Harry Cohn's toiling de-Latinisation of Margarita Cansino at Columbia was complete by 1943. As Maribelle she is auburn-coiffed, depilated and somewhat 'gracious' in a Greer Garson/Irene Dunne way. All the fire is banked down in choreography (probably by Seymour Felix, not Kelly). Elaborate in its maneuvering of pop-up set dressings and the dancers' interweavings, it calls for no innate expertise beyond memorizing the steps; June Haver or Betty Grable could have done it. Possibly Hayworth's imminent transformation into a torchy Forties temptress in 'Gilda'- by the same director, Chuck Vidor- reflected frustration at being groomed into a conventional soubrette by Cohn, her studio Svengali. No doubt her marriage to Orson Welles, which happened in mid-shoot of 'Cover Girl', played a part in pushing back against Cohn, for Welles was bent on displaying his genius by bringing out dark depths in wartime America's #1 pin-up. But there weren't any. At heart Rita was a docile, quiet, affectionate, home-loving girl with a taste for being taken care of by dominant men. She could never fit into the noir mould to which Welles assigned her in 'Lady from Shanghai' as a blonde murderess. She was no Gloria Graham or Jane Greer, and trying to be a dramatic actress hobbled her as a dancer. Even in the cliched situations of 'Cover Girl' she is almost as stilted as Cyd Charisse. By the later 1940s her career had fallen between those two stools and was punctuated by marital misfortunes. Btw, despite the recording credit given here, Rita's singing was not dubbed by Nan Wynn as usual but by Martha Mears.
Comparing Sure Thing to Long Ago( And Far Away), the big hit from Cover Girl, Alec Wilder writes "Sure Thing is a more endearing and melodically interesting song. Obviously the public didn't (think so) since it is familiar to only a few" .... dissection of the melody here, ending with...." I think it is the most american sounding of all Kern's later ballads." Gershwin's lyric coldn't be better either.
Con todo lo ponderable de esta película, lamento que Rita no haya hecho por esa época mas cine dramático en blanco y negro. De hecho según dicen efectivamente Rita estaba harta de musicales melosos, igual en su siguiente película (Tonight and Every night) aun siendo un musical fue mucho mejor que esta
Rita was such a beautiful woman and the costume with the rose is just stunning...
This song followed me all my live and i still get tears in my eyes ever! It will be allways in my heart!
Happy 100th Birthday Rita! There was no one like you!!!!
YEP
She was so very stunning
This is my absolute favorite song!!!
Great tune.
Harry Cohn's toiling de-Latinisation of Margarita Cansino at Columbia was complete by 1943. As Maribelle she is auburn-coiffed, depilated and somewhat 'gracious' in a Greer Garson/Irene Dunne way. All the fire is banked down in choreography (probably by Seymour Felix, not Kelly). Elaborate in its maneuvering of pop-up set dressings and the dancers' interweavings, it calls for no innate expertise beyond memorizing the steps; June Haver or Betty Grable could have done it.
Possibly Hayworth's imminent transformation into a torchy Forties temptress in 'Gilda'- by the same director, Chuck Vidor- reflected frustration at being groomed into a conventional soubrette by Cohn, her studio Svengali. No doubt her marriage to Orson Welles, which happened in mid-shoot of 'Cover Girl', played a part in pushing back against Cohn, for Welles was bent on displaying his genius by bringing out dark depths in wartime America's #1 pin-up.
But there weren't any. At heart Rita was a docile, quiet, affectionate, home-loving girl with a taste for being taken care of by dominant men. She could never fit into the noir mould to which Welles assigned her in 'Lady from Shanghai' as a blonde murderess. She was no Gloria Graham or Jane Greer, and trying to be a dramatic actress hobbled her as a dancer. Even in the cliched situations of 'Cover Girl' she is almost as stilted as Cyd Charisse. By the later 1940s her career had fallen between those two stools and was punctuated by marital misfortunes.
Btw, despite the recording credit given here, Rita's singing was not dubbed by Nan Wynn as usual but by Martha Mears.
Comparing Sure Thing to Long Ago( And Far Away), the big hit from Cover Girl, Alec Wilder writes "Sure Thing is a more endearing and melodically interesting song. Obviously the public didn't (think so) since it is familiar to only a few" .... dissection of the melody here, ending with...." I think it is the most american sounding of all Kern's later ballads." Gershwin's lyric coldn't be better either.
el vestido que utiliza Rita Hayworth se parece al que utilizo Audrey Hepburn en "mi bella dama".
Con todo lo ponderable de esta película, lamento que Rita no haya hecho por esa época mas cine dramático en blanco y negro. De hecho según dicen efectivamente Rita estaba harta de musicales melosos, igual en su siguiente película (Tonight and Every night) aun siendo un musical fue mucho mejor que esta
風采
Was that Cover Girl or My Gal Sal?
The lip-synching is so bad in this number, it must have been intentional, although I can't figure out why.