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'''Rita Hayworth''' ([[October 17]], [[1918]] – [[May 14]], [[1987]]), was an [[United States|American]] actress who reached fame during the [[1940s]] as the era's leading [[sex symbol]].
'''Rita Hayworth''' ([[October 17]], [[1918]] &ndash; [[May 14]], [[1987]]), was an [[United States|American]] actress who reached fame during the [[1940s]] as the era's leading [[sex symbol]]. Although there was prejudice against Hispanic actors at the time, Hayworth is now widely regarded to be one of the first [[Hispanic-American]] "sex goddess" of "Golden Age" Hollywood with leading roles in film.<ref>[http://observer.guardian.co.uk/review/story/0,6903,819777,00.html Prejudice in Hollywood: We're Latin lovers now]</ref><ref>[http://media.www.theticker.org/media/storage/paper909/news/2005/10/24/ArtsEntertainment/Latino.Contributions.In.American.Cinema-1781264.shtml Latino contributions in American cinema]</ref>


===Early career===
===Early career===
'''Margarita Carmen Cansino''', better known as '''Rita Hayworth''', was born in [[Brooklyn, New York]], the daughter of Spanish [[Flamenco|flamenco dancer]] [[Eduardo Cansino (Sr.)]] and English/Irish-American [[Ziegfeld girl]] [[Volga Hayworth|Volga Hayworth]].
'''Margarita Carmen Cansino''', better known as '''Rita Hayworth''', was born in [[Brooklyn, New York]], the daughter of Spanish [[Flamenco|flamenco dancer]] [[Eduardo Cansino (Sr.)]] and English/Irish-American [[Ziegfeld girl]] [[Volga Hayworth|Volga Hayworth]].


Hayworth was on stage by the age of six as a member of '''The Cansinos''', a famous family of [[Roma people|Roma]] [[Gitano]] Spanish dancers working in [[vaudeville]]. Her father had also performed in a dancing duo with his sister, and later revived the duo with his daughter Rita as his dancing partner, performing in nightclubs in California and the Foreign Club in [[Tijuana]], [[Mexico]]. At age sixteen, she attracted the attention of film producers as part of "The Dancing Cansinos" and was signed by [[20th Century Fox|Fox Studios]] in [[1935]]. During the time she traveled and performed with her father, she was the victim of continual sexual and physical abuse by him.<ref>[http://quirksreviews.tripod.com/id13.html] The Sad Early Life of Rita Hayworth </ref>
Hayworth was on stage by the age of six as a member of '''The Cansinos''', a famous family of [[Roma people|Roma]] [[Gitano]] Spanish dancers working in [[vaudeville]]. Also, her father had performed in a dancing duo with his sister, and later revived the duo with his daughter Rita as his dancing partner, performing in nightclubs in California and the Foreign Club in [[Tijuana]], [[Mexico]]. At age sixteen, she attracted the attention of film producers as part of "The Dancing Cansinos" and was signed by [[20th Century Fox|Fox Studios]] in [[1935]]. During the time she traveled and performed with her father, she was the victim of continual sexual and physical abuse by him.<ref>[http://quirksreviews.tripod.com/id13.html] The Sad Early Life of Rita Hayworth </ref>


===From Cansino to Hayworth===
===From Cansino to Hayworth===
After her [[Real option|option]] was not renewed by Fox, Cansino freelanced at minor film studios before signing with [[Columbia Pictures]] in [[1937 in film|1937]] and assuming the moniker of Rita Hayworth.
After her [[Real option|option]] was not renewed by Fox, Rita Cansino freelanced at minor film studios before signing with [[Columbia Pictures]] in [[1937 in film|1937]] and assuming the moniker of Rita Hayworth.


