RITA HAYWORTH BIO
Hayworth (born Margarita Carmen Cansino;
October 17, 1918 – May 14, 1987) was an American dancer and film actress
who garnered fame during the 1940s as one of the era's top stars. Appearing
first as Rita Cansino, she agreed to change her name to Rita Hayworth and her
hair color to dark red to attract a greater range in roles. Her appeal led to
her being featured on the cover of Life magazine five times, beginning in
first dancer featured on film as a partner of both the stars Fred Astaire and Gene Kelly, Hayworth appeared in a total of
61 films over 37 years. She is listed by the American Film
Institute as one of the 100
Greatest Stars of All Time.
was born in Brooklyn, New York in 1918 as Margarita Carmen
Cansino, the oldest child of two dancers, Eduardo Cansino,
Sr., from Castilleja de la
Cuesta, a little town near Seville, Spain,
and Volga Hayworth, an American of
Irish-English descent who had performed with the Ziegfeld Follies. The Catholic couple had married in 1917. They
also had two sons: Eduardo, Jr. and Vernon.
father wanted her to become a professional dancer, while her mother hoped she
would become an actress. Her paternal grandfather Antonio Cansino was renowned
as a Spanish classical dancer; he popularized the bolero and his dancing school in Madrid was world famous. Rita later recalled,
the time I was three and a half ... as soon as I could stand on my own
feet, I was given dance lessons." I didn't like it very much ... but
I didn't have the courage to tell my father, so I began taking the lessons.
Rehearse, rehearse, rehearse, that was my girlhood.
attended dance classes every day for a few years in a Carnegie Hall complex, where she was taught
by her uncle Angel Cansino. She performed publicly from the age of six. In 1926
at the age of eight, she was featured in La Fiesta, a short film for Warner Bros.
1927, her father took the family to Hollywood. He believed that dancing could
be featured in the movies and that his family could be part of it. He
established his own dance studio, where he taught such Hollywood
luminaries as James Cagney and
Jean Harlow. During the Great Depression, he lost all his
investments, as musicals were no longer in vogue and commercial interest in his
dancing classes waned. He partnered with his daughter to form "The Dancing
Cansinos". Since under California law, Margarita was too young to work in
nightclubs and bars, her father took her with him to work across the border in Tijuana, Mexico. In the early 1930s, it was a popular tourist
spot for people from Los Angeles. Due to her working, Cansino never graduated
from high school; she completed ninth grade at Hamilton High in Los Angeles.
the age of 16, Cansino took a bit part in the film Cruz Diablo (1934), which led to
another in In Caliente
(1935) with the Mexican actress Dolores del Río. Cansino danced with her
father in such nightspots as the Foreign and the Caliente clubs. Winfield Sheehan, the head of the Fox Film
Corporation, saw her dancing at the Caliente Club and quickly
arranged for Hayworth to do a screen test a week later. Impressed by her screen
persona, Sheehan signed her for a short-term six-month contract at Fox, under
the name Rita Cansino, the first of name changes for her film career.
her time at Fox, Cansino appeared in five pictures, in non-notable roles. By
the end of her six-month contract, Fox had merged into 20th Century Fox, with Darryl F. Zanuck serving as the executive
producer. Dismissing Sheehan's interest in Cansino, Zanuck did not renew her
contract. Feeling that Cansino had screen potential, the salesman and promoter Edward
C. Judson, whom she would marry in 1936, got her the lead roles in
several independent films and arranged a screen test with Columbia Pictures. The studio head Harry Cohn signed Cansino to a long-term
contract, and cast her in small roles in Columbia features.
cast as the exotic foreigner, Cansino appeared in several roles in 1935: in Dante's Inferno,
with Spencer Tracy; and Paddy O'Day, in
which she played a Russian dancer. She was an Argentinian in Under the
Pampas Moon and an Egyptian beauty in Charlie Chan in
Egypt. In 1936 she took her first starring role as a "Latin
type" in Human Cargo.
argued that Cansino's image was too Mediterranean, which reduced her
opportunities to being cast in "exotic" roles, more limited in
number. With Cohn and Judson's encouragement, Hayworth changed her hair color
to dark red and her name to Rita Hayworth. She had electrolysis to raise her
hairline and broaden the appearance of her forehead. By using her mother's
maiden name, she led people to see her British-American ancestry and became a
classic "American" pin-up.
