RITA HAYWORTH SPOUSE MOVIE
Cansino further exploited her by introducing her to movie producers such as Joe Schenck, who gave her a screen test that led to work as an ethnic extra in films being shot in Mexico. The ''roly-poly'' 12-year-old obediently flashed her eyes and tantalized. Telling people she was his wife, he dyed the child's hair black, put scarlet lipstick on her mouth and dressed her in garish, sexy clothes. A failure in films because of his poor English, Cansino began taking his daughter, Margarita - or Carmen, as he called her - out of school to dance as his partner on casino stages in Tijuana. In 1927, Eduardo Cansino, a Spanish-born flamenco dancer whose work in vaudeville was admired by Fred Astaire, moved his young family from Brooklyn to California. Leaming, her father's abusive treatment was the key to her emotional development and led to a lifetime of disastrous relationships. Her mother - probably the only other person who knew about it - slept in a bed with the child in a vain attempt at protection. Margarita Carmen Cansino grew up with a sickening, isolating secret: her father was sexually abusing her. But the most haunting image in Barbara Leaming's biography of the movie star, ''If This Was Happiness,'' is one of a fat, silent 12-year-old girl sitting on the front porch of her house and staring straight ahead, too terrified to play with other children. Seeming to offer her body, Hayworth also appears to be keeping her real self in mysterious reserve.Īs an actress, Hayworth is best remembered as Gilda in the film of the same name, peeling off long black gloves in a self-absorbed striptease.
The pinup, published in Life magazine in 1941, is a fascinating study in contradictions. The most famous image of Rita Hayworth, erotic icon of the 1940's, is a pinup photograph in which she is kneeling on a rumpled bed, wearing a dark satin-and-lace nightgown her head is turned over her shoulder and she is facing the camera directly. Hayworth played other memorable roles after Gilda – notably another musical, Down to Earth (1947), the success of which gave her a degree of autonomy not previously available and allowed her to found her own production company and even ban the influential Hollywood gossip columnists Hedda Hopper and Louella Parsons from her sets.IF THIS WAS HAPPINESS A Biography of Rita Hayworth. That film was directed by Vidor, who foresaw the darker potential of her appeal with one eye on a new screenplay that had recently crossed his desk about expat gamblers in Argentina. Astaire once even declared her his favourite partner, an extraordinary compliment given his long and celebrated pairing with Ginger Rogers.Ĭover Girl (1944), another lavish musical, this time opposite Gene Kelly with songs by Jerome Kern and Ira Gershwin, was a smash hit and among her proudest achievements. Next came a brace of musicals with Fred Astaire – You’ll Never Get Rich (1941) and You Were Never Lovelier (1942) – in which the pair were ideally matched and in which she was truly given an opportunity to show off her talents. Gradually working her way up, Hayworth’s early career highlights included a vamp role in Only Angels Have Wings (1939) with Cary Grant and Jean Arthur for Howard Hawks and a supporting turn in Angels over Broadway (1940), an eccentric comedy-drama from the pen of journalist Ben Hecht. Judson, 40, married Rita, 18, and got her on the payroll at Columbia, but not without promising sexual favours on behalf of his young wife to the cruel and controlling studio boss Harry Cohn. When mogul Darryl F Zanuck dropped her, Eduardo Cansino hired Los Angeles car salesman Edward Judson to manage his daughter. Plucked from high school at 12 to tour the night clubs of Tijuana, Mexico, as her father’s partner in the Dancing Cansinos, the young Hayworth was a shy child and knew only a life of strict rehearsals and rigorous discipline in the pursuit of perfection.Īfter being spotted by Fox executive William Sheehan at 16, she was handed a contract and danced in the Spencer Tracey vehicle Dante’s Inferno (1935).
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