Cover Girl

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Lzcutter
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Re: Cover Girl

Post by Lzcutter »

I've got an update on the nitrate fire at the Stanford Theater from the archive list serve that I belong to. A very respected archivist has been in touch with David Packard. This is paraphrased from the info I received earlier this morning from the list serve:

When the Packard Foundation acquired the Stanford, they restored the theater, did seismic upgrades to it (it's in earthquake country) and retooled the projection booth for nitrate.

The run two carbon arc projectors in the booth and when running nitrate have two projectionists on duty, one for each projector.

They have run nitrate prints before without a hitch. The booth has walls with very high fire ratings, two exit
doors, smoke and heat detectors, fire sprinklers, and metal shutters to cover the ports into the auditorium.
Nitrate reels are stored in specially designed bins.

On the evening of April 2nd, the first reel had just hit the screen. About three minutes later, the film (which had been inspected, as all films are prior to screening) became jammed in the film gate or possibly broke at that point. The film in the gate caught fire almost immediately.

The film below the gate continued into the take up reel and was not affected by the fire. Unfortunately the upper reel was lost when the fire traveled upward along the path leading into the film gate.

After briefly trying to control the fire, the projectionists realized that they needed to evacuate. The heat detectors did not respond immediately. The fire was visible to the audience (as Moraldo Rubini has written). Right after Moraldo saw the flames, the shutters came down on the ports and the sprinkler system kicked in.

The fire was over a few minutes later. But the sprinklers ran for about 15 minutes after the fire was put out. This created a great deal of water damage in the balcony and it seeped into the lower floors as well. There wasn't any floor drains in place and the Stanford is now rethinking that as well as a "panic button" in the booth. The carbon arc projector sustained less damage than originally thought.

There is a moratorium on running nitrate there for the time being.

Earlier in the day, David Packard and well-respected film historian had sat in the theater and watched comparisons between a reel of the nitrate print and the safety print release. It was unanimous by all involved that the nitrate print was the superior print (likely due to the silver content in the stock as well as it being a dye-transfer print) and the decision was made to run the nitrate print that evening.

The Stanford is back open for business.
Lynn in Lake Balboa

"Film is history. With every foot of film lost, we lose a link to our culture, to the world around us, to each other and to ourselves."

"For me, John Wayne has only become more impressive over time." Marty Scorsese

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Moraldo Rubini
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Re: Cover Girl

Post by Moraldo Rubini »

Thank you for that reportage, Lynn! Very interesting. I think I mentioned that the few minutes that played were pretty rough. I wonder if it played that way when they compared the films earlier in the day. Anyway, I'm to hear the theatre has already reopened. A Matter of Life and Death is playing there (on a double-bill with A Canterbury Tale), and I'd be disappointed to miss that opportunity. Let the film roll!
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Re: Cover Girl

Post by Lzcutter »

M,

You will absolutely love seeing Stairway to Heaven aka A Matter of Life and Death projected.

Can't wait to hear your report about it!
Lynn in Lake Balboa

"Film is history. With every foot of film lost, we lose a link to our culture, to the world around us, to each other and to ourselves."

"For me, John Wayne has only become more impressive over time." Marty Scorsese

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Re: Cover Girl

Post by Rita Hayworth »

Moraldo Rubini wrote:I'm haunted by Cover Girl. It's got me. I can't figure out why. I loved it as a kid. Does it tap into some subconcious memories of idyllic childhood? Y'all know I love musicals. But usually this appreciation is derived from the art of the dance, or the music, or the vocal interpretation of a song. The stories aren't necessarily captivating; you just wait for the next number. But I find myself rooting for the characters in this movie. I really love Rusty and Danny and genuinely care that everything works out for them. Why them? Why do these characters seem more real to me than Mickey and Judy's? Or Betty Grable and her stable of leading men?

Rita Hayworth is surely a Goddess. Yup, capital "G". And yet I have the feeling that I could approach Rusty Parker. She's a swell gal who just happens to be drop-dead gorgeous. Maybe it's because of her flaws. She's a little flaky; skipping rehearsals (and she needs them, as we see in her opening number), cutting performances to go to a party. Rusty! It must have been great fun for her to play the dual role of Rusty and her turn-of-the-century grandmother.
I want Gene Kelly's Danny McGuire to be my best friend. Talented, sensitive, wears his heart on his sleeve. There's a moment when he sings a full stanza of Long Ago and Far Away with his eyes closed. Have you ever seen this in any other movie? He's so vulnerable, it's so intimate! These characters sense they're losing each other, and he's basically praying with all of his might that they can hold on to this moment. It's aching, I tell ya.
I wish that Rita and Gene were housed at the same studio; I'd like to have seen more of this pairing.

