Years before, Columbia had wanted Hayworth for the younger woman in Pal Joey, a role ultimately played by Kim Novak, who was roundly boosted by Cohn as her successor at the studio. In the original stage musical, this song belonged to an entirely different, minor character. In Pal Joey’s “Zip” musical number, the tone is more lighthearted as her character, Vera, mimes a strip while singing, “I’m a broad, with a broad, broad mind,” at a private party. McLean calls “her pain at being what she is, a woman, one of a sex always blamed when the world goes wrong.”
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In turn, the risqué lyrics she has been singing quietly throughout the movie are transformed into a cry for help, expressing what film scholar Adrienne L. In the former, while she is singing “Put the Blame on Mame” and inching a satin evening glove down her arm, Hayworth’s clear affectation of gaiety reveals Gilda’s desperation. To take the most extreme examples: in Gilda and Pal Joey, she performs mock stripteases that undercut the form itself. If you watch Hayworth closely, you can see a woman playing with feminine artifice, constantly at work on the performance-and destruction-of carefully posed allure. The complexity of her performances on-screen includes a subtly ironic quality that suggests a knowing self-awareness, a disarming ability to act inside quotation marks. Hayworth’s childhood trauma almost certainly explains her adult sadness and insecurity, but there’s more to discover in her work than a confession of private grief. In other words, she was used to playing the vamp, under orders, To dance provocatively in public alongside her father, who sexually abused her The blame for this disconnect on the trauma of her childhood, when she was made Leaming’s sensitive biography of Hayworth, If This Was Happiness, lays You couldn’t believe the two were the same person!” Barbara It was an amazing transformation-or, rather, an amazingĬombination. One of her closest friends in Hollywood, theĬhoreographer Hermes Pan, said: “A whole different personality came out for theĬamera. Performances projected a sexual confidence that the shy and sensitive Hayworthĭidn’t express in private. There was another pretense in her persona. Settings that reminded audiences of her “exotic” former identity. Surprise that many of her films, from You Redhead Rita was dubbed “the California Carmen” in the press, and it’s no To look like somebody else, with a different name, a different hair color and ethnicity. There wasn’t a moment of Hayworth’s fame when people didn’t know that she used
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Star, all in full view of the public and on the covers of all the fan magazines. Supporting player Rita Cansino in B pictures, then redheaded Rita Hayworth the A-list Spanish father and an Irish American mother, first became Latin dancer and Margarita Carmen Cansino, born in Brooklyn to a Her second husband and one-time director, or to Fred Astaire, who said she was
Over her career, her image, and more at Columbia. Husband, Eddie Judson, who pushed her into the movies and to Harry Cohn, who ruled Her his dance partner when she was still a schoolgirl the Svengali-like first Those hands belonged to the father who made That’s partly because we have been told that Rita Hayworth was aįabrication, made by other hands.
Talk about enough is what she did on-screen, in front of the camera, to create Voluptuous they pasted her image onto an actual atom bomb. Novella Rita Hayworth and Shawshank Redemption. That her posters were used as avatars of escapist fantasy in Bicycle Thieves,Īnd as a cover-up for a more literal escape in Stephen King’s jailbreak She was the Hollywood “love goddess,” with a sensational figure, aĭazzling smile, and hair that fell in long, auburn waves. People talk a lot about the way that Rita Hayworth
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