1937, Hayworth appeared in five minor Columbia pictures and three minor
independent movies. The following year, she appeared in five Columbia B films. In 1939, Cohn pressured director Howard Hawks to use Hayworth for a small
but important role as a man-trap in the aviation drama Only Angels Have
Wings, in which she played opposite Cary Grant and Jean Arthur. With this film's box-office
success, fan mail for Hayworth began pouring into Columbia's publicity
department. Cohn began to see Hayworth as his first and official new star. The
studio never officially had stars under contract, except for Jean Arthur, who
was trying to break with it.
began to build Hayworth up in 1940, in features such as Music in My Heart,
The Lady in
Question, and Angels Over
Broadway. That year she was first featured in a Life magazine photo. He loaned Hayworth
to appear in Susan and God,
opposite Joan Crawford.
While on loan to Warner Brothers,
Hayworth appeared as the second female lead in The Strawberry
Blonde (1941), opposite James Cagney and Olivia de Havilland.
As the film was a big box-office success, Hayworth's popularity rose; she
immediately became one of Hollywood's hottest properties. So impressed was
Warner Brothers that they tried to buy Hayworth's contract from Columbia, but
Cohn refused to release her.
success led to a supporting role in Blood and
Sand (1941), opposite Tyrone Power and Linda Darnell, with Fox, the studio that
had dropped her six years before. In one of her most notable screen roles,
Hayworth played Doña Sol des Muire, the first of many screen sirens. This was
another box-office hit.
returned in triumph to Columbia Pictures and was cast in the musical You'll Never Get
Rich (1941) opposite Fred Astaire, in one of the
highest-budgeted films Columbia had ever made. So successful was the picture
that the following year, the studio produced and released another
Astaire-Hayworth picture, You Were Never
Lovelier. In 1942, Hayworth also appeared in two other pictures,
Tales of Manhattan
and My Gal Sal.
this period, Hayworth was featured in an August 1941 Life Magazine photo, in which she lounged
seductively in a black-lace negligee. When the U.S. joined World War II in
December 1941, the photo made Hayworth one of he top two "pin-up
girls" of the war years; the other was the blonde Betty Grable. In 2002, the satin nightgown
Hayworth wore for the photo sold for $26,888.
1944, Hayworth made one of her best-known films, the Technicolor musical Cover Girl
(1944), with Gene Kelly. The
film established her as Columbia's top star of the 1940s. For three consecutive
years, starting in 1944, Hayworth was named one of the top movie box office
attractions in the world. She was adept in ballet, tap, ballroom, and Spanish
continued to showcase Hayworth's dance talents; she was the first dancer
featured on film to partner with both Fred Astaire and Gene Kelly. Columbia featured her in the
Technicolor films: Tonight and
Every Night (1945), with Lee Bowman; and Down to Earth
(1947), with Larry Parks.
erotic appeal was most noted in Charles Vidor's black and white film noir Gilda
(1946), with Glenn Ford, which
caused censors some consternation. The role, in which Hayworth in black satin
performed a legendary one-glove striptease, made her into a cultural icon as a femme fatale. While her film was still
in release, extensive publicity linked her to a widely covered nuclear bomb
test in the South Pacific.
reporters from hundreds of papers across the country were covering preparations
in 1946 at Bikini Atoll in
the Pacific Ocean's Marshall Islands
for testing of the first nuclear bomb after World War II. The United States had
been the first nation to use nuclear bombs, against the civilian population of
Japan. Reporters publicized that young scientists had put the name of
"Gilda" and Hayworth's image on the bomb, alluding to her bombshell
status as a film star. Coverage varied widely at the time, but the story stuck
that her image had been put on the bomb, and was repeated in her 1987 obituary
in The New York Times,
which readers relied on as fact. Her husband Orson Welles issued a public statement at
the time, saying they would be pleased only if this were the last bomb test
ever. Hayworth was furious to be used in this way.