What a bunch of characters! When I watch Mildred Pierce, I await every scene featuring Eve Arden, but Cover Girl is ultimate Eve. Really. She gives every line such punch! She doesn't even need a line. Her silent reactions to boisterous sailors, flirtatious Phil Silvers, and "a leaping thyroid" [the misguided Rusty Parker] are telling and hilarious. When Mr. Coudair asks, "What does a young girl think about when she's going down the aisle to be married?"; well, if they put Eve's expression into words, it wouldn't have gotten past the censors.
Maybe Otto Kruger is the real heart of this picture? The entire plot revolves around his heartache. He's pining for his one love -- who turns out to be Rusty's long departed grandmother. His wistful performance veils the entire movie, and is reflected in the longing that exists in the relationships of Rusty and Danny, as well as Noel Wheaton and Rusty. How about the showgirl who answers the phone with "Sure I'll marry you; who is this?" This a world of missed connections. I imagine this is what much of the world was feeling with so many of the boys off to war and most of the women valiantly keeping the homestead. Is it this war time tugging that thumps my heart?

The power of a song. One of my theories is that my ardor for this film is merely based on the heartbreaking tune, "Long Ago and Far Away". I've come to realize that so many of the moments that seem most sincere and telling have this Jerome Kern melody in the underscoring. Having this terrific music knocking on my subconcious makes me believe anything on screen.

Cinderella. Certainly, there's a certain Cinderella aspect to this film. The irony is that the "before" picture in this make-over is the gorgeous Rita Hayworth. But there's something thrilling about her "magic carpet ride" as they make her over for the cover of Vanity. Who do you suppose those make-up and camera people are? Are they really Columbia make-up personnel making a cameo (like Sidney Guilaroff did in New York New York)? Once the cover's been published, Rusty's colleagues pin up the magazine backstage -- but the prop is wrong! Take a look next time you see this flick; the magazine doesn't match. It doesn't even look like Rita Hayworth, and the pose is different. Then in the close-up it's the "true" cover.

Fashionista. There's so much right and so much wrong and so much that's so wrong that it's right and well... the apparel in this movie is dazzling. Kenneth Hopkins' millinery work is wild. From the purposefully tacky, pheasant festooned hats of Maribelle to the dangerously perched fluffs on Eve Arden and the potential models. Look at that plaid number nailed to the side of Eve's head as she plays billiards! Great use of muffs throughout. Fur or fur trimmed, some draping a yard from the wrist, some looking like a giant nosegay of violets. A gal could keep a lot of ration coupons in those accessories.

It's great fun seeing Eve Arden dressed as the Miranda Priestly of her day. Dazzling jewels, fantastically draped gowns, she's a knockout. Rita's Rusty Parker is a mixed bag. The sillouhette of her brocade post-show dress (with matching fur trimmed muff) sets her off magnificently. Her [sepia!!!] wedding gown looks more like a honeymoon negligee (that's not a complaint), and shows plenty of gam when she dances (that's an appreciation). But that party dress for her "Long Ago and Far Away" number makes her look like a toilet paper cozy that one finds at a flea market.

How many hairdressers must have worked on this movie? There are so many elaborate, fantasy hairdoos. Even the lowly on-screen receptionist has a sweet updoo that would make a meringue jealous. Why don't the receptionists at my office wear their hair like this (nor dress in silk jersey day dresses and seamed stockings)?

What's wrong? There's a certain irony that Rita Hayworth couldn't sing; that one of the most beautiful standards of the time was introduced by the unseen Martha Mears, as Rita lipsynched. Rita was a beautiful dancer... or was she just a beautiful showgirl who so enchants us that she makes us think she can dance? She's no Cyd Charisse, or is it just that the choreographers didn't put her to use? In the end, none of this matters to me. She's got me. I'm powerless whenever I look at her.

