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The Films of Rita Hayworth
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Rita Hayworth, who was born Margarita Cansino, the daughter of Spanish and Irish parents, trained from a young age as a professional dancer and would become one of the more enduring symbols of glamour and sex appeal of her era. As a result of her sultry good looks and talent displayed in every genre, including comedies, dramas, musicals, thrillers, and even westerns, Rita Hayworth became the unmatched Queen of the lot at Sunset and Gower, in Hollywood, and one of Columbia's most important contract stars. By 1940, a picture starring Rita Hayworth guaranteed the highest level of production values and her films are some of the most iconic of their era. Now Sony Pictures and The Film Foundation have teamed again to bring five of her finest films to DVD--three of them for the first time. These films highlight Hayworth's charm, grace and allure as a dancer, dramatic actress, and vamp--while charting the exceptional range of her career. It's a collection that showcases one of Hollywood's m
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GILDA (1946) is an excellent Film Noir which co-stars Glenn Ford (The Big Heat, Blackboard Jungle) as one of three members in a torrid love-hate relationship. The incredibly beautiful Rita Hayworth performs two songs, "Amado Mio" and "Put The Blame On Mame", with perfection. GILDA catapulted Rita Hayworth to legendary, super star status which was so-well deserved. GILDA is one of my favorite movies of all time. Includes audio commentary with Richard Shickel plus featurette: "Martin Scorsese & Baz Luhrmann On Gilda" & original theatrical trailer.
COVER GIRL (1944) is a wonderful Technicolor musical with Gene Kelly (An American In Paris, Singin' In The Rain), Phil Silvers (Diamond Horseshoe, TV's Sgt. Bilko) and Eve Arden (Stage Door, Mildred Pierce). This film, simply put, is Rita's best musical. In fact, I would go as far as saying Cover Girl is Columbia's greatest musical. The film has wonderful songs and dance routines which includes Gene Kelly dancing with his alter-ego. The hauntingly beautiful song, Long Ago And Far Away, is featured. Includes featurette: "Baz Luhrmann On Cover Girl"
TONIGHT AND EVERY NIGHT (1945) is another entertaining Technicolor musical. The setting is Britain during WWII and features a troupe of performers who never miss a show despite bombings and other issues. Rita Hayworth stars with Janet Blair (My Sister Eileen, Fabulous Dorseys) and the lack-luster Lee Bowman (Buck Privates, Cover Girl). Includes featurette: "Tonight And Every Night" with Patricia Clarkson & original theatrical trailer
SALOME (1953) is a Technicolor epic which features the seductive "dance of the seven veils" which preceeds the beheading of John the Babtist. The impressive cast stars Rita Hayworth, Stewart Granger (King Solomon's Mines, Scaramouche, Prisoner Of Zenda), Charles Laughton (Mutiny On The Bounty, Spartacus, Witness For The Prosecution), Judith Anderson (Laura, And Then There Were None). Includes original theatrical trailer.
MISS SADIE THOMPSON (1953) is a Technicolor, musical/drama re-make of Somerset Maugham's Rain (originally starred Gloria Swanson in 1928 and then by Joan Crawford in 1932) which features Rita Hayworth as a prostitute surrounded by dozens of Marines, including her co-star, Aldo Ray (Battle Cry, Naked And The Dead) and the ultra-conservative reformer, Jose Ferrer (Moulin Rouge, Cyrano De Bergerac). Things heat up fast, but Sadie Thompson is not one to be pushed around. Rita has several songs but two of the better ones include the wistful Blue Pacific Blues and the sizzling, "The Heat Is On". This film was originally released theatrically in the 3-D process in 1953. Includes featurette: "Introducing Miss Sadie Thompson" with Patricia Clarkson & original theatrical trailer.
Needless to say, this box set is a must to complete any Rita Hayworth collection! All five movies in this set look beautiful.
Gilda shines in glorious black & white and the other four films
are stunning in beautiful Technicolor.