biographer Barbara Leaming had a later interview with Welles in which he
the angriest was when she found out that they’d put her on the atom bomb. Rita
almost went insane, she was so angry. She was so shocked by it! Rita was the
kind of person that kind of thing would hurt more than anybody. She wanted to
go to Washington to hold a press conference, but Harry Cohn (president of Columbia
Pictures) wouldn’t let her because it would be unpatriotic.”
research documents that only the name "Gilda" was put on the bomb; no
image of Hayworth was used.
year later, Hayworth's performance in The Lady from
Shanghai (1947), directed by her husband Orson Welles, was critically acclaimed. The
film's failure at the box office was attributed in part to Welles' having had
Hayworth's famous red hair cut short and dyed platinum blonde for the role.
Cohn had not been consulted and was furious that Hayworth's image was changed.
in 1947, Hayworth was featured in a Life cover story by Winthrop
Sargeant, which led to her nickname as "The "Love Goddess". This
term was adopted and used later as the title of a biopic and of a biography
about her. In a 1980s interview, Hayworth said, "Everybody else does nude
scenes, but I don't. I never made nude movies. I didn't have to do that. I
danced. I was provocative, I guess, in some things. But I was not completely
next film, The Loves of Carmen
(1948), again with Glenn Ford, was the first film co-produced by Columbia and
Hayworth's own production company, The Beckworth Corporation (named for her and
Orson's daughter Rebecca); it was Columbia's biggest moneymaker for that year.
She received a percentage of the profits from this and all her subsequent films
until 1955, when she dissolved Beckworth to pay off debts she owed to Columbia.
had a strained relationship with Columbia Pictures for many years. In 1943, she
was suspended without pay for nine weeks because she refused to appear in Once Upon a
Time. (During this period in Hollywood, actors did not get to
choose their films; they were on salary rather than receiving a fixed amount
1947, Hayworth's new contract with Columbia provided a salary of US$250,000
plus 50% of film profits. In 1951 Columbia alleged it had $800,000 invested in
properties for her, including the film she walked out on that year. She left
Hollywood to marry Prince Aly Khan. She was
suspended for failing to report to work on the film Affair in Trinidad.
1952 she refused to report for work because "she objected to the
script." In 1955, she sued to get out of a contract with the studio, but
asked for her $150,000 salary, alleging filming failed to start when agreed.
was in Switzerland when they sent me the script for Affair in Trinidad and
I threw it across the room. But I did the picture, and Pal Joey too. I came back to Columbia
because I wanted to work and first, see, I had to finish that goddamn contract,
which is how Harry Cohn owned
me!" "Harry Cohn thought of me as one of the people he could
exploit," said Hayworth, "and make a lot of money. And I did make a
lot of money for him, but not much for me.
after her film career had ended and Cohn was dead, Hayworth still resented her
treatment by him and Columbia.
used to have to punch a time clock at Columbia ... Every day of my life.
That's what it was like. I was under exclusive contract, like they owned
me ... I think he had my dressing room bugged ... He was very
possessive of me as a person, he didn't want me to go out with anybody, have
any friends. No one can live that way. So I fought him ... You want to
know what I think of Harry Cohn? He was a monster.
resented that the studio failed to train her to sing or to encourage her to
learn how to sing.\ Although she appeared to sing in many of
her films, she was usually dubbed. As the public did not know the secret, she
was embarrassed to be asked to sing by troops at USO shows. She complained
wanted to study singing, but Harry Cohn kept saying, 'Who needs it?' and the
studio wouldn't pay for it. They had me so intimidated that I couldn't have
done it anyway. They always said, 'Oh, no, we can't let you do it. There's no
time for that; it has to be done right now!' I was under contract, and that was
had a reputation as a taskmaster, but he had his own criticisms of Hayworth. He
had invested heavily in her before she began a reckless affair with the married
Aly Khan, and it could have caused a backlash against her career and Columbia's
success. For instance, an article in the British The People called for a boycott of
Hayworth's films. It said, "Hollywood must be told its already tarnished
reputation will sink to rock bottom if it restores this reckless woman to a
place among its stars." Cohn expressed his frustration with Hayworth's
judgment in an interview with Time magazine.