After two more years of minor roles, she gave an impressive performance in [[Howard Hawks]]' [[1939 in film|1939]] film, ''[[Only Angels Have Wings]]'', as part of an ensemble cast headed by [[Cary Grant]]. Her sensitive portrayal of a disillusioned wife sparked the interest of other studios. Between assignments at [[Columbia Pictures]], she was borrowed by [[Metro Goldwyn Mayer]] for [[George Cukor]]'s ''[[Susan and God]]'' (1940) with [[Joan Crawford]] and [[Warner Brothers]] for [[Raoul Walsh]]'s ''[[The Strawberry Blonde]]'' (1941) with [[James Cagney]].
After two more years of minor roles, she gave an impressive performance in [[Howard Hawks]]' [[1939 in film|1939]] film, ''[[Only Angels Have Wings]]'', as part of an ensemble cast headed by [[Cary Grant]]. Her sensitive portrayal of a disillusioned wife sparked the interest of other studios. Between assignments at [[Columbia Pictures]], she was borrowed by [[Metro Goldwyn Mayer]] for [[George Cukor]]'s ''[[Susan and God]]'' (1940) with [[Joan Crawford]] and [[Warner Brothers]] for [[Raoul Walsh]]'s ''[[The Strawberry Blonde]]'' (1941) with [[James Cagney]].
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She also had a nephew named [[Richard Cansino]], who is a [[voice actor]] in [[anime]] and [[video games]]; he has done most of his work under the name "Richard Hayworth".{{Fact|date=November 2007}}
She also had a nephew named [[Richard Cansino]], who is a [[voice actor]] in [[anime]] and [[video games]]; he has done most of his work under the name "Richard Hayworth".{{Fact|date=November 2007}}

As a child and teenager, Rita was a victim of sexual and physical abuse by her father.<ref>[http://quirksreviews.tripod.com/id13.html] The Sad Early Life of Rita Hayworth </ref>


==Final years==
==Final years==

Revision as of 00:09, 21 November 2007

Rita Hayworth
Hayworth in 1942
Born
Margarita Carmen Cansino
Spouse(s)Edward C. Judson (1937-1943)
Orson Welles (1943-1948)
Prince Aly Khan (1949-1953)
Dick Haymes (1953-1955)
James Hill (1958-1961)

Rita Hayworth (October 17, 1918 – May 14, 1987), was an American actress who reached fame during the 1940s as the era's leading sex symbol. Although there was prejudice against Hispanic actors at the time, Hayworth is now widely regarded to be one of the first Hispanic-American "sex goddess" of "Golden Age" Hollywood with leading roles in film.[1][2]

Early career

Margarita Carmen Cansino, better known as Rita Hayworth, was born in Brooklyn, New York, the daughter of Spanish flamenco dancer Eduardo Cansino (Sr.) and English/Irish-American Ziegfeld girl Volga Hayworth.

Hayworth was on stage by the age of six as a member of The Cansinos, a famous family of Roma Gitano Spanish dancers working in vaudeville. Also, her father had performed in a dancing duo with his sister, and later revived the duo with his daughter Rita as his dancing partner, performing in nightclubs in California and the Foreign Club in Tijuana, Mexico. At age sixteen, she attracted the attention of film producers as part of "The Dancing Cansinos" and was signed by Fox Studios in 1935. During the time she traveled and performed with her father, she was the victim of continual sexual and physical abuse by him.[3]

From Cansino to Hayworth

After her option was not renewed by Fox, Rita Cansino freelanced at minor film studios before signing with Columbia Pictures in 1937 and assuming the moniker of Rita Hayworth.

After two more years of minor roles, she gave an impressive performance in Howard Hawks' 1939 film, Only Angels Have Wings, as part of an ensemble cast headed by Cary Grant. Her sensitive portrayal of a disillusioned wife sparked the interest of other studios. Between assignments at Columbia Pictures, she was borrowed by Metro Goldwyn Mayer for George Cukor's Susan and God (1940) with Joan Crawford and Warner Brothers for Raoul Walsh's The Strawberry Blonde (1941) with James Cagney.

While on loan to Fox Studios for Rouben Mamoulian's Blood and Sand (1941) starring Tyrone Power, Hayworth achieved stardom with her sizzling performance as the amoral and seductive Doña Sol des Muire. This Technicolor film forever branded her as one of Hollywood's most beautiful redheads. Gene Tierney was originally intended for the role (but was dropped by Darryl F. Zanuck when she eloped with Oleg Cassini). Carole Landis was the next choice for the role, but refused to dye her blonde hair red and was replaced by Rita Hayworth prior to filming. Fox then borrowed Hayworth from Columbia and dyed her raven hair auburn which soon became her best remembered feature. Her stardom was solidified when she made the cover of Time Magazine as Fred Astaire's new dancing partner in You'll Never Get Rich (1941).[citation needed] Although Fred Astaire was more than pleased with Hayworth's dancing and considered her an excellent partner, he declined to have her appear in any more pictures with him. He gave his reason as being tired of working as part of a "team," as he was with Ginger Rogers, and wanting to "break out" in his own right.[4]

Hayworth in an evening dress by designer Howard Greer.