Other Rita Hayworth films on DVD:
Charlie Chan In Egypt 1935 (Warner Oland), Trouble In Texas 1937 (Tex Ritter), Only Angels Have Wings 1939 (Cary Grant), Music In My Heart 1940 (Tony Martin), Angels Over Broadway 1940 (Douglas Fairbanks, Jr.), Blood And Sand 1941 (Tyrone Power, Linda Darnell), Strawberry Blonde 1941 (James Cagney, Olivia Dehavilland), You Were Never Lovelier 1941, (Fred Astaire), You'll Never Get Rich 1942 (Fred Astaire), Down To Earth 1947 (Larry Parks), Lady From Shanghai 1947 (Orson Welles), Loves Of Carmen 1948 (Glenn Ford), Affair In Trinidad (Glenn Ford), Pal Joey 1957 (Frank Sinatra, Kim Novak), Seperate Tables 1958 (Burt Lancaster, Deborah Kerr, David Niven), Circus World 1964 (John Wayne, Claudia Cardinale).
In 1941 Rita bloomed-blossomed-EXPLODED onto the screen as a major film celebrity. First, as 'The Strawberry Blonde' (for Warners), she received great notices and gave a well-polished performance as an 1890's flirt. Rita worked well & charmingly opposite James Cagney.
At 20th Century-Fox, Hayworth was dazzling as the temptress Dona Sol in the Technicolor 'Blood and Sand' opposite Tyrone Power (who can forget the way she runs her fingers thru & pulls Power up by his hair!). Her Sol was mysterious in her silences, yet highly erotic in her interaction with Power and Anthony Quinn. Rita was fantastic in color and became Hollywood's most famous redhead with the release of this film.
At this time, by Hayworth's own account, Fred Astaire came to her home studio Columbia, signed on for 2 films, and asked for Hayworth to be his partner. Their first film, released in 1941, was 'You'll Never Get Rich'. Astaire and Hayworth were magical together, and most critics agree that Hayworth was one of Astaire's best dancing partners.
Astaire would later state in his memoirs that "Rita danced with trained perfection and individuality." And according to Astaire's good friend David Niven, and also Astaire's daughter Ava, Rita Hayworth was Fred Astaire's all-time favorite dance partner.
Publicizing the release of 'You'll Never Get Rich', Time Magazine put Hayworth on the cover of their November 10 1941 issue, with a portrait by the famed pin-up illustrator George Petty.
Finally, in August of 1941, Life Magazine published the iconic photo of Rita perched on a bed in a satin and lace nightgown. It became one of the most famous 'pin ups' of the war years. By the end of 1941 she was nicknamed "The Love Goddess of the 20th Century". She had just turned 23.
So here was the birth of a modern film Goddess, surely as remarkable as Venus herself arising from the sea. Hayworth in her day was compared to this ancient deity (Life Magazine, "The Cult of the Love Goddess in America" 1947), representing for her generation their current feminine ideal.
Even now Hayworth provides the prototype of the ideal woman: that amazing head of long flowing auburn hair, crowned with a widow's peak. The angular face with its beautiful profile. The full lips, the ample bosom. the elegant hands with their long red fingernails. But there was much more to her than that. She was in her own right an excellent dancer, one of the best. When dancing she moved -flowed- thru space with an unearthly grace. She was extremely photogenic-- the camera loved her, as it did Marilyn Monroe. Onscreen, she brims over with exotic magnetism. It is hard to take one's eyes off of her. Yet, like Ava Gardner, Hayworth could convey a warmth, a deep vulnerability, to her audiences.
Columbia's studio chief Harry Cohn was said to have been quite an ogre in real life, but he was above all a showman. He presented Rita in films tailored to capture her unique charsima at its upmost. On the whole, he was very successful. The Hayworth persona is perfectly captured in her Columbia films.
The five films in THIS set -'Cover Girl' 1944- 'Tonight and Every Night' 1945- 'Gilda' 1946- 'Salome' 1953- and 'Miss Sadie Thompson' 1953- give us a great representation of Hayworth in her full glory, at the height of her powers to mesmerize an audience.
Hayworth the dancer. In 'Cover Girl', Hayworth in a flowing dress of gold comes flying down - seemingly from the heavens -to dance with her chorus, a truly iconic moment. Yet another from the same film, the majestic 'Long Ago And Far Away' musical sequence, is a masterpiece of lyrical romanticism. Rita and Gene Kelly bring to their perfomance here a highly-charged romantic passion that is amazing to watch. Their dancing sizzles with electricity, culminating with Hayworth giving herself to Kelly by dropping deeply into his arms-- surely one of the hottest dance moves in movie history.