might be worth ten million dollars today easily! She owned 25% of the profits
with her own company and had hit after hit and she had to get married and had
to get out of the business and took a suspension because she fell in love
again! In five years, at two pictures a year, at 25%! Think of what she could
have made! But she didn't make pictures! She took two or three suspensions! She
got mixed up with different characters! Unpredictable!
the collapse of her marriage to Aly Khan in 1951, Hayworth returned to the
United States with great fanfare, where she starred in a string of hit films: Affair in Trinidad
(1952) with favorite co-star Glenn Ford; and in
1953 had two films released: Salome,
with Charles Laughton
and Stewart Granger;
and Miss Sadie Thompson,
with José Ferrer and Aldo Ray. Her performance in the latter
film won critical acclaim.
was off the big screen for another four years, due mainly to a tumultuous
marriage to the singer Dick Haymes.
After making Fire Down
Below (1957) with Robert Mitchum and Jack Lemmon, and her last musical Pal Joey (1957) with Frank Sinatra and Kim Novak, Hayworth finally left Columbia.
received good reviews for her acting in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story
on Page One (1960) with Anthony Franciosa. She continued working
throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack
was cancelled for undisclosed health reasons. She continued to act in films
until the early 1970s. She made a well-publicized 1971 television appearance on
The Carol Burnett
Show. Her last film was The Wrath of God (1972).
was a top glamour girl in the 1940s, a pin-up girl for military servicemen and
a beauty icon for women. At 5'6" (168 cm) and 120 lb (55 kgs) she was tall enough for her height to
be a concern for dancing partners such as Fred Astaire. Hayworth got her big motion
picture break because she was willing to change her hair color, whereas other
actresses were not. She reportedly changed her hair color eight times in eight
1949 Hayworth's lips were voted best in the world by the Artists League of
America. She had a modeling contract with Max Factor to promote its Tru-Color
lipsticks and Pan-Stik make-up.
Leaming writes in her biography of Hayworth, If This Was Happiness: A
Biography of Rita Hayworth (1989) that, due to her fondness for alcohol and
the stresses of her life, Hayworth aged before her time. Re-appearing in New
York in 1956 to begin work on her first film in three years, Hayworth was
described by the following: "despite the artfully applied make-up and
shoulder-length red hair, there was no concealing the ravages of drink and
stress. Deep lines had crept around her eyes and mouth, and she appeared worn,
exhausted, older than her thirty-eight years." Leaming wrote that during
the filming of Fire Down
Below, Hayworth heard a comment that she should hurry up as
"no amount of time was going to make her look any younger." In San Francisco the following year filming Pal Joey, she was signing autographs
when she heard a fan say, "She looks so old."
1941 Hayworth said she was the antithesis of the characters she played. "I
naturally am very shy ... and I suffer from an inferiority complex."
She once complained that "[M]en fell in love with Gilda, but they wake up
with me." In 1970 she remarked that the only films she could watch without
laughing were the dance musicals she made with Fred Astaire. "I guess the only jewels
of my life," Hayworth said, "were the pictures I made with Fred
two younger brothers, Vernon and Eduardo Cansino,
Jr., both served in World War II. Vernon left the U.S. Army in
1946 with several medals, including the Purple Heart, and later married Susan Vail,
a dancer. Eduardo Cansino, Jr. followed Hayworth into acting; he was also under
contract with Columbia Pictures. In 1950 he made his screen debut in Magic
was married and divorced five times. She said, "Basically, I am a good,
gentle person, but I am attracted to mean personalities."