Career success

The "love goddess" image was cemented with Bob Landry's 1941 Life magazine photograph of her (kneeling on her own bed in a silk and lace nightgown), which caused a sensation and became (at over five million copies) one of the most requested wartime pinups. During World War II she ranked with Betty Grable, Dorothy Lamour, Hedy Lamarr, and Lana Turner as the pinup girls most popular with servicemen. Rita Hayworth would also become Columbia's biggest star of the 1940s, under the watchful eye of studio chief Harry Cohn, who recognized her value. After she made Tales of Manhattan (1942) at Twentieth Century Fox opposite Charles Boyer, Cohn would not allow Hayworth to be lent to other studios.

Hayworth's well-known films include the musicals that made her famous: You'll Never Get Rich (1941) and You Were Never Lovelier (1942) (both with Fred Astaire, who wrote in his autobiography that she "danced with trained perfection and individuality"), My Gal Sal (1942) with Victor Mature, and her best known musical, Cover Girl (1944) with Gene Kelly. Although her singing voice was dubbed in her movies, Hayworth was one of Hollywood's best dancers, imbued with power, precision, tremendous enthusiasm, and an unearthly grace. Cohn continued to effectively showcase Hayworth's talents in Technicolor films: Tonight and Every Night (1945) with Lee Bowman, and Down to Earth (1947), with Larry Parks. Her erotic appeal was most notable in Gilda (1946), a black-and-white film noir directed by Charles Vidor, 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 ultimate femme fatale. Alluding to her bombshell status, in 1946 her likeness was placed on the first nuclear bomb to be tested after World War II at Bikini Atoll in the Marshall Islands, as part of Operation Crossroads. Hayworth performed one of her best remembered dance routines, the samba from 1945's Tonight and Every Night, while pregnant with her first child, Rebecca Welles (daughter of Orson Welles). Hayworth was also the first dancer to partner both Fred Astaire and Gene Kelly on film — the others being Judy Garland, Cyd Charisse, Debbie Reynolds, Vera Ellen, and Leslie Caron.

Hayworth gave one of her most acclaimed performances in Orson Welles's The Lady from Shanghai (1948), though it failed at the box office. The failure was in part attributed to the fact that director/co-star Welles had Hayworth's famous red locks cut off and the rest dyed blonde for her role. This was done without Harry Cohn's knowledge or approval, and he was furious over the change. Her next film, The Loves of Carmen (1948) with Glenn Ford, was the first film co-produced by Columbia and Rita'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 of her subsequent films until 1955, when Hayworth dissolved Beckworth to pay off debts she owed to Columbia.

Marriage to Prince Aly Aga Khan, and later career

Rita left her film career in 1948 to marry Prince Aly Khan, the son of the Aga Khan, the leader of the Ismaili sect of Shia Islam. Initially Hayworth and Prince Aly had trysts at the Pontchartrain Hotel in New Orleans. The couple moved to Europe, causing a media frenzy. Joseph L. Mankiewicz, in writing and directing 1954's The Barefoot Contessa, was said to have based his title character, Maria Vargas (played on film by Ava Gardner), on Hayworth's life and her marriage to Aly Khan.

After the marriage collapsed in 1951, Hayworth returned to America with great fanfare to film a string of hit films: Affair in Trinidad (1952) with favorite co-star Glenn Ford, Salome (1953) with Charles Laughton and Stewart Granger, and Miss Sadie Thompson (1953) with Jose 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. In 1957, after making Fire Down Below with Robert Mitchum and Jack Lemmon, and her last musical Pal Joey with Frank Sinatra and Kim Novak, Rita Hayworth finally left Columbia. She got good reviews for her acting in such films as Separate Tables (1958) with Burt Lancaster and David Niven, and The Story on Page One (1960) with Anthony Franciosa, and continued working throughout the 1960s. In 1964 she appeared with John Wayne in Circus World (UK title Magnificent Showman) and in 1972 she made her last film, The Wrath of God.

Personal life

Although Hayworth didn't like horses and thoroughbred horse racing, she became a member of the Del Mar Thoroughbred Club. Her husband Prince Aly Khan and his family were heavily involved in horse racing and Hayworth's filly Double Rose won several races in France and notably finished second in the 1949 Prix de l'Arc de Triomphe. [3]

Naturally shy and reclusive, Hayworth was the antithesis of the characters she played. She once complained, "Men go to bed with Gilda, but they wake up with me." She was close to her frequent costar and next-door neighbor Glenn Ford.[citation needed]

Hayworth was married five times:

She also had a nephew named Richard Cansino, who is a voice actor in anime and video games; he has done most of his work under the name "Richard Hayworth".[citation needed]

As a child and teenager, Rita was a victim of sexual and physical abuse by her father.[5]

Final years

Rita Hayworth in 1977.

