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Entries in Rita Hayworth (17)

Saturday
Apr162011

Mix Tape: "Put the Blame on Mame" in Gilda

Andreas from Pussy Goes Grrr here, with one of the sultriest musical numbers ever committed to film.

Nightclub acts are scattered throughout the seamy annals of film noir. For starters, you've got Lauren Bacall singing "And Her Tears Flowed Like Wine" at the casino in The Big Sleep, and Veronica Lake putting on a magic act in This Gun for Hire. Live music, cut with equal parts despair and eroticism, is just perfect for noir's postwar underworld. In Gilda, Rita Hayworth outdoes every other noir chanteuse with her unforgettable rendition of "Put the Blame on Mame." It's sexy, sassy, and bundles up the film's themes in a black satin ribbon.

By the time the nightclub performance arrives, though, we've already heard Hayworth rehearsing the song twice. She's humming along to it during her indelible introduction ("Gilda, are you decent?" / "Me?") and later, her paramour-turned-husband Johnny (Glenn Ford) catches her singing it for Uncle Pio, the old washroom attendant. Throughout, the song acts as Gilda's leitmotif, emblematic of her fearsome sexual power. It's a side of her that the jealous, overprotective Johnny doesn't want anyone else to see.

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Sunday
Feb062011

Finding Linker-Land

The Film Doctor 10 questions regarding 127 Hours
Cinebeats Tura Satana (RIP)
Slant  new book on Spike Lee's classic Do the Right Thing.
Latino Review EEEeeeee. "Ursa" could be the villainess of the rebooted Superman. Good luck trying to top Sarah Douglas's bitchery in Superman II (1980). Although, I'm heartened that Rosamund Pike is in the running. She deserves a big high profile movie star breakthrough.

Ursa (Sarah Douglas) and Zod (Terence Stamp) in Superman II

Go Fug Yourself reveals their SAG best & worst dressed from their substantial readership polling. Was I supposed to know that Rooney Mara was Kate Mara's sister? The things that slip by you...
Pajiba "Top 5" Stars Unworthy of Their Status
Cinema Blend wonders if James Franco isn't spreading himself dangerously thin. He might be Oz: The Great and Powerful now in addition to nine other projects.
Pop Matters reviews the box set "The Films of Rita Hayworth". Ugh, why didn't I get a copy for review? Incidentally, if you ever happen to see Tonight and Every Night (1945) you'll feel a strange sense of deja vu. It's the same story as Oscar nominee Mrs Henderson Presents (2005) albeit told in a different tone and from a different angle.

Finally, be very afraid: Finding Neverland The Musical is heading your way soon. I'm only joking about being afraid. The songwriting team employed here did the enchanting music to Grey Gardens and Peter Pan is a long time stage tradition so why stop now? Plus, if you think about it certain gaggy, twee or pushily sentimental projects could (hypothetically) work much better with the distance from reality that song and dance can provide in much the same way that animation lowers our guard to things we'd think weren't soggy with sentiment in live action. I actually think that The King's Speech, which I think is a good film but no "best", would make a fine musical; the King doesn't stutter when he sings so right there embedded in your concept is the opportunities to show songs as transcendent rescue from daily troubles.  Sounds perfect for a movie musical... though you'd have to have had a different cast. I'm not sure anyone would have wanted to see/hear Colin Firth (Mamma Mia) or Helena Bonham-Carter (Sweeney Todd) singing again, now would they?

P.S. Unrelated: Pixar's 25th anniversary was just a few days back. Some words coming up this week.

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