by Columbia and Hayworth's own production company, The Beckworth Corporation (named for her daughter Rebecca); it was Columbia's biggest moneymaker for that year. She received a percentage of the profits from this and all her subsequent films until 1955 when she dissolved Beckworth to pay off debts she owed to Columbia.

Struggles with Columbia Hayworth had a strained relationship with Columbia Pictures for many years. In 1943, she was suspended without [9] pay for nine weeks because she refused to appear inMy Client Curleythis period in Hollywood actors did. (During not get to choose their films as they do today; they also had salaries instead of a fixed amount per picture.) In 1945, Hayworth received notice of her suspension by her employers, Columbia Pictures, "on the day she entered the [10] maternity hospital in Hollywood." [11] In 1947, Rita Hayworth's new contract with Columbia provided a salary of US$250,000 plus 50% of film profits. In 1951 Columbia alleged it had $800,000 invested in properties for her, including the film she walked out on when she left Hollywood and married Aly Khan. She was suspended again for failing to report for work, this time for [12] Affair in Trinidad.In 1955, she suedIn 1952 she refused to report for work because "she objected to the script." to get out of a contract with the studio, asking for her $150,000 salary, alleging filming failed to start work when [13] agreed. "I was in Switzerland when they sent me the script forAffair in Trinidadand I threw it across the room. But I did the picture, andPal Joeytoo. I came back to Columbia because I wanted to work and first, see, I had to finish that [14] goddamn contract, which is how Harry Cohnownedme!" "Harry Cohn thought of me as one of the people he could exploit," alleged Hayworth, "and make a lot of money. [15] And I did make a lot of money for him, but not much for me." Hayworth was still upset with Columbia and its head Harry Cohn many years after her film career had ended and he was dead. "I used to have to punch a time clock at Columbia," lamented Hayworth. "Every day of my life. That's what it was like. I was under exclusive contract–like they owned me... He felt that he owned me... I think he had my dressing room bugged... He was very possessive of me as a person–he didn't want me to go out with anybody, have any friends. No one can live that way. So I fought him ... You want to know what I think of Harry Cohn? He [16] was a monster."

Rita Hayworth

Another source of "gnawing resentment" for Hayworth was her studio's failure to train her to sing or even encourage [17] her to learn how to sing. Although she appeared to sing in many of her films, it was almost always dubbed. The public didn't know this closely guarded secret, and she ended up embarrassed because at USO shows she was [18] constantly asked by the troops to sing. "I wanted to study singing," Hayworth complained, "but Harry Cohn kept saying, 'Who needs it?' and the studio wouldn't pay for it. They had me so intimidated that I couldn't have done it anyway. They always said, 'Oh, no, we [19] can't let you do it. There's no time for that; it has to be done right now!' I was under contract, and that was it." Although Cohn had a reputation as a hard taskmaster, he also had legitimate criticisms of Hayworth. He had invested heavily in her before she began a reckless affair with a married man (Aly Khan) even though it could have caused a backlash against her career and Columbia's success. A British newspaper called for a boycott of Hayworth's films. "Hollywood must be told", saidThe People, "its already tarnished reputation will sink to rock bottom if it restores [20] this reckless woman to a place among its stars." Cohn himself expressed his frustration with Hayworth's relationships in an interview withTimemagazine. "Hayworth might be worth ten million dollars today easily! She owned 25% of the profits with her own company and had hit after hit and she had to get married and had to get out of the business and took a suspension because she fell in love again! In five years, at two pictures a year, at 25%! Think of what she could have made! But she didn't [21] make pictures! She took two or three suspensions! She got mixed up with different characters! Unpredictable!"

Later career After her marriage to Aly Khan collapsed in 1951, Hayworth returned to America with great fanfare to star in a string of hit films:Affair in Trinidad(1952) with favorite co-star Glenn Ford,Salome(1953) with Charles Laughton and Stewart Granger, andMiss Sadie Thompson(1953) with José Ferrer and Aldo Ray, for which her performance won critical acclaim. Then she was off the big screen for another four years, due mainly to a tumultuous marriage to singer Dick Haymes. After makingFire Down Below(1957) with Robert Mitchum and Jack Lemmon, and her last musicalPal Joey(1957) with Frank Sinatra and Kim Novak, Hayworth finally left Columbia. She received good reviews for her acting in such films asSeparate Tables(1958) with Burt Lancaster and David Niven, andThe Story on Page One(1960) with Anthony Franciosa, and continued working throughout the 1960s. In 1962, her planned [22] Broadway debut inStep on a Crackwas cancelled for undisclosed health reasons. She continued to act in films until the early 1970s and made a well-publicized 1971 television appearance onThe Carol Burnett Show. Her last film wasThe Wrath of God(1972).

Rita Hayworth

Physical appearance

Hayworth was a top glamour girl in the 1940s. She was a pin-up girl for military servicemen and a beauty icon [23] for women. At 5'6" (168 cm) and 120 lb (55 kgs) she was tall enough for her height to be a concern to dancing partners like Fred Astaire. Hayworth got her big motion picture break because she was willing to change her hair color whereas another actress was unwilling. She reportedly changed her hair color eight [24] times in eight movies.

In 1949 Hayworth's lips were voted best in the world [25] by the Artists League of America. She had a modeling contract with Max Factor to promote its Tru-Color lipsticks and Pan-Stik make-up.

