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The star of “The Lady from Shanghai” in her living room. Note idea planted in center of coffee table
HOUSES reflect our thoughts just as much as do our bodies.
So mused Rita Hayworth a little grimly as she shut the door for the last time on the ornate canyontop mansion she had shared with Orson Welles. Certainly this showplace with its lushly islanded pool was no true reflection of herself. Nor was her life with her show-off husband.
Both were due for a drastic change. Divorce took care of the marriage . . . And a small house in secluded Brentwood, where tall trees drip shade over the roofs, and flowers spill across the green lawns, has taken care of the other. Of white-painted brick and clapboard combined, it is cool, comfortable, charming — a mirror of the woman who lives in it.
Inside the house its mistress, who’s a lavishly decorative item all in herself, put comfort ahead of smartness. By coincidence, the two qualities came out neck-and-neck with a part of the coincidence provided by Wilber Menefee, Superintendent of Set Decoration at Columbia Studios, and therefore, expert on interiors.
First of all, the house is furnished with color. Literally that. Color doesn’t cost you any more than the price of good paint and the possession of a harmonious eye.
For instance, in Rita’s house, nowhere is there any pattern, period or ruling “scheme.” Just color — so synonomous of Hayworth, and vice versa. Rita has a fondness for solid colors in (Continued on page 112)
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