Choreographer Jack Cole said, "I was brought in on Cover Girl because Val Rasset and Seymour Felix were very old-fashioned ballet and girlie dance directors, not used to doing the new style numbers [Columbia studio head Harry] Cohn wanted for this big new musical with which he hoped to out-Metro Mayer. ... Movies at that time were always about ten years behind theatre in a kind of way. I used to tease Harry, because my contract stated that I was hired for my 'peculiar and unique talents', but they wanted you to do what they'd been doing, and hoped that in some magical way it would come out peculiar and unique. And I'd tell Harry, 'if I'm doing the same dumb thing, whether I'm unique and peculiar or not, it'll come out the same dumb way.' Regarding Rita: [She] "came in with the rest of the kids in the morning; did her bit; no fuss; no star; just work. But when it was for real, then she let go. ... The moment film was in the camera she was the most animated object I'd ever seen."

And of course this was the movie that gave us all a hint of what Gene Kelly had in store. His showcase piece featured his favorite partner -- Gene Kelly. The alter-ego dance number that Gene Kelly choreographed with Stanley Donen is inventive and made MGM see that this guy they'd loaned out had something.

So I don't know what it is, but there something unique and elusive about this bittersweet musical. I'm glad to see it's now on DVD, yet it's a testament to my love for it that I bought it even though there are absolutely no supplemental features -- not even the film's trailer. Now whenever I get a pang for this beauty, I can pull it off the shelf. This love ain't elusive.
Image

Dear All SSO Members - Moraldo Rubini assessment of Cover Girl - is pretty much accurate. I'm a big Rita Hayworth Fan and I consider this movie the greatest Rita Hayworth musical in TECHNICOLOR.

i adore her in this movie and I believe this movie would been better if Gene Kelly put his heart into it and be more open for suggestions to make this movie better. When Moraldo - I quote from him "His showcase piece featured his favorite partner --Gene Kelly" ... In my mind that makes him a prima donna. I consider him one of the greatest male dancer that Hollywood produces in the 40's and 50's and only one actor - Fred Astaire (another Hayworth's partner) can give him the run for his money.

I know a friend that lives in California that works on Columbia lots during the time that Rita did Cover Girl and Gene Kelly is that time couldn't wait to get out of here and and go home. He could not believe that MGM loaned him out to Columbia so that Columbia can do a Hayworth/Kelly musical. Kelly was mad when he did not get top billing - Rita did.

I learned that from my friend (she is her late 80's now) and she often talks about Cover Girl. She was working part time at Columbia as one of many hairdressers that Helen Hunt hired to look after Rita's locks of hair and keep it looking good at all times during shooting of Cover Girl. She did not want Kelly's autograph because he was too much a prima donna and did not like his attitude during the shooting. Get the picture here. She has several autographs - her photo of Rita is shown above and she had it signed to her liking. My friend told me that I will be inheriting it when she pass away and I was honored knowing that color photo will be in my possession upon her death.

I love the numbers, the costumes, the lavish sets, and most importantly the pure pageantry that goes with it.

Sorry about the long post here friends, I wanted to stay that I support Moraldo thoughts of this wonderful movie that Rita made in 1944. Columbia made dozens and dozens of copies of this movie and during the Battle of the Bulge - this movie was the most requested movie - because GI wanted to see Rita and countless beautiful women that graced this movie to remind them what they were fighting for and get home from WORLD WAR TWO as quick as possible.

I love this movie and I adore Rita Hayworth.
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Re: Cover Girl

Post by mrsl »

.
I feel just the littlest bit justified after reading Moraldo's and Kingme's assessment of Cover Girl. This is not because of the movie but because of the minor references to Gene Kelly's ' prima donnaism '. I know that isn't a word but it fits in this situation. For years I have stated that Kelly just seemed to have a problem with giving his partner equal time. I always feel he's keeping her back and away from the camera in many movies whoever he is dancing with. For years I have admired Moraldo's opinion, and I'm fast learning that Kingme seems to be quite well versed in classic movie lore. In any case, I could never quite put my finger on why I felt that way, nor could I point out a specific scene, but I feel better knowing that other people share my thoughts, singular though they may be.