After about 1960, Hayworth suffered from extremely early onset of Alzheimer's disease, which was not diagnosed until 1980. She continued to act in films until the early 1970s and made a well-publicized 1971 appearance on The Carol Burnett Show. Both of her brothers died within a week of each other in March 1974, saddening her greatly, and causing her to drink even more heavily than before. In 1976 in London, Hayworth was removed from a flight during which she had an angry outburst while traveling with her agent, an event which attracted much negative publicity. In 1977, Rita Hayworth was the recipient of the National Screen Heritage Award (see above photo). Lynda Carter starred in a 1983 biopic of her life. She lived in an apartment at the San Remo in New York City.

Following her death from Alzheimer's disease in 1987 at age 68, she was interred in the Holy Cross Cemetery in Culver City, California; location: Grotto, Lot 196, Grave 6 (right of main sidewalk, near the curb). Her marker includes the inscription "To yesterday's companionship and tomorrow's reunion."

One of the major fund raisers for the Alzheimer's Association is the annual Rita Hayworth Gala, which is held in New York City and Chicago. Hayworth's daughter, Princess Yasmin Aga Khan, has been the hostess for these events, which since 1985 have raised more than $42 million for the Association.[6]

In Popular Culture

  • A picture of Hayworth was attached to the first atomic bomb dropped over the Bikini Atoll.
  • Hayworth is mentioned in the song "Take. Take. Take." by The White Stripes, in which Jack White describes meeting her. In addition, her face is depicted in red on the white body of Jack White's guitar in the music video for "You Don't Know What Love Is (You Just Do As You're Told)".
  • A character in The Annoyance Theatre's "Splatter Theatre" was named Officer Rita Hayworth. This role is typically played by a man.
  • Hayworth is referred to many times in the movie The Shawshank Redemption. She is the object of love for many of the jail inmates, and a poster of her is treasured by Tim Robbins' character, who finds it very useful in his attempt to escape from prison.

Filmography

As Rita Cansino

  • Anna Case in La Fiesta (Short subject, 1926, Unconfirmed)
  • Cruz Diablo aka The Devil's Cross (Uncredited, 1934)
  • In Caliente (1935) (scenes deleted)
  • Under the Pampas Moon (1935)
  • Charlie Chan in Egypt (1935)
  • Dante's Inferno (1935)
  • Piernas de Seda aka Legs of Silk (Uncredited, 1935)
  • Paddy O'Day (1935)
  • Professional Soldier (Uncredited, 1935)
  • Human Cargo (1936)
  • Dancing Pirate (1936)
  • Meet Nero Wolfe (1936)
  • Rebellion (1936)
  • Old Louisiana (1937)
  • Hit the Saddle (1937)
  • Trouble in Texas (1937)

As Rita Hayworth

References

  1. ^ Prejudice in Hollywood: We're Latin lovers now
  2. ^ Latino contributions in American cinema
  3. ^ [1] The Sad Early Life of Rita Hayworth
  4. ^ If This Were Happiness (Bio of Rita Hayworth)
  5. ^ [2] The Sad Early Life of Rita Hayworth
  6. ^ "Rita Hayworth Galas". Retrieved 2006-09-29.
  • Kobal, John. Rita Hayworth: The Time, the Place, the Woman (1977). ISBN 0-393-07526-5.
  • Leaming, Barbara. If This Was Happiness (1990). ISBN 0-345-36931-9.
  • Morella, Joe and Epstein, Edward Z. Rita: The Life of Rita Hayworth (1983). ISBN 0-385-29265-1.
  • Nericcio, William Anthony. "When Electrolysis Proxies for the Existential: A Somewhat Sordid Meditation on What Might Occur if Frantz Fanon, Rosario Castellanos, Jacques Derrida, Gayatri Spivak, and Sandra Cisneros Asked Rita Hayworth Her Name at the Tex[t]-Mex Beauty Parlor." in Tex(t)-Mex: Seductive Hallucination of the "Mexican" in America
  • Ringgold, Gene. The Films of Rita Hayworth: The Legend and Career of a Love Goddess (1974). ISBN 0-806-504-390.

External links


Template:Persondata

source: https://en.wikipedia.org/w/index.php?title=Rita_Hayworth&diff=172809263&oldid=172151058

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