Tag: Rita Hayworth

August 24, 2018 / / Main Slate Archive

Often, in films, we see a character stand up for an underdog or the losing side in battle. Other times we get to see a character advocate for herself against a powerful foe. That can be tough when the enemy turns out to be Mom.

There’s no shortage of villainous mothers in films. The ones who send shivers down your spine, like Angela Lansbury’s Mrs. Iselin in The Manchurian Candidate, and Faye Dunaway’s Joan Crawford in Mommie Dearest, rule by intimidation and cruelty. In the world of classic films, Gladys Cooper has the mean mom thing down pat. Two films showcase Cooper’s ability to play horrible mothers, Now Voyager (1942) and Separate Tables (1958).

July 31, 2018 / / Main Slate Archive

There are few films that I’ve seen that epitomize classic Hollywood as well as 1944’s musical hit Cover Girl. Starring an effervescent Rita Hayworth as Rusty Parker, a vaudeville-style dancer, and a typically earnest Gene Kelly as Danny McGuire, her manager/boyfriend, Cover Girl thrives on the pair’s dynamic charisma. In fact, it’s difficult to imagine this film being enjoyable without either of its principal actors.

March 28, 2017 /

There has never been a thorough way of stamping down individuality and strength. Even during society’s most oppressive states, humans have found ways of expressing themselves through one way or another, even if not always in the most obvious form. Sometimes, though, these assertions of self are so incredibly in plain view that they become easy to entirely overlook, as is the case with the role fashion has played in solidifying female identity in film. Long dismissed as mere cosmetics and playing dress-up, women’s cinematic fashions have nevertheless inspired far-reaching cultural trends by reflecting or encouraging resilience.

August 16, 2016 / / Main Slate Archive

A protagonist’s introduction on screen often plays an essential role in not only the character’s journey, but in cementing a film’s legacy. Iconic cinematic introductions range from Indiana Jones retrieving the golden idol (and being chased by the rolling boulder) to Vito Corleone taking meetings on the day of his daughter’s wedding. Audience members forever remember these characters, often through the way they are introduced to us on screen. Gilda exemplifies this statement in 1946’s eponymous film noir. Hayworth’s famous introduction is not only iconic to the film’s legacy, but also to the classic character trope of the femme fatale.

March 5, 2012 / / Main Slate Archive

The Lady from Shanghai – 1947 – dir. Orson Welles

On the list of favorite movies my mind’s Rolodex holds, The Lady from Shanghai has always had a special place. It was a treat seeing it again after all these years, not only because it is a good movie but because the last time I saw it, I was a college student at one of the weekly film viewings our Student Union Association ran in the school cafeteria. Every Friday evening, all tables and chairs would be cleared
from the dining hall, a rickety screen was erected in front of the cafeteria kitchen and we students would be left perfectly content to belly down on the floor or sit Indian-style, sipping Boone’s Apple Farm or Blue Nun from Dixie cups.  The lights would go down, leaving us in the dark with Bette Davis, Joan Crawford, Barbara Stanwyck, Rita Hayworth.  I remember most the girls cuddled up against the walls or each other psyched for a night of nicotine (those were the days when you could still smoke in campus buildings), gossip and movie goddesses from the 30s and 40s.  To me, they were not half-a-sleepy co-eds wrapped in blankets and pillows dragged over from their dorms but secret Rita Hayworths dreaming they were, or could some day be, as steamy and as sultry as she was, as defiant as she was, as immortal as she was. That is what movie stars do for us; they keep us alive and dreaming.  Seeing a movie we have seen before in our long ago past resurrects memories not only of that movie but of who we were and where we were when we first saw it. A movie is a mirror of itself but also a mirror of Time
and of us.  And so it is for me with The Lady from Shanghai...

June 7, 2010 / / Main Slate Archive

By William Benker

Lady From Shanghai – 1947 – dir. Orson Welles

Orson Welles’ Lady From Shanghai bridges the cinematic landscape from drama to adventure and mystery.  Led by its director (and protagonist) himself, alongside heroine Rosalie Bannister (Rita Hayworth), each character reveals layer after layer of insecurities, deception and greed throughout the story.  However, the fascination lies within the depth that Welles is able to explore.  Both tough guy and damsel reveal their true colors gradually, methodically, touching upon the most intimate conundrums of life, reflecting a harrowing character piece that shows the demons within oneself.  The magic lies in Welles’ delivery, exposing the depths and revealing their own façade to be but a mere image they have create to shelter their true selves.

July 14, 2006 / / Main Slate Archive

by Jason Haas

Gilda is a strange movie, and an unlikely classic. Artistically, it is no failure, but it is also far from an unqualified success. It is often mentioned in the company of the most famous film noir pictures, but it manages only to borrow from the genre without having many of the classic elements of noir. Instead, the movie turns on the personality and star-power mega-wattage of Rita Hayworth. Columbia boss Harry Cohn developed the film as a vehicle for this starlet on the rise, and few if any of her other films contributed so notoriously to her fame. While some of the star-vehicle concessions should just have turned Gilda into a passably entertaining film that time forgot, Hayworth does something rare – she earns the attention the camera gives her.