BTW, somewhere else on this thread we were discussing the movie Camelot as opposed to the live Broadway show. I had never actually sat down and watched the entire movie, so I didn't really give an opinion, but today I sat through the whole thing and I can safely say I would rather close my eyes and listen to the Julie Andrews, R. Burton and R.Goulet soundtrack any day, than sit and watch the movie. The songs seem to be cut shorter, with no repetition of the chorus and the songs just don't have the kick they should. Lusty May was a very double entendre song, and the soundtrack gives it a very sexy undertone, but the movie tried to do it with camera shots and facial expressions instead of using the lyrics. I could say lots more, but I'll leave it at that.
.
Anne


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Re: Cover Girl

Post by klondike »

True, true, true . . .
But there is a certainly wistfully adolescent allure to Vanessa Redgrave's sorority-chick-by-fireglow appeal, especially when she's eye rolling, hair tossing & lip biting in those delightfully anachronistic knit sweaters & fur-trimmed satin capes!
Eye Candy to be sure, but did sweet treats ever look more Technicolorific?
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Re: Cover Girl

Post by Rita Hayworth »

MRSL and Everyone here at SSO

I've seen about 40% of all Rita Hayworth's movies in my lifetime - she something like 60 plus films.

1 Gilda 1946 1.
2 Cover Girl 1944 2.
3a You’ll Never Get Rich 1941 3.
3b You Were Never Lovelier 1942 4.
3c Affectionally Yours 1941 5.
3d The Lady in Question 1940 6.
4 The Lady from Shanghai 1948 7.
5 Separate Tables 1958 8.
6a Pal Joey 1957 9.
6b Miss Sadie Thompson 1953 10.
6c Salome 1953 11.
7a Blood and Sand 1941 12.
7b Down to Earth 1947 13.
8 Affair from Trinidad 1952 14.
9a Tonight and Every Night 1945 15.
9b The Loves of Carmen 1948 16.
10a They Came from Cordura 1959 17.
10b Fire Down Below 1957 18.
11 My Gal Sal 1942 19.
12 Circus World 1964 20.
13 Tales of Manhattan 1942 21.
14 Strawberry Blonde 1941 22.
15a Only Angels have Wings 1939 23.
15b Angels over Broadway 1940 24.

I seen everyone one of these movies at least once in my life and if you or anyone wants to know
about these movies - I will be more than happy to assist you in your request. I consider her to be
the most electrifying movie actress in the 40's and the 50's.

Cover Girl is a movie that is a feast for the eyes - Its should been called COLOR GIRL - because
of the colorful outfits, lavish sets, drop dead gorgeous supporting actresses, the dancing of Kelly,
the comedic abilities of Phil Silvers, and the magnificent short series of musical numbers that's
warms the hearts of servicemen in WWII.

I've can't get enough of Rita and most of all, I consider her one of the greatest female dancer in
Hollywood History. Here's a quote from Fred Astaire.

Ginger Rogers is Rita Hayworth distant cousin

Fred told the world that Ginger Rogers is more stylish than Rita; but Rita is more professional than
Ginger. Because, Rita wants perfection and demands it. That's why Gene Kelly can't wait to get
home because he can't stand Rita's professionalism at all. Rita - knowing her and read many books
on her - think rehearsing a scene and getting it done right is more important thing to do - so that
Columbia can reduce the number of retakes and Rita consider Production Time is very important and
she has a strict boss by the name of Henry Cohen who is the head of Columbia Pictures that's he is
so bossy - that money is tight and demands total professionalism from his stars and performers in
every movie Columbia makes.

Cohen was very demanding. That's why Rita is better dancer than Ginger Rogers (Professionally Speaking)
than Ginger Rogers - Ginger is very stylish, likes flair, and grace. Ginger is very fluid and graceful.

I love both Rogers and Hayworth - Fred Astaire is very lucky to have to dance to these two lovely
ladies in his lifetime.

Enough said. Any comments anyone?
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charliechaplinfan
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Re: Cover Girl

Post by charliechaplinfan »

Dare I come to Gene Kelly's defence.

He didn't have the best introduction to Hollywood, he'd turned down offers with some of the big studios because he wanted to dance and not just be another actor on their rostas. He finally signed with David Selznick after Selznick persuaded him that he could provide him with the right material, he came out to Hollywood to find Selznick had nothing for him, I think Selznick was looking around for another Bergman who he could loan out with great profit to himself to the studio that wanted him. Kelly went to MGM after realising that Selnick had nothing for him, I'm thinking that Selznick probably sold him to pay off some of his debts. His first movie, For Me and My Gal. Judy Garland's first grown up film, Judy found a friend who got her through the complicated dances and continued to star in films with her throughout the forties despite her descent into drug addiciotn, in many of these movies he waited around for her to show up, sometimes taking days off himself to cover for her. He was a success, then he had a bit part in Dubarry Was A Lady and then some straight films, then he gets sent to Columbia, a lesser ranking studio, it must have felt like a punishment. There was snobbery between studios at that time and I think most from MGM thought it was a come down to be loaned anywhere let alone Columbia. Clark Gable had thought the same when he was sent, as punishment to make It Happened One Night.

