Photoplay (Jan-Jun 1958)

girl in “Only Angels Have Wings” and “Blood and Sand.” For Rita, life with Judson was life as a puppet dangling on the end of a short string. “From the first he told me I couldn’t do anything for myself. ‘You’re such a child,’ he’d say. I didn’t have any fun those five years we were married. I was never permitted to make any decisions. He robbed everything of excitement. He was husband and nursemaid . . When he took her to a tailor to have sleek -fitting skirts made, he would tell her where to stand and she would stand there motionless for hours while she was being fitted, without saying a word. Judson would do all the talking, all the choosing of color and fabric and style, and all the arguing over price. Arguing over price was a necessity. At first Rita was not making over $75 a week. Often they had no furniture in their house. But there was always a closet full of clothes for Rita. Judson felt that the only way to make a splash in Hollywood was to dress to the teeth on the prime nights — Friday, Saturday and Sunday— and to make the rounds of the most important nightclubs. He was right. Howard Hawks saw Rita at the Trocadero one Sunday night and signed her to play with Cary Grant in “Only Angels Have Wings.” Then — with the sudden jerk that Rita is always capable of giving in the end — the puppet broke away from the string. She was — as many were to discover— goodnatured, pliable, and amenable only up to a certain point. “I got a divorce to be myself again,” she said. “I married him for love, but he married me for an investment.” To get her freedom, she had to pay Judson a settlement. It was the first of many times she was to pay. But she was not paying for nothing. She wasn’t quite the same little dancer who had married Ed Judson five years before. The basic nicenesss still remained. So did the honesty. At parties she was still too shy to ask for a cigarette, much less reach for one. But she knew how to do business with a studio now. She knew how to use a cigarette holder in public “when I want to feel important.” She knew how to spend $500 on one outfit in order to make a dramatic entrance into a nightclub where she might meet an important producer. She knew how to spend $90 of the $100 she earned each week on voice and dramatic lessons. Her career thrived. “Susan and God.” “Strawberry Blonde. “You Were Never Lovelier.” She became engaged to Victor Mature and broke the engagement to marry Orson Welles — the eccentric and electric boy genius of the early Nineteen Forties. Orson wrote, directed, acted in, and produced movies and gave magic shows for the soldiers. At one USO show he sawed Rita in half as the climax to his act. “A hell of a way to woo a girl,” said Mature with all the grouchiness of a sure loser. But what Mature thought didn’t matter. Rita and Orson Welles were married on September 8, 1943. Like three other Hollywood glamour queens — Lana Turner, Ava Gardner, and Marilyn Monroe — Rita Hayworth was now to be shaped and reshaped by an intellectual. Welles taught her what to read and how to read. He opened her eyes to things that she had never known existed before. Welles was always broke. He could even make money and lose money on two different plans in the same day. But it didn’t matter. For Rita, there was “You’ll Never Get Rich” with Fred Astaire, “Cover Girl” and “Gilda.” She had enough BE A NURSE! ; is the home study course that i change your whole life ! THE FIELD OF PRACTICAL NURSING OFFERS UNUSUAL OPPORTUNITIES CO both women and men for careers as Practical Nurses, Nurse's Aides, Nurse-Companions, Doctor’s Office Nurses, Infant Nurses, and as Hospital Attendants. HIGH SCHOOL EDUCATION NOT REQUIRED. Easy-to-understand course, complete with pictures and written in plain everyday language. 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