The Division of Herod's Kingdom:

  Territory under Herod Archelaus, from 6 CE Iudaea Province

  Territory under Herod Antipas

  Territory under Philip the Tetrarch

  Salome I

  Roman province of Syria

  Autonomous cities (Decapolis)

See Salome (disambiguation) for other holders of this name, including Salome, John the Baptist's nemesis.

Salome I was the sister of Herod the Great and the mother of Berenice by her husband Costobarus, governor of Idumea.

Upon the death of Herod the Great in 4 BCE, she was given a toparchy including the cities of Jabneh, Ashdod, Phasaelis, and 5000 drachmae. Caesar Augustus supplemented this with a royal habitation at Ashkelon. While nominally queen of these areas, they were ultimately subject to the Judaean prefect.

Berenice's children were Herodias, Herod Agrippa I, king of Judea, Herod of Chalcis and Aristobulus Minor, and Mariamne III (who may have been the first wife of her uncle, Herod Archelaus, ethnarch of Judea).

External links[link]

• Salome I entry in historical sourcebook by Mahlon H. Smith

This article is about the daughter of Herodias. For other uses, see Salome (disambiguation).

Coin of Salome (daughter of Herodias), queen of Chalcis and Armenia Minor.

Salome (Greek: Σαλωμη, Salōmē), the Daughter of Herodias (c AD 14 - between 62 and 71), is known from the New Testament (Mark 6:17-29 and Matthew 14:3-11, where, however, her name is not given). Another source from Antiquity, Flavius Josephus's Jewish Antiquities, gives her name and some detail about her family relations.

Her name in Hebrew is שלומית (Shlomiẗ, IPA: [ʃlomiθ]) and is derived from the root word ŠLM (שלם), meaning "peace".

Christian traditions depict her as an icon of dangerous female seductiveness, for instance depicting as erotic her dance mentioned in the New Testament (in some later transformations further iconised to the dance of the seven veils), or concentrate on her lighthearted and cold foolishness that, according to the gospels, led to John the Baptist's death.

A new ramification was added by Oscar Wilde, who in his play Salome portrayed her as something of a femme fatale. This last interpretation, made even more memorable by Richard Strauss's opera based on Wilde, is not consistent with Josephus's account; according to the Romanized Jewish historian, she lived long enough to marry twice and raise several children. Few literary accounts elaborate the biographical data given by Josephus.

Asteroid 562 Salome is named after her.

Biblical character[link]

According to Mark 6:21-29 (Salome is not mentioned by name in this passage so reference is incomplete), Salome was the stepdaughter of Herod Antipas. Salome danced before Herod and her mother Herodias at the occasion of his birthday, and in doing so gave her mother the opportunity to obtain the head of John the Baptist. According to Mark's gospel Herodias bore a grudge against John for stating that Herod's marriage to her was unlawful; she encouraged Salome to demand that John be executed.

And when a convenient day was come, that Herod on his birthday made a supper to his lords, high captains, and chief estates of Galilee; And when the daughter of the said Herodias came in, and danced, and pleased Herod and them that sat with him, the king said unto the damsel, Ask of me whatsoever thou wilt, and I will give it thee. And he sware unto her, Whatsoever thou shalt ask of me, I will give it thee, unto the half of my kingdom. And she went forth, and said unto her mother, What shall I ask? And she said, The head of John the Baptist.

And she came in straightway with haste unto the king, and asked, saying, I will that thou give me by and by in a charger the head of John the Baptist. And the king was exceeding sorry; yet for his oath's sake, and for their sakes which sat with him, he would not reject her. And immediately the king sent an executioner, and commanded his head to be brought: and he went and beheaded him in the prison, and brought his head in a charger, and gave it to the damsel: and the damsel gave it to her mother. And when his disciples heard of it, they came and took up his corpse, and laid it in a tomb. (Mark 6:21-29, KJV)

A parallel passage to Mark 6:21-29 is in the Gospel of Matthew 14:6-11:

But on Herod's birthday, the daughter of Herodias danced before them: and pleased Herod. Whereupon he promised with an oath, to give her whatsoever she would ask of him. But she being instructed before by her mother, said: Give me here in a dish the head of John the Baptist. And the king was struck sad: yet because of his oath, and for them that sat with him at table, he commanded it to be given. And he sent, and beheaded John in the prison.

And his head was brought in a dish: and it was given to the damsel, and she brought it to her mother. And his disciples came and took the body, and buried it, and came and told Jesus. (Matt 14:6-11, D-R)

Some ancient Greek versions of Mark read "Herod's daughter Herodias" (rather than "daughter of the said Herodias").^[1] To scholars using these ancient texts, both mother and daughter had the same name. However, the Latin Vulgate Bible translates the passage as it is above, and western Church Fathers therefore tended to refer to Salome as "Herodias's daughter" or just "the girl". Nevertheless, because she is otherwise unnamed in the Bible, the idea that both mother and daughter were named Herodias gained some currency in early modern Europe.^{[citation needed]}

This Salome is not considered to be the same person as Salome the disciple, who is a witness to the Crucifixion of Jesus in Mark 15:40.

Salome with the Head of John the Baptist by Titian, c 1515 (Galleria Doria Pamphilj, Rome)

Apocryphal[link]

According to "Letter of Herod To Pilate the Governor", Herod's daughter was playing in the pool with ice on the surface until it broke under and decapitated her. With Herod's wife holding her daughters head.

In the passage Herod to Pontius Pilate the Governor of Jerusalem, Peace:

"I am in great anxiety. I write these things to you, that when you have heard them you may be grieved for me. For as my daughter Herodias, who is dear to me, was playing upon a pool of water that had ice upon it, it broke under her and all her body went down, and her head was cut off and remained on the surface of the ice. And behold, her mother is holding her head upon her knees in her lap, and my whole house is in great sorrow."^[2][3]

The preceding passage was printed in an 18th century text entitled The Apocryphal Books of the New Testament.^[4] An edition published in Philadelphia in 1901 by