Rita Hayworth Movies

Based on a play by Leslie Storm, Tonight and Every Night is a musical wartime morale booster in which star Rita Hayworth is but one of a lively ensemble. Set in battle-scarred Britain, the action takes place in a seedy old music hall, which never misses a performance even at the height of the "blitz". Five times a day like clockwork, American-born entertainer Rosalind Bruce (Rita Hayworth) and her British cohorts put on a show for their ever-appreciative audiences. Along the way, a romance develops between Rosalind and RAF pilot Paul Lundy (Lee Bowman). Providing excellent support are Janet Blair as the troupe's plucky ingenue and Broadway alumnus Marc Platt as the entourage's resident eccentric dancer. The individual numbers are inventively staged, with one scene creatively harnessing the Technicolor process in an eye-popping manner seldom seen in 1940s films. All that Tonight and Every Night lacks is a memorable score, though Rita's solo number "Anywhere" enjoyed brief hit-parade popularity. Incidentally, one of the chorus girls is a slim-and-trim Shelley Winters! ~ Hal Erickson, All Movie Guide

The second and last of the Fred Astaire-Rita Hayworth vehicles, You Were Never Lovelier takes place in Argentina (courtesy of the Columbia Pictures art-direction department). Fred plays an American dancer whose fondness for betting on horse races has left him broke. Rita is the daughter of wealthy Argentinian nightclub owner Adolphe Menjou, who has vowed that his daughters will marry in the order of their ages-and since older sister Leslie Brooks is about to walk to the altar, Rita is next in line. To encourage his daughter to seek out an eligible husband, Menjou sends Rita unsigned love notes so that she'll think she has a secret admirer. Through a series of misunderstandings that could only happen in the movies, Rita becomes convinced that Fred is the man who's been plying her with notes and gifts. Menjou hires the impoverished Astaire as a potential son-in-law. Fred bridles at the thought of being a "bought spouse", but changes his mind when he falls in love with Rita on his own. ~ Hal Erickson, All Movie Guide

Based on the novel by Vincente Blasco Ibanez, Blood and Sand is the beautifully rendered story of the rise and fall of a young, cocksure Spanish bullfighter, played by Tyrone Power. Working his way slowly up the ladder to success, Power achieves fame when he is praised to skies by fatuous, fickle critic Laird Cregar. A country boy at heart, Power finds himself way over his head with sophisticates, and is soon torn between his pious and faithful wife Linda Darnell and sexy, mercenary Rita Hayworth. It is Darnell, however, who comforts Power after his final, fatal goring in the bull ring. The film's best scenes depict the curious combination of horror and fascination with which bullfighting aficionados treat this most barbaric of "sports." Blood and Sand was previously filmed in 1922 with Rudolph Valentino; a Valentino contemporary, Alla Nazimova, plays Power's mother in the remakes. Portions of this film turned up as stock footage in the 1945 Laurel and Hardy comedy The Bullfighters. ~ Hal Erickson, All Movie Guide

You'll Never Get Rich was the first of two films made by Fred Astaire at Columbia, and also the first in which he was paired with his favorite female dancing partner--not Ginger Rogers or Cyd Charisse, but Rita Hayworth. Fred and Rita play a team of Broadway dancers whose partnership is abruptly rent asunder when Fred is drafted into the Army. Unable to adapt to military routine, Astaire frequently ends up in the guardhouse; during one of these visits, he and the Delta Rhythm Boys collaborate on the lively song-and-dance number "The A-starable Rag." Back to the plot: Rita shows up on the army base as the girl friend of captain John Hubbard. This leads to more fancy footwork, and, of course, a happy ending for our stars. Though the Cole Porter score yielded no hits, one of the songs, "Since I Kissed My Baby Goodbye", was nominated for an Academy Award. Robert Benchley provides comic relief, as he would in the subsequent Astaire vehicle The Sky's the Limit. You'll Never Get Rich was followed by the even better Astaire-Hayworth pairing You Were Never Lovelier. ~ Hal Erickson, All Movie Guide

Columbia's The Lady in Question is a remake of the French Gribouille, a Raimu vehicle from 1939. Brian Aherne plays Andre Morestan, the seeming contently paterfamilias of a bourgeois Parisian family. Summoned for jury duty, Morestan at first believes that accused murderess Natalie Rougin (Rita Hayworth) is guilty, but eventually takes pity on the homeless girl and invites her to live with his family after her acquittal. Things get pretty dicey when Morestan's impressionable young son Pierre (Glenn Ford) falls in love with the enigmatic Natalie and begins committing petty crimes to finance their elopement-leading to a situation not unlike the one that got the girl arrested in the first place! In the original Gribouille, it was abundantly clear that both father and son had a yen for their pretty guest, but this menage a trois has been toned down in the Hollywood version, with Morestan remaining more or less faithful to his long-suffering wife Michelle (Irene Rich). ~ Hal Erickson, All Movie Guide

In the Ben Hecht-scripted Angels over Broadway. Douglas Fairbanks Jr. plays a poker hustler working in cahoots with good-time girl Rita Hayworth. Alcoholic playwright Thomas Mitchell, having saved embezzler John Qualen from suicide, decides to enter Fairbanks' high-stakes game, using Qualen as an easy-mark "bait." Mitchell's clever schemes to beat Fairbanks come acropper, but Fairbanks has a sudden change of heart and decides it's more fun to perform good deeds. ~ Hal Erickson, All Movie Guide

