Rita Hayworth At Her Best By Constance Cherise
In 1994, THE SHAWSHANK REDEMPTION reintroduced Rita Hayworth to a new generation, but from her most famous film role in GILDA (‘46) to years later, her effervescence and distinct beauty remains. The film DOWN TO EARTH (‘47) was not one of Hayworth’s most popular features by far, but full-length Technicolor musicals available on YouTube during a restless night are always a draw. Hayworth glides with sure-footed exuberance and joy during her opening number in DOWN TO EARTH, and even though her plan is apparent, her subsequent domination is rightfully justified. There is no competition. There is only Hayworth, and because she is unequivocally confident within herself, we are confident in her also. All other dancers must fall back due to her sheer magnetism, and this is how I was introduced to the beguiling Rita Hayworth.
Trained in multiple dance disciplines from the age of three, the Brooklyn-born, Margarita Carmen Cansino is somewhat falsely thought of as fully Latina. Her father was from a generational line of Spanish dancers. Her mother, a former Ziegfeld Girl, was of English and Irish descent.
Hayworth’s film debut was an uncredited role at the age of eight in the short LA FIESTA (‘26). At age 16, after being discovered dancing as her father’s partner in Tijuana, she appeared in the Fox Studio production of DANTE’S INFERNO (‘35). She was dropped from her contract after five films. As the result of her first husband and manager’s unabashed promotion, Hayworth was offered a contract by Columbia Pictures, beginning her tumultuous career-long professional relationship with the infamous studio head, Harry Cohn.
Although she was seemingly the envy of the modern world, Hayward led a tragic life. She endured three years of painful electrolysis of her hairline, giving her a higher forehead and helping to square her rounded face. She shed extra pounds and lightened her naturally dark hair color in order to anglicize her Latin features. Shockingly, the process of her ethnic erasure was publicized and celebrated by Columbia. She later became involved in a series of abusive marriages which not only contributed to her alcoholism but left her financially crippled. In 1974, both of her brothers died within one week of each other. In 1987, Hayworth tragically passed away at the age of 68 from the progressively debilitating disease of Alzheimer’s.
She was named the “Love Goddess” of the ‘40s and was neck-in-neck with Betty Grable as the pinup favorite of the era. Although she performed in a series of films, it was the role of Gilda that not only catapulted her into stardom but would negatively plague her off screen for the majority of her life.
“Every man I knew went to bed with Gilda… and woke up with me.”
She was one of a handful of actresses who performed with both Gene Kelly and Fred Astaire, who was thoroughly impressed with how quickly she could learn complicated routines. In Columbia’s first Technicolor and highest grossing film, COVER GIRL (‘44), Hayworth displayed her perfected tap-dancing skills alongside Kelly. Between the staged numbers of “The Show Must Go On,” “Poor John,” “Put Me to the Test” and Hayworth descending from the heavens in a seemingly endless swirling stage, Columbia’s introduction to Technicolor and choice of Hayworth and Kelly as its stars was a clear success.
In the musical comedy YOU’LL NEVER GET RICH (‘41), Hayworth tap danced with Astaire in “Boogie Barcarolle,” and by the glint in her eye and the slight wobble of her head, it is apparent that she has cleverly devised a ploy that Astaire seems to have graciously fallen into. It takes Astaire only a short amount of time of scrutinized observation to be convinced Hayworth’s character knows precisely what she is doing. She is exacting, mirroring Astaire’s performance with an air of certain aloofness. When finally, she makes eye contact with Astaire, a shift of power has taken place, where instead of Hayworth keeping up with Astaire—Astaire must keep up with Hayworth.
“Dancing in Tijuana when I was 13 — that was my ‘summer camp.’ How else do you think I could keep up with Fred Astaire when I was 19?”
Hayworth appeared in comedy, drama and film noir, however for all of her natural enchantment and stunning good-looks, Hayworth self-admittedly was a dancer. Although her famous (or infamous depending on perspective) “Put the Blame on Mame’’ number in GILDA has imprinted itself in classic film history, in my humble opinion, her most outstanding performances were not part of her hyper-sexualized persona. Native dance is such an imperative component of identity, and in the film TONIGHT AND EVERY NIGHT (‘45) a pregnant Hayworth performs a highly glamorized version of a Flamenco dance in the number “You Excite Me.”
But it is in THE LOVES OF CARMEN (‘48) where her el duende is truly unleashed…where the constructed Rita Hayworth is pushed aside and the soul of Margarita Carmen Cansino, that no amount of ethnic eradication can conceal, reemerges in all of its glory. She is incandescent, beaming with fluid passion. Once again, her expression proves she is aware of exactly what she is doing as she seductively tantalizes her co-star Glenn Ford with her dazzling smile, her sparkling eyes, and her…castanets. THE LOVES OF CARMEN may not have been one of her most popular films, but it is a film worth watching as it gives us a rare glimpse as to who Rita Hayworth was, after society dictated whom she genuinely was wasn’t good enough. No orchestration, no glittering costumes or ornate sets, simply the one and only Margarita Carmen Cansino, performing the ultimate role, herself.
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