I like Cover Girl both for Gene Kelly and Rita Hayworth, I wish they'd worked together again, I wish Rita had made more musicals, she was a great dancer, it's a pity she didn't team with Fred or Gene again.

I'm not doubting he had an ego, many of my favorite film personalities did. Was he ungenerous in his dancing, I don't think so, Fred also danced solo dances, when I think of the couples dances he danced, especially those with professional dancers like Cyd Charisse and Vera Ellen, he was generous. He might have danced around actresses never fellow professionals.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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pvitari
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Re: Cover Girl

Post by pvitari »

That's why Gene Kelly can't wait to get home because he can't stand Rita's professionalism at all.
*Gene Kelly* can't stand his leading lady's *professionalism*???

Sources for this?

From what I've read, Kelly was very protective of Hayworth, who was under assault from Harry Cohn, who wanted her for his mistress, and he and Phil Silvers did everything possible to lighten the mood for her.

I can understand Kelly's being miffed about the credits, in that he had a ginormous ego and he was the prime creative force behind the camera (the director, Charles Vidor, didn't know what hit him!) Those genius creative types like to see their names front and center. :)

I *love* Cover Girl. I remember it was on Million Dollar Movie back in the 1960s when I was a very young 'un and they repeated it every day during the week, and I watched it each day. I watch it today and it's movie musical brilliance.

-- Paula
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Rita Hayworth
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Re: Cover Girl

Post by Rita Hayworth »

pvitari wrote:
That's why Gene Kelly can't wait to get home because he can't stand Rita's professionalism at all.
*Gene Kelly* can't stand his leading lady's *professionalism*???

Sources for this?

From what I've read, Kelly was very protective of Hayworth, who was under assault from Harry Cohn, who wanted her for his mistress, and he and Phil Silvers did everything possible to lighten the mood for her.

I can understand Kelly's being miffed about the credits, in that he had a ginormous ego and he was the prime creative force behind the camera (the director, Charles Vidor, didn't know what hit him!) Those genius creative types like to see their names front and center. :)

I *love* Cover Girl. I remember it was on Million Dollar Movie back in the 1960s when I was a very young 'un and they repeated it every day during the week, and I watched it each day. I watch it today and it's movie musical brilliance.

-- Paula
You are right about the protectiveness of Kelly - but bear with me I've many friends in their 80's and 90's that are still living in California that works part-time at Columbia's studio lots and they told me many stories about the stars of yesteryears - I know all about Cohn's dominance of Hayworth - Its make me cry big time.

Knowing all this - and I do not want to get in trouble with this wonderful website - but its makes wonder what really happen - many workers at Columbia are so afraid of Cohn that he was Movie Mongol of the ages - He suspended Hayworth 2-3 times during the 40's to the 60's and combined that with her 5 failed marriages - every one of them a big fat jerks - except Orson Welles - of whom I have a very hard time understanding him and his creative concepts in come to filmmaking.

Source of this?

Personal Accounts - my dear friend that knows exactly what is going around here - at Columbia; she works there from 1941 to 1947 and quit right after Rita did "Down to Earth" and said to herself - I will never, ever work at Columbia as long I live because of Cohn and the egos that associated with Hollywood.

It was Personal Accounts - that kept quiet for all these years - I thought Hollywood was all glamorous - but I was wrong - based on the Personal Accounts of people working there. My friend got married and had 3 sons and 2 daughters and returned back to Hollywood at the age of 55 working for the Bob Newhart Show - for three seasons and couple other sitcoms as well as a hairdresser consultant.

I have so many friends that shared these stories and believe me Pvitari - its not pretty at all.