- Edward Charles Judson (1937–1942):
When Hayworth was 18, she married Edward Judson in 1937, an oilman turned
promoter who was more than twice her age. They eloped in Las Vegas. He had
played a major role in launching her acting career. A shrewd businessman,
he was domineering and became her manager for months before he proposed.
"He helped me with my career," Hayworth conceded after they
divorced, "and helped himself to my money." She alleged Judson
compelled her to transfer considerable property to him and promise to pay
him $12,000 under threats that he would do her "great bodily
harm." She filed for divorce from
him on February 24, 1942, with the complaint of cruelty. She noted to the
press that his work took him to Oklahoma and Texas, while she lived and
worked in Hollywood. Judson was as old as her father, who was enraged by
the marriage, which caused a rift between Hayworth and her parents until
the divorce. Judson had failed to tell Hayworth before they married that
he had previously been twice married. When she left him, she literally had
no money. She asked her friend, Hermes
Pan, if she could eat at his home.
- Orson Welles
(1943–1948): Hayworth married Orson Welles on September 7, 1943. None of
her colleagues knew about the planned marriage (before a judge) until she
announced it the day before they got married. For the civil ceremony, she
wore a beige suit, ruffled white blouse, and a veil. A few hours after
they got married, they returned to work at the studio. They had a daughter,
Rebecca (1944–2004). They struggled in their marriage. Hayworth said that
Welles did not want to be tied down:
the entire period of our marriage he showed no interest in establishing a home.
When I suggested purchasing a home, he told me he didn't want the
responsibility. Mr. Welles told me he never should have married in the first
place; that it interfered with his freedom in his way of life.
- Prince Aly Khan
(1949–1953): In 1948 she left her film career to marry Prince Aly Khan a
son of Sultan Mahommed Shah,
Aga Khan III, the leader of the Ismaili sect of Shia Islam. They were married on May
27, 1949. Her bridal trousseau was Dior's
Khan and his family were heavily involved in horse racing, owning and racing
horses. Hayworth had no interest in the sport but became a member of the Del Mar Thoroughbred Club. Her filly Double
Rose won several races in France and notably
finished second in the 1949 Prix de l'Arc
1951, while still married to Hayworth, Khan was spotted dancing with the
actress Joan Fontaine
in the nightclub where he and his wife had met. Hayworth threatened to divorce
him in Reno, Nevada. In early May she moved to
Nevada to establish legal residence to qualify for a divorce. She stayed at Lake Tahoe with their daughter, saying
there was a threat that the child would be kidnapped. Hayworth filed for
divorce from Khan on September 2, 1951, on the grounds of "extreme
cruelty, entirely mental in nature."
once said she might convert to Islam but did not. During the custody fight over
their daughter Princess Yasmin Aga Khan,
the Prince said he wanted her raised as a Muslim; Hayworth (who had been raised
a Roman Catholic) wanted the child to be a Christian.
rejected his offer of $1,000,000 if she would rear Yasmin as a Muslim from age
seven and allow her to go to Europe to visit with him for two or three months
will make me give up Yasmin's chance to live here in America among our precious
freedoms and habits," declared Hayworth. "While I respect the Muslim
faith and all other faiths it is my earnest wish that my daughter be raised as
a normal, healthy American girl in the Christian faith. There isn't any amount
of money in the entire world for which it is worth sacrificing this child's
privilege of living as a normal Christian girl here in the United States. There
just isn't anything else in the world that can compare with her sacred chance
to do that. And I'm going to give it to Yasmin regardless of what it
- Dick Haymes
(1953–1955): When Hayworth and Haymes first met, he was still married and
his singing career was waning. When she showed up at the clubs, he got a
larger audience. Haymes was desperate for money, as two of his former
wives were taking legal action against him for unpaid child support. His
financial problems were so bad he could not return to California without
being arrested. On July 7, 1954, his ex-wife Nora Haymes got a bench warrant for
his arrest, because he owed her $3,800 in alimony. Less than a week prior,
his other ex-wife, Joanne Dru,
also got a bench warrant because she said he owed $4,800 in support
payments for their three children. Hayworth ended up paying
most of Haymes's debts.
was born in Argentina, and did not have solid proof of American citizenship.