One of the highlights of this set is the many dance and musical numbers Hayworth is involved in. In these films, working with some of the best choreograpers from Hollywood & Broadway (like Jack Cole, Gene Kelly, Valerie Bettis, among others), Hayworth excels in a wide range of musical numbers-- old-time vaudeville numbers, classic tap, comedy numbers, exhilarating duets with Kelly, a white-hot Brazilian samba, the primitive-style choreography of the 'Dance of the Seven Veils', the archetypal siren's song of 'Amado Mio', the playful mock-strip of the iconic 'Put the Blame on Mame'.
The Hayworth closeup. Rita Hayworth and Technicolor were made for each other. An expensive process at the time, I am grateful that Columbia Studios was able to put Rita in many Technicolor films. The extreme closeups of Hayworth in these films (particularly in 'Tonight and Every Night'), are just jaw-dropping. Dazzling. Hayworth's coloring in these films- her skin all peaches and cream, the vivid red-gold of her hair- just unreal like a dream. Cinematographer Rudy Mate (he also shot 'Gilda'), and the others who shot these films must be commended for their artistry in contributing to Rita's mystique.
Hayworth and 'Tonight'. This under-rated musical has the most beautiful Technicolor photography I have ever seen. Lee Bowman, who lost Rita to Gene Kelly in 'Cover Girl', makes a good leading man for her in this film. The erotic high-point of 'Tonight and Every Night', the 'You Excite Me' dance number, is amazing for its risque lyrics as well as for its overwhelming visuals and for its spectacular, delirious musical arrangement.
Salome and Sadie. While perhaps the weakest film in the set, nevertheless 'Salome' is a prime example of Hayworth in her 'goddess' mode, with many lavish closeups of her, each accompanied by her own special musical motif. Designer Jean Louis dresses Hayworth in every color of the rainbow, first in Roman, then in Palestinian princess designs. This film is sheer eye candy.
'Miss Sadie Thompson' is a total departure for Rita, her first character part, and one of her best performances. The whole film has a nice, jazzy feel to it. Rita's Sadie is fun-loving, a bit blowsy, and we see her as a totally street-wise 'dame'. She more than holds her own in the dramatic scenes with co-star Jose Ferrer. Rita as Sadie, drunk and sweating in a roomful of drunken marines, cuts loose with 'The Heat is On'-- another iconic, memorable moment. Yet she tops herself in the very next scene with the jazzy, blusey 'Blue Pacific Blues'.
Gilda. A black and white film that launched Rita into immortality. In 1946, the first atomic bomb exploded in peacetime was named "Gilda"...so explosive was this character on the public's imagination. 'There Never Was A Woman Like GILDA' screamed the ads back then, yet it still holds true today. This is a 'film noir' meditation on sex and desire. Co-star Glenn Ford has said Hayworth was his favorite actress and that this was his favorite film. Director Charles Vidor guides his favorite actress perfectly, and somehow, in some organic way, he captured her essence as no director ever has. Rita is simply magical in 'Gilda'. Pure cinema magic.
Also, Rita Hayworth and music go hand in hand. Kudos to Columbia Studios' music department-headed by Morris Stoloff- who provided rich, beautiful orchestrations and music for each Hayworth film. A perfect example of their artistry would be the fanfare to the opening credits of 'Gilda' and 'Miss Sadie Thompson'. Wonderful music.
After a very long time in development, Sony Pictures is releasing this 5 disc set as part of their 'Collectors Choice' series in conjunction with Martin Scorsese's Film Foundation. All films have been restored and this set will be of high quality just by its pedigree.
A special thanks to Mr. Scorsese, whose name has been connected to so many restorations of classic films this year. He seems to be deeply involved in keeping these films alive for future generations, as well as being our greatest living director. I find him inspiring.
