Modern Screen (Dec 1949 - Nov 1950)

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Once in awhile she can fly off the handle good, but there has to be reasons. She wouldn't do anything just because she has money. fisher: Do you think that once a girl is a star she can give up all the things that movie fame brings? In other words, are stardom and adulation important to Rita? cansino: I don't think so. It's hard to answer that. If you work in show business you have to have all that. More important even than money, but you don't get it if you don't do your lick. fisher: Then, you wouldn't say she was homesick for Hollywood? Getting back to those newspaper rumors, does she seem to be homesick? cansino: She is right now. family addition . . . fisher: Would you like to see her come back here to have her child? cansino: Yes, I would. After all, it's going to be my grandchild. I will have three then. One by my son and two by Rita. fisher: What name do you think she will call the baby? After you, perhaps? cansino: If the baby is a boy she should call it after the father. If it is a girl it should be called after the mother. fisher: Then you think Rita will do what she wants to do. We hear that Aly runs the show. Is Rita like most Spanish women, who are content to let the husband be the head of the house and never question anything? Or is she the modern type? cansino: I don't think she is very bossy. No, I don't think so. fisher: Tell me, would you like to direct Rita again in a dance picture? I mean, do you have an idea about the things she should do? cansino: I like to. You bet. Last time I directed her was in Loves of Carmen. fisher: Well, she was evidently a good student. Did she take direction well? cansino: You bet, she always worked hard. fisher: You have trained a lot of stars for pictures, haven't you? cansino: Quite a few. It goes way back. Ramon Novarro, Myrna Loy, Irene Dunne. I taught Myrna the hula dance. Margo studied with me when she was 10 years old. Of course, I did Rio Rita on the stage and in pictures, and I have been doing quite a bit — mostly Spanish numbers. fisher: Mr. Cansino, does it mean anything to you in a business way that your daughter is so famous? cansino: People are always calling the studio to see if Rita teaches here. I say no. (If I had a son who turned out to be a big football player or a girl like Rita I have a feeling I couldn't be so offhand about the whole thing. I told Eduardo that. He smiled a little and showed me the artist's drawings of his new studio. Itfs a far cry from his present modest quarters. To be erected not far from Beverly Hills, it is a highly modernistic glass-fronted structure — the complete last word in dancing studios. I knew better than to ask who was paying for it. Cansino makes his own living. Always has and always will. Even the sign lettered in above the building proclaimed the name of Cansino.) fisher: You know how Hollywood and show business is, Mr. Cansino. Let's say Your wife's eyes: What will you read in hers when she asks whether you can afford that modest cottage? # Your boy's eyes: What will you see in his eyes the day he asks whether you can afford to send him to college? Your own eyes: What will the mirror tell you about them when it's time to retire, and take things easier? There's no better time than right now to sit back and think what you will see in your family's eyes a few years from now. Whether they glow with happiness or turn aside with disappointment depends, to a very large extent, upon what you do now. So plan now for that home you plan to buy eventually ... set aside money now for his college education . . . plan now for the day you can retire. Insure your future by signing up on the Payroll Savings Plan where you work, or the Bond-A-Month Plan where you have a checking account. Chances are you won't miss the money now, but you certainly will a few short years from now if you haven't got it ! ! 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