Photoplay (Jan - Jun 1941)

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Write for FRE1 Aii lor Pleasure and Profit," describes course opportunities. TWO ARTISTS' ( ll'TFITS Included w itli training. WASHINGTON SCHOOL OF ART, Studio 1 52T 1115 — 15th Street, N. W. Washington. D. C. -CUTICLE | STEALS NEGUCUD CUTICLE REMOVE IT EASILY. SAFELY *^^ WELL MANICURED CUTICLE Wrap i m around tl><' end "t an orangewood itii k Saturate « ith Trimal ami appl) ii ti> cuticle Watch dtad cuticlt iojten Wipe it awaj with a towel You «iii in amazed with the results. ( In sale at <lnij;. department and 10C«nt scons Rfi TRIMAL to look at the people themselves . . . these wonderful, small-city people of America. . . . This Tucson is a really Western city . . . a Western melting pot ... so we saw the lean, white pioneer faces . . . those bronzed skins and those sunwrinkled eyes. . . . We saw Mexicans and Indians and Negroes . . . and about each and every one of them you could observe some Hollywood influence ... it was there in the clear, clean way the girls wore their hair ... it was there in every woman's make-up ... it was there, too, in the sense of showmanship the whole city had so overwhelmingly displayed ... in the slim girl drum majors ... in the saucy costumes one band of tiny Negro children had worn. . . . There they were, the American public, white and black and red people, from different races and different strains . . . from different traditions . . . and different histories . . . but blessedly, Americans all . . . and here was the visible evidence that we all wanted the same thing . . . laughter and color and movement and the impress of strong personalities and something to believe in. . . . We are apt to forget that in Hollywood when we live here steadily and become subtle . . . when we start to talk about "montages" and "psychological values" and "synchronization" and "options" and "oomph girls" . . . but Arizona the state, and "Arizona" the film, with its restatement of pioneer principles . . . and mingling with simple, deeply human people, got our thoughts out of their gilded grooves. . . . Dawn was approaching as a few of us from Hollywood walked down one street after the other . . . around this square and that . . . and even as we walked and looked and listened . . . the dark blue of the sky began glimmering with the rising sun . . . and then the round disc of the sun appeared ... to face the full moon which was still shining ... it was one of those unbelievable moments . . . when you realize afresh that, come what may, there are some values that remain forever untouched and incorruptible. . . . You Could Do It, Too! (Conti?iued jrom page 24) supporting roles at that, that's some buildup! As a result, the fans mob her for her autograph and they write persistent letters to studios clamoring for more Hayworth. She had only one day off between "The Lady In Qestion" and "Angels Over Broadway," but she satisfied the demands of photographers by giving up her Sundays to them. The camera boys respond to her kindness like a bud to water and they would give their last flashbulb for la Hayworth. They're in a position to do favors, too. One night at Ciro's, Arthur Hornblow was giving a party. Across the room sat who was up at the time for a role in his new picture "I Wanted Wings." Hymie Fink, Jack Albin, Art Carter and several other camera clickers gatharound Rita and popped so many flashbulbs that Hornblow couldn't help but notice all the attention being given her. Hornblow later offered Rita the role, but her own studio bosses turned it down. RITA unceasingly keeps up hei paign to dress her way to fame. Every 1 1 nt is an expenditure which must bring back a return. "For that reason I don't buy diamonds and other costly jewelry. I mean, a diamond bracelet is a very nice thing to have, you understand, but it doesn't do as much as a striking dress. For the price of one bracelet. I could buy four or five gorgeous evening dresses that will really command attention." She spends between $12,000 and $l..(l.000 a year on clothes and has received .i million dollars worth of publicity in return. "I couldn't do it if I had to Live on my salary," she admits. Rita's husband. Edward Judson, takes care of butcher, baker and silver candlestick maker. Her wardrobe is selected with an eye toward the photographer. Her evening dresses are all designed to accentuate her womanliness. They are all as figuremolding as a satin battling suit — -no swish) bouffants which conceal the curvaceous hip line for Rita! and they all reveal a provocative bit of flesh. II, i dre ' o>st from $150 to $250 apiece and she inspects the design a half-dozen times before it is actually run up. One evening dress of bright red crepe with a bra-top, an exposed mid riff which revealed two inches of Hayworth in the raw and an exaggerated hobble skirt with a slit up the front set her back $350. But it was worth it. She wore it at Ciro's and the photographers scampered in her direction. Payoff: Two magazine covers and innumerable picture layouts in other publications. CVEN her social evenings have a prac* tical value! Not a gadabout or playgirl — in fact, a reserved type of girl — nevertheless she makes it her business to go out once a week. When she does she dresses in formal clothes only and goes to the right places — Ciro's or the formal premieres or play openings. Her businessman husband is behind Rita in her campaign and guides her on every step of the way. He is the silent partner, however. When the photographers approach, he ducks. When he can't out of it, he will pose smiling rather than offend the camera boys Rita is not a top-salary star, but she He fakes care of the butcher and baker; she pays the bills for her clothes: Rita Hayworth with her husband Edward Judson at Ciro's rilOTHPI \1 ■ • '. tnfh MOVIl MIKHOB