Rachel Crothers' thoughtful stage play Susan and God was tastefully adapted for the screen by Anita Loos. Joan Crawford stars as Susan, whose unquestioning devotion to various religious organizations causes a great deal of strain between herself and her family. When Susan embraces a "New Thought" theological movement, she decides to apply the tenets of this new philosophy to patch up the unhappy marriages within her own social circles. She succeeds only in making things worse, and in further harming her own relationship with husband Barrie (Fredric March) and daughter Blossom (Rita Quigley). But it is the unadorned, unpretentious religious faith of little Blossom that ultimately brings Susan and Barrie together again. When Susan and God was first released in 1940, Joan Crawford's performance was occasionally compared unfavorably to that of Gertrude Lawrence, who created the role of Susan on Broadway; it was suggested by some that Crawford patterned her portrayal exactly on Lawrence's, right down to the line delivery. Modern audiences, denied the opportunity to see Lawrence's interpretation, are less inclined to downgrade Crawford's work, which rates among her best. ~ Hal Erickson, All Movie Guide

Virtually a textbook example of Howard Hawks' "macho" mode, Only Angels Have Wings takes place high in the Peruvian Andes. Cary Grant heads a ramshackle airmail and freight service, forced to fly in the most perilous of weather conditions to the most treacherous of destinations. Facing death on a near-hourly basis, Grant and his flyers have adopted a casual, all-in-day's-work attitude towards mortality. If a pilot cracks up and dies, it's simply because he didn't have what it took, and that's that. Stranded showgirl Jean Arthur can't stand this cavalier attitude at first, but before long she becomes, in true Hawksian fashion, "one of the guys". Complicating the story is the presence of Richard Barthelmess, who has been persona non grata with the other pilots ever since his carelessness cost the life of one of their number. In addition to a surfeit of guilt, Barthelmess is saddled with a faithless wife, played by Rita Hayworth in her first important A-picture role. Hayworth makes a play for Grant, but he spurns her, finally realizing that, in spite of himself, he's in love with Arthur. Grant himself is riddled with guilt when near-blind pilot Thomas Mitchell insists upon taking on one final flight. Having lost his best friend, Grant drops his hard-bitten shell, and for the first time opens himself up emotionally to Arthur-which of course leads to a nail-biting climax wherein Arthur suffers mightily as Grant faces certain death. Scripted by Jules Furthman from a story by Hawks, Only Angels Have Wings is a treasure trove of terse, pithy dialogue: our favorite scene occurs when, upon discovering that he's about to die, Thomas Mitchell says he's often wondered how he'd react to imminent death-and, now that death is but a few moments away, he'd rather that no one else be around to witness his reaction. Though sometimes laid low by obvious miniatures, the aerial scenes in Only Angels Have Wings are by and large first-rate, earning a first-ever "best special effects" Oscar nomination for Roy Davidson and Edwin C. Hahn. ~ Hal Erickson, All Movie Guide

Though it sure looks like a Columbia Production, Special Inspector was distributed by a States' Rights firm called Syndicate Films. Charles Quigley and Rita Hayworth, the William Powell and Myrna Loy of Columbia's B unit, star respectively as government treasury agent Tom Evans and his sweetheart Patricia Lane. When Patricia's brother is murderd by a gang of fur hijackers, she offers her services to the feds as an undercover operative. In other words, it is Paula, and not Tom, who is the "Special Inspector" of the title. The most surprising aspect of the film is that it contains practically no action at all, not even a climactic fistfight. ~ Hal Erickson, All Movie Guide

Capitalizing on the success of MGM's Thin Man series, virtually every major studio of the 1930s came up with its own husband-and-wife detective team. Columbia's entry was There's Always a Woman, starring Melvyn Douglas and Joan Blondell. Douglas and Blondell are the married proprietors of an unsuccessful private eye. On the verge of quitting the business, Douglas is given a $300 retainer by Mary Astor for a seemingly simple trackdown job. Disinterested, Douglas turns the case over to his wife--but reenters the scene when a murder occurs. Rita Hayworth appears in a 30-second bit, cut down from a full supporting role when the picture threatened to run too long. There's Always a Woman was supposed to be the first of a Douglas/Blondell series, but that notion ended with the comparative failure of their next vehicle, There's That Woman Again (39). ~ Hal Erickson, All Movie Guide

Who Killed Gail Preston? gets off to a rousing start with a nocturnal prison break which turns out to be the prelude for a nightclub musical number, masterminded by bandleader Traynor (Robert Paige). Gail Preston (Rita Hayworth), Traynor's vocalist, is much-despised by practically everyone, so it comes as no surprise when she's bumped off in the third reel. The most likely suspect is a weaselly hanger-on (Dwight Frye) who removes himself from consideration when he takes a header from a fourth-floor roof. This leaves such disreputable types as Marc Lawrence, Arthur Loft and John Gallaudet for detective Connolly (Gene Morgan) to choose from. Set almost entirely in Columbia's standard nightclub set, Who Killed Gail Preston? is a remake of 1934's The Crime of Helene Stanley, which took place at a movie studio. ~ Hal Erickson, All Movie Guide

In this drama, a Mexican woman attempts to live a peaceful life in California. Unfortunately, land-grabbers kill her father and begin harassing her. Desperate, she sends an impassioned plea for help to Washington, and a special aide is sent to mediate. He and the woman fall in love, and the aide does such a good job that he is elected to be the state's first governor. ~ Sandra Brennan, All Movie Guide