![]() ![]() The results, as you'll soon see, are pretty spectacular. Astaire was adamant that he wanted to explore Latin dance, though, and he was able to do so with the help of special arrangements by Cugat and Lyle Murphy, and Hayworth's own influence. In addition to Cugat's hiring, Kern was also uneasy about composing in the Latin style. After production, however, Kern was so happy with Cugie's contributions that he gifted the bandleader with a silver baton. The movie's elegant score was courtesy of Johnny Mercer and Jerome Kern, who, surprisingly, was reticent about the inclusion of Cugat. Thanks to the Good Neighbor Policy, Columbia kept the film's Argentina setting and brought in Xavier Cugat and his orchestra to add some more Latin authenticity to the project. Seiter, the film is a remake of the 1941 Argentine musical Los martes, orquídeas ( On Tuesdays, Orchids). She had gained a lot of experience and was by then one of the top feminine stars on the screen."ĭirected by William A. ![]() Astaire was excited to reunite with Hayworth for You Were Never Lovelier, writing in his autobiography, "I looked forward to it mainly because Rita was so delightful to work with and I wanted very much to have a big hit with her. For Fred, the picture was much-needed assurance that he could do well without Ginger always by his side. It was Rita's first major movie for Columbia and it helped launch her as a box office sensation. You'll Never Get Rich, while not a masterpiece by any means, was an important film for both of its stars. I kept thinking how extraordinary it was to find myself about to play opposite my friend Eduardo Cansino's lovely daughter, and I told her so. "We then danced around the mirrored room in impromptu ballroom fashion, as I wanted to get an idea of how we looked together. I said, 'I'm an old friend of your father's.' 'Yes, I know,' murmured Rita."įred then asked her how tall she was, something he was always concerned about with his partners, and was relieved to discover he stood three inches taller than her. Bob Alton, choreographer on, brought her over and introduced us. I didn't see her and asked one of the assistants, 'Isn't Miss Hayworth going to be here this morning?' He pointed to a remote corner of the room, 'Why, yes - she's been here for some time.' There she was. ![]() According to Fred, "As I came up the last few steps I gave a hurried glance around, expecting to see Rita, as I had been told she would be there. She married five times she struggled with alcoholism and for the last years of her life she suffered from a disease that was only diagnosed (and given a name) a few years before she died: Alzheimer’s.įor countless Americans of a certain age, however, and for movie fans around the world, Rita Hayworth remains one of those rarest of creatures: a bona fide movie star from a classic era the Hollywood of the 1940s and ’50s that will never come again.When Hayworth and Astaire met, it was at a rehearsal hall at Columbia Studios. Hayworth’s offscreen life, meanwhile, was frequently tough. Hayworth could play comedy, was stellar in dramatic roles and danced well enough that none other than Fred Astaire, with whom she starred in two hits for Columbia Pictures in the early 1940s, asserted that she was as talented a partner as any he’d ever had. remembers the star of films as varied as Pal Joey, Strawberry Blonde, Orson Welles’s Lady From Shanghai and the 1946 noir classic, Gilda in which she played one of moviedom’s most devastatingly sexy femmes fatale. 17, 1918) was the face and the lingerie-clad body of arguably the single most famous and most frequently reproduced American pinup image ever. officially entered the war, Hayworth (born Margarita Carmen Cansino in Brooklyn on Oct. Thanks to a photo made by Bob Landry that ran in LIFE magazine in August 1941, months before the U.S. ![]() With the possible exception of Betty Grable and her fabled legs no single Hollywood star was more popular with American troops during World War II than the actress and dancer Rita Hayworth. ![]()
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