P.S. This is true - When Rita did Pal Joey - Frank Sinatra put his ego aside and demanded that Rita get Apex billing for doing Pal Joey because Rita is Columbia - period. Frank was also supportive of Rita too and protected her just like Gene Kelly did during the making of Cover Girl. That's why Personal Accounts is better than any book - when you have six, eight, and even 10 people who you know that works during this time during the 40's and the 50's - I understand perfectly clear what its really going on in Hollywood.

I applauded your gracious defense of Gene Kelly and most importantly made me think twice what I said earlier. Pvitari - you've made me think twice - and I appreciate what you bring to this table. Thank you very much ...
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charliechaplinfan
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Re: Cover Girl

Post by charliechaplinfan »

Gene Kelly is beloved to many of us here, I still can't understand why you would single out Kelly after he'd been shown to be supportive of Rita. He made only one film there to my knowledge and let's say working for Harry Cohn can't have been a bed of roses. I don't understand why he would not be appreciative of Rita's professionalisn since he was meant to be hard on people who weren't prepared to show a commitment and a professionalism about dance. I haven't taken offence at what you've said about Kelly, please don't think so. You've made some valuable posts since you joined and I'm glad you're around but when you quote sources, members are going to get very interested. Perhaps you could start a thread about Columbia, I can't think that Harry Cohn has any fans here although Rita will have plenty. If you do can I start with the one below.

Does your friend know anything of Cohn and Jean Arthur, I can't imagine him getting anywhere with her, yet she was Columbia's biggest star.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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Rita Hayworth
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Re: Cover Girl

Post by Rita Hayworth »

Does your friend know anything of Cohn and Jean Arthur, I can't imagine him getting anywhere with her, yet she was Columbia's biggest star.

CharlieChaplin - and all members of SSO - I love Gene Kelly in both Cover Girl and Singin in the Rain ... to me that's is his greatest musical that he ever done. I feel so sad here that I downgraded Gene Kelly. Charlie Chaplin - I do not want to start another thread - concerning Columbia.

I adore Gene Kelly so much - I read some of your posts and others and I learned a thing or two but I need more time to reflect the complexity of Gene Kelly because he has an ego to boot, nothing more and nothing less. I really in my dear heart that I adore Gene Kelly and I don't want to trash him anyway possible but I told in my earlier posts that he certain problems with studios loaning out actors and actresses like baseball trading cards.

Getting back to the original question - my dear friend told me flat out - he wanted to control her (Jean Arthur) and he told her that Rita is going to be my star in the future - and she only made 10 movies after she did Angels Have Wings with co-star Cary Grant - and flat out told her and disrespected her big time. Henry Cohn was mean to everyone; he was mean to Rita - he was mean to your dear Gene Kelly - that said - I can't wait to get home because of both Henry and Rita. Henry wanted everything to be professional - not stylish - Ginger Rogers was smart she had a tough attorney to deal with Cohen and she was never was hassled by Cohen again.

Cohen was a bully ... that's why Rita was shy and easy to be controlled. I will say this ... Gene Kelly was very supported of Rita and he even tried to get her to leave Columbia and work for MGM instead.

I adore Gene Kelly ... too bad I don't see much of him and thank goodness it was on the other day (Singin in the Rain) on TCM.

My dear friend who also knows Jean Arthur - she was 14 years old when she did both Rita hair and Jean Arthur hair during the shooting of Angels have Wings and - Jean couldn't stand the way Henry treated her and she can't wait to get home to get away from Cohn. She was the Shampoo girl - she works 3 hours a day, 4 days a week - this way Columbia can get around with child labor laws in the 30's to the 50's. She told me that she did not get paid enough - sometimes Helen Hunt give her a tip to supplement her income.

For all of you at Silver Screen Oasis - I do not want to downgrade Gene Kelly or anyone else here. I was trying to share personal stories of people who works in these studios and I watch a lot of documentaries on this subject and I for one; feel really sad for the tragic persona of Rita Hayworth that endured so many hardships - having five failed marriages and working with people that support her and do not want to do things right. That's why I somewhat criticized Gene Kelly in a different way and most importantly do not want to hurt anyone feelings here.

I adore him and applauded you and several other members here of his kindness toward Rita - but Rita has a very demanding boss - Henry Cohn and he demanded perfection and professionalism and that's why I shared my friend experience working in Hollywood.

I say it again and again - GENE KELLY and FRED ASTAIRE are the greatest dancers that Hollywood ever had and I for one enjoy them so much. When Gene and Rita did Cover Girl - I wanted more of Gene and RIta magic - its sad that they only made ONE movie together. One Movie ... I wanted more ... my friend agrees with me.