Not long after he met Hayworth, US officials initiated proceedings to have him
deported to Argentina for being an illegal alien. He hoped Hayworth could
influence the government and keep him in the United States. When she assumed
responsibility for his citizenship, a bond was formed that led to marriage. The
two were married on September 24, 1953 at the Sands Hotel, Las Vegas, and their wedding
procession went through the casino.
the start of their marriage, Haymes was deeply indebted to the Internal
Revenue Service (IRS). When Hayworth took time off from attending
his comeback performances in Philadelphia, the
audiences sharply declined. Haymes's $5000 weekly salary was attached by the
IRS to pay a $100,000 bill, and he was unable to pay his pianist. Haymes'
ex-wives demanded money while Hayworth publicly bemoaned her own lack of
alimony from Aly Khan. At one point, the couple was effectively imprisoned in a
hotel room for 24 hours in Manhattan at the
Hotel Madison as sheriff's deputies waited outside threatening to arrest Haymes
for outstanding debts. At the same time, Hayworth was fighting a severe custody
battle with Khan, during which she reported death threats against their children.
While living in New York, Hayworth sent the children to live with their nanny
County. They were found and photographed by a reporter from Confidential
a tumultuous two years together, Haymes struck Hayworth in the face in 1955 in
public at the Coconut Grove nightclub in Los Angeles. Hayworth packed her bags,
walked out, and never returned. The assault and crisis shook her, and her
doctor ordered her to remain in bed for several days.
was short of money after her marriage to Haymes. She had failed to gain child
support from Aly Khan. She sued Orson Welles for back payment of child
support which she claimed had never been paid. This effort was unsuccessful and
added to her stress.
Hill (1958–1961): Hayworth began a relationship with film
Hill, whom she went on to marry on February 2, 1958. He put her
in one of her last major films, Separate
Tables. On September 1, 1961, Hayworth filed for divorce,
alleging extreme mental cruelty. He later wrote Rita Hayworth: A
Memoir, in which he suggested their marriage collapsed because he wanted
Hayworth to continue making movies, while she wanted them both to retire
his book, In the Arena, Charlton Heston writes about Hayworth's
brief marriage to Hill. One night Heston and his wife Lydia joined the couple
for dinner at a restaurant in Spain, with the director George
Marshall and the actor Rex Harrison, Hayworth's co-star in The Happy Thieves. Heston wrote that
the occasion "turned into the single most embarrassing evening of my
life", describing how Hill heaped "obscene abuse" on Hayworth
until she was "reduced to a helpless flood of tears, her face buried in
her hands". Heston writes how the others sat stunned, witnesses to a
"marital massacre" and, though he was "strongly tempted to slug
him" (Hill), Heston left with his wife Lydia after she stood up, almost in
tears. Heston wrote, "I'm ashamed of walking away from Miss Hayworth's
humiliation. I never saw her again."
struggled with alcohol throughout her life. Her daughter Yasmin Aga Khan said,
remember as a child that she had a drinking problem. She had difficulty coping
with the ups and downs of the business ... As a child, I thought, 'She has
a drinking problem and she's an alcoholic.' That was very clear and I thought,
'Well, there's not much I can do. I can just, sort of, stand by and watch.' It's
very difficult, seeing your mother, going through her emotional problems and
drinking and then behaving in that manner ... Her condition became quite
bad. It worsened and she did have an alcoholic breakdown and landed in the
1972, Hayworth was 54 years old and wanted to retire from acting, but she
needed money so signed up for The Wrath of God. The experience
exposed her poor health and worsening mental state. As she could not remember
lines, they filmed her scenes one line at a time.
following year Hayworth agreed to do one more movie, Tales That
Witness Madness (1973). Due to worse health, she abandoned the
movie set, and returned to the United States. She never returned to acting.