Rita Hayworth and Glenn Ford inGilda

Unrealized film projects The following were movies and roles that Hayworth either was considered for, turned down by Hayworth herself, replaced with someone else, or never sufficed, for various reasons. •A Message to Garcia(1936) Hayworth had a small role as the sister of Barbara Stanwyck but it was deleted before general release. •RamonaHayworth made color screen tests for the role but Hayworth was later dropped from Fox and(1936) given to Loretta Young. •The Lady Escapes(1937) Also a Fox feature, Hayworth was dropped before appearing in a Spanish language version of this picture. •Holiday(1938) She tested for the role of the sister of Katharine Hepburn but the role was given to Doris Nolan instead. •Convicted Woman(1940) This would have been Hayworth's first feature with Glenn Ford but she was eventually loaned out to appear in MGM'sSusan and God. •Boom Town(1940) Hayworth made a screen test for this picture, but the role instead went to MGM contractee Hedy Lamarr. •Tars and Spurs(1946) Hayworth was the first choice for the role but pregnancy forced her to drop out. The role was given to Janet Blair. •Dead Reckoning(1947) Hayworth demanded a complete rewrite for this picture and was replaced by Lizabeth Scott. • In the mid-1940s, Fox considered a musical biography of the Duncan sisters and had planned to pair Hayworth with Betty Grable. But the studio was not able to obtain legal clearance. • In 1947, Columbia cast Hayworth in a Technicolor western calledLona Hanson, which was to pair her with William Holden. It was first postponed and later cancelled. •Miss Grant Takes Richmond(1949) Hayworth was placed on suspension and was replaced with Lucille Ball. •From Here to Eternity(1953) Hayworth demanded a vacation before shooting this picture. Deborah Kerr soon accepted the role. •Human Desire(1954) Hayworth failed to appear for the first scenes, was placed on suspension, and replaced with Gloria Grahame.

Rita Hayworth

• Hayworth was given the female lead in a biblical filmJoseph and His Brethren. The film was cancelled after Cohn refused to allow ex-husbands Orson Welles and Dick Haymes to appear. •The Barefoot Contessa(1954) Hayworth turned down the role made famous by Ava Gardner. Hayworth felt there were too many similarities in it from her own life. • Hayworth was given the lead inI Want My Mother!but the film was cancelled. Hayworth would have played the mother of a psychopathic killer awaiting execution in San Quentin. • Hayworth was given the lead in the film version OFThere Must Be A Ponybut it was later cancelled. She would have played a fading film star in a suicide scandal. •Welcome to Hard Times(1967) Hayworth was supposed to co-star with Glenn Ford but eventually both dropped out. • She was offered one of the female leads in a horror film along with Lana Turner in the late 1960s but turned down the offer. •Tales That Witness Madness(1973) Hayworth worked for four days on this film then quit without explanation and was replaced by Kim Novak.

Personal life Hayworth claimed to be the antithesis of the characters she played. "I naturally am very shy... and I suffer from an [26] inferiority complex." She once complained that "[M]en fell in love with Gilda, but they wake up with me." With typical modesty she later remarked that the only films she could watch without laughing were the dance musicals she made with Fred Astaire. "I guess the only jewels of my life," Hayworth said, "were the pictures I made with Fred [27] Astaire." Hayworth's two younger brothers, Vernon Cansino and Eduardo Cansino, Jr., both served in World War II. Vernon left the US Army in 1946 with several medals, including the Purple Heart, and later married Susan Vail, a dancer. Eduardo Cansino Jr. followed Hayworth into acting; he was also under contract with Columbia Pictures. In 1950 he made his screen debut inMagic Carpet.

Marriages Hayworth was married five times and divorced five times. Hayworth once said, "Basically, I am a good, gentle [28] person, but I am attracted to mean personalities." Edward Charles Judson (1937–1942):Hayworth was 18 in 1937, she married Edward Judson, a domineering man more than twice her age. They eloped in Las Vegas. He was an oilman turned promoter who had played a major role in launching her acting career. He was a shrewd businessman and became her manager for months before he proposed. "He helped me with my career," Hayworth conceded after they divorced, "and helped himself to my money." She alleged Judson compelled her to transfer considerable property to him and promise to pay him $12,000 [29] under threats that he would do her "great bodily harm." She filed for divorce from him on February 24, 1942 with the complaint of cruelty. She also noted to the press that his work took him to Oklahoma and Texas while she lived and worked in Hollywood. Judson was as old as her father, who was enraged by the marriage, which caused a rift between Hayworth and her parents until the divorce. Judson neglected to inform Hayworth before they married that [30] he had previously been married twice. When she finally walked out on him, she literally had no money. She asked her friend, Hermes Pan, if she could eat at his home, because she didn't have any money to buy food. Orson Welles (1943–1948):Rita Hayworth married Orson Welles on September 7, 1943. None of her colleagues even knew about the planned marriage (before a judge) until she announced it the day before they got married. For the civil ceremony she wore a beige suit, ruffled white blouse, and a veil. A few hours after they got married, they [31] returned to work at the studio. They had a daughter, Rebecca Welles (1944–marital struggles, and a2004)). After final attempt at reconciliation, Hayworth said he told her he didn't want to be tied down by marriage.