CharlieChaplin - I respected every word you say ... I humbly and with great humility you and others made me to enjoy the finer things of life. Jean Arthur had problems (big ones) with Cohn ... I'm a fan of her too. She is awfully pretty and have a very graceful figure. She was very kind to my friend - very kind. I adore her too.

Thank you for taking the time to read this. I write at lighting speed ... :)
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charliechaplinfan
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Re: Cover Girl

Post by charliechaplinfan »

Thank you Kingme, I respect the fact you don't want to start another thread about Columbia.

It's so interesting what you have to say about Only Angels Have Wings, I love that movie, it's one of Jean and Cary's best, pity they didn't do more together either. Such a good suppporting cast too, Rita although slowly getting bigger and bigger parts holds her own here, I love her scenes, she's very beautiful. I've only read one book on her and she comes across as such a darling, although ill used she did form some good friendships and allies in her film life. I was dismayed to read that she nearly lost her children, I can't remember why but the father of her two children, Orson Welles and Aly Khan went to court to support her. They were probably the best husbands she had but hardly a good advertisement for husbands.

I like Rita, one doesn't often hear a bad word said about her.

As for Gene Kelly, he had a massive ego, it must have grated with some.

Your friend must have had an interesting life working at Columbia. Did she only do women's hair or did she get her hands on the divine Cary Grant's locks?
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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Rita Hayworth
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Re: Cover Girl

Post by Rita Hayworth »

With CharlieChaplinFan encouragement

I will start a new thread concerning the reality behind Cover Girl starring Gene Kelly and Rita Hayworth - this new thread will be out sometimes in a week or two. The whole truth behind this Musical that was released in 1944. CharlieChaplinFan wants me to share my thoughts in greater detail. I know two hairdressers and one costume assistant that works behind scenes in the movie Cover Girl that was released in 1944.

To me, personal accounts is better than any books out there because once you publish a book and you badmouth anybody in that book you could be instantly disassociated with anyone that works in that industry. That's why many stars in those days do like to write what is really going on in Hollywood or any other place that makes movies.

If I offended any Gene Kelly fans out there I humbly and with great humility - I'm truly sorry. I read your Code of Conduct quite seriously - and its very difficult for me to express myself with words - I'm very hard of hearing, borderline deaf and writing these posts is very difficult for me to express myself - with the encouragement of CharlieChaplinFan - who is a veteran in SSO world - I will try my best to tell you what really happen during the filming of Cover Girl - I will take Moraldo Rubin note and break it down in pieces and try to explain why I support him for the greater good - because Moraldo shared the same stories of the two hairdressers and one costume assistant - right on the nose.

I will be very respectful to Gene Kelly - but he had bad days at the office just like all of us at one point in our respected career - I'm retired now (I worked at Boeing 20 plus years) and I had horrible days at the office and can't wait to get home and drown two bottles of beer - that was exactly going in the mind of Gene Kelly those days. He can't wait to get home - and more importantly can't wait for the filming of Cover Girl to end.

In closing, I'm a humble person - I was taught to respect the opinion's of others - I often praise and support all members here - and being new here - I will start a new thread with the encouragement of CharlieChaplinFan - who I have a deep respect of his boldness to support me any way possible. I love movies - and a student of history of which I'm - I find personal accounts is more enlightening, more personal, and paint a better picture of the reality of what really happen at any point of time in the past.

I need to contact these two hairdressers and costume assistant today and I will use Moraldo's post to see if there is any truth behind this - and report back to you in 1-2 weeks from today - of 2/15/2011.

Thank you all for taking the time to read this note - and again I adored Gene Kelly and I love his legendary classic Singin in the Rain a wonderful and joyful musical that came out in 1952. I will be sharing my thoughts on this movie sometimes in March and give my thoughts on it as well. With great respect - thank you for reading my post. I learned a lot this past week and with 200 plus members - its made my love for movies even better.
feaito

Re: Cover Girl

Post by feaito »

This thread is so interesting and everyone's so civil and educated...that's why I love SSO!

Alison, as for Cary & Jean you should check George Stevens' "Talk of the Town" (1942) in which Cary & Jean co-starred with none other than Ronald Colman. A very interesting film and with Cary in a quite different role!
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