COVER GIRL (1944)
w/ Gene Kelly,Phil Silvers and Eve Arden
Directed by Charles Vidor
TONIGHT AND EVERY NIGHT (1945)
w/ Lee Bowman, Janet Blair and Marc Platt
Directed by Victor Saville
w/ Glenn Ford and George Macready
Directed by Charles Vidor
Black & White
w/ Stewart Granger, Charles Laughton and Judith Anderson
Directed by William Dieterle
MISS SADIE THOMPSON (1953)
w/ Jose Ferrer and Aldo Ray
Directd by Curtis Bernhardt
Although COVER GIRL and GILDA have been previously released on DVD, these titles will apparently be availble only as a set.
I am very disappointed in the "Extras" and think that Sony should be ashamed of themselves. Patricia Clarkson is a lovely and well-spoken actress, but what she says has no particular focus. The only worthwhile piece is when Baz Luhrmann and Martin Scorcese talk about "Gilda." Jack Cole is [finally/luckily] mentioned by Scorcese in the "Gilda" extra in terms of his work on "Put the Blame on Mame," but most of the success of "Tonight and Every Night" is dependant upon the musical numbers Jack Cole created for Hayworth, Marc Platt and Janet Blair. Platt's dancing to a Hitler speech is a landmark and what he did for Hayworth in "You Excite Me" is unleashing the beautiful beast in her. If you don't believe me, look at her flouncing about in "Cover Girl": high shoulders, frozen mannequin hands, coy smiles and none of the sharpness Cole infuses in her in "You Excite Me." Cole also partners Rita in the film so I think a major point about the success of this film was completely overlooked. Ms. Clarkson runs the laundry list of names in her talks (Director, screenwriter, director of photography, composers,costume and scenic design, etc.) but ignores letting the viewers know who had the "vision" for the musical numbers - which is nearly 50% of "Tonight and Every Night." I love Baz Luhrmann and his films, but am afraid that he did not do his homework - or doesn't know the difference - in some of the the things he said about Rita's dance ability on the "Cover Girl" extra. She was not a Flamenco dancer, she was a classical Spanish Dancer, which is very different in its fluidity and femininity from the rhythmic and aggressive sharpness of Flamenco. Baz is a former Ballroom dancer and should know the difference.
This collection would scarcely be complete without her signature portrayal as the quintessential femme fatale in the title role of Gilda (1946). As one of the box sensations of the era, Gilda is also the ultimate love triangle/exotic nightclub melodrama of the decade which encapsulates the titillating black & white glamour Hollywood filmmakers used to excel at. The most outstanding aspects of Hayworth's tempestuous performance in this story are her lively black glove striptease (about as racy as it got in the 40s) of "Put The Blame On Mame" and the more coolly sensual "Amado Mio". Gilda was also the first pairing of Hayworth with Glenn Ford (there would be two other pictures pairing them as Columbia's leading love team). Hayworth also got to star in a cheesy biblical epic of her own... (such stories were a rather prominent part of the 1950s film going experience) in the title role as Salome (1953).
The new testament schlockfest features a good cast (with Stewart Granger, Charles Laughton, Judith Anderson) who were unfortunately forced to labor through a poor, stilted script which resulted in bad acting for all. At the time Columbia bragged that most of the picture was filmed in authentic "Holy Land" locations - - though they could have saved themselves the trouble and extra expense and filmed the whole thing on the outskirts of Palm Springs and no one would have been the wiser! In any event, the color,costumes and Hayworth's "Dance Of The Seven Veils" still make the film worth watching - though one critic of the day asserted (I throw in some giggles and guffaws) that Salome was "a gross perversion of the bible" and "a clumsy attempt to eke sex out of religion." However, in our time ... pretty tame stuff. To wrap up the collection, Miss Sadie Thompson (1953) may be the story most relevant to contemporary viewers; when reflecting on the "culture wars" of the present. This classic tale of tropical sex and salvation (based on the famous Somerset Maugham short story) had been filmed twice before with Gloria Swanson and Joan Crawford, but Hayworth's version is the most outstanding, providing the strongest interpretation of the role.
The endless conflicts between hedonism and so-called "religious values" are brought to the fore when a stuffed-shirt minister collides with a woman with a supposedly shady past. Sadie stands out as a sobering tale of "sin" and "redemption" - with a heavy dose of hypocrisy and double-standards thrown into the brew (just think of any religious scandals that are relentless fodder for the present day talk show circuits). In any event, the theme and content are still quite subdued when imagining how the material would likely be handled if filmed for today's jaded audiences.
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