March 1974, both her brothers died within a week of each other, which caused
her great sadness and led to heavy drinking. In 1976 at London's Heathrow
Airport, Hayworth was removed from a TWA flight after having an angry outburst
while traveling with her agent. "Miss Hayworth had been drinking when she
boarded the plane," revealed a TWA flight attendant, "and had several
free drinks during the flight." The event attracted much negative
publicity; a disturbing photograph was published in newspapers.
alcoholism hid symptoms of what was eventually understood to be Alzheimer's disease.
"For several years in the 1970s, she had been misdiagnosed as an
alcoholic." "It was the outbursts," said her daughter,
"She'd fly into a rage. I can't tell you. I thought it was
alcoholism-alcoholic dementia. We all thought that. The papers picked that up,
of course. You can't imagine the relief just in getting a diagnosis. We had a
name at last, Alzheimer's! Of course, that didn't really come until the last
seven or eight years. She wasn't diagnosed as having Alzheimer's until 1980.
There were two decades of hell before that."
July 1981, Hayworth's health had deteriorated to the point where a judge in Los
Angeles Superior Court ruled that she should be placed under the care of her
daughter, Princess Yasmin Khan of New York City. Hayworth lived in an apartment
at The San Remo on Central Park West next to her daughter, who
arranged for care for her mother through her final years.
Hayworth lapsed into a semicoma in February 1987. She died at age 68 from Alzheimer's disease
a few months later on May 14, 1987. A funeral service was held on May 19, 1987,
at the Church of the Good Shepherd in Beverly Hills.
Pallbearers included actors Ricardo Montalbán,
Glenn Ford, Don Ameche and the choreographer Hermes Pan.
She was interred in Holy
Cross Cemetery, Culver City. Her headstone includes the inscription:
"To yesterday's companionship and tomorrow's reunion."
Hayworth was one of our country's most beloved stars", said President Ronald Reagan, who had been an actor at the
same time as Hayworth.
and talented, she gave us many wonderful moments on stage and screen and
delighted audiences from the time she was a young girl. In her later years,
Rita became known for her struggle with Alzheimer's disease.
Her courage and candor, and that of her family, were a great public service in
bringing worldwide attention to a disease which we all hope will soon be cured.
Nancy and I are saddened by Rita's death. She was a friend who we will miss. We
extend our deep sympathy to her family."
- Nomination for Best Actress - Motion Picture Drama in
title: Magnificent Showman), which also featured John Wayne.[citation
- 1977, National Screen Heritage Award.
- Hayworth is included as one of the American
Film Institute's Greatest
Stars of All Time.
- A fund raiser for the Alzheimer's
Association is named in her honor by her daughter, Yasmin Aga Khan, who has been the
hostess for these events and a major sponsor of Alzheimer's Disease
charities and awareness programs.
- The film I
Remember Better When I Paint (2009) describes how Hayworth
took up painting while struggling with Alzheimer's and produced art.
- La Fiesta (Short
- Cruz Diablo aka The
Devil's Cross (Uncredited, 1934)
- In Caliente (1935)
- Under the Pampas Moon (1935)
Chan in Egypt (1935)
- HumanCargo (1936)
- Meet Nero Wolfe (1936)
- Rebellion (1936)
- The Dancing Pirate (1936)
- Hit the Saddle (1937)
- Trouble in Texas (1937)
- Criminals of the Air (1937)
Can Play (1937)
- The Game That Kills (1937)
- Paid to Dance (1937)
- The Shadow (1937)
- Who Killed Gail Preston? (1938)
Always a Woman (1938)
- Convicted (1938)
- Juvenile Court (1938)
- The Renegade
- The Lone
Wolf Spy Hunt (1939)
Angels Have Wings (1939)
in My Heart (1940)
- Blondie on a Budget (1940)
- Susan and God (1940)
- The Lady in
- Angels Over
Strawberry Blonde (1941)
and Sand (1941)
Never Get Rich (1941)
- My Gal Sal (1942)
- Tales of
- You Were
Never Lovelier (1942)
(courtesy of Wikipedia)