Rita Hayworth: Difference between revisions - Wikipedia

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===From Cansino to Hayworth===

After her [[Real option|option]] was not renewed by Fox, Rita Cansino freelanced at minor film studios before signing with [[Columbia Pictures]] in [[1937 in film|1937]]. The issue wasn't whether Hayworth was perceived as being Spanish, but rather what the public’s idea of “[[Spanish people|Spanish]]” was.<ref>[http://www.brightlightsfilm.com/53/rita.htm What was Rita Hayworth’s image supposed to be in the ’40s?]</ref>

During Cansino's time, Latin-ness was often used as a kind of "flounce" or a decorative feature, yet it was also a central notion for the culture. In the 1930s and 40s, the USA was in the grip of a Spanish Beauty cult and often played [[Iberians]] or Latins (''[[Blood and Sand (1941 film)|Blood and Sand]]'', ''[[You Were Never Lovelier]]'', ''[[The Loves of Carmen]]''). In 1937, Margarita Carmen Cansino became Rita Hayworth. Her name change served as protection against discrimination in Hollywood.<ref>[http://www.brightlightsfilm.com/53/rita.htm What was Rita Hayworth’s image supposed to be in the ’40s?]</ref>

After two more years of minor roles, she gave an impressive performance in [[Howard Hawks]]' [[1939 in film|1939]] film, ''[[Only Angels Have Wings]]'', as part of an ensemble cast headed by [[Cary Grant]]. Her sensitive portrayal of a disillusioned wife sparked the interest of other studios. Between assignments at [[Columbia Pictures]], she was borrowed by [[Metro Goldwyn Mayer]] for [[George Cukor]]'s ''[[Susan and God]]'' (1940) with [[Joan Crawford]] and [[Warner Brothers]] for [[Raoul Walsh]]'s ''[[The Strawberry Blonde]]'' (1941) with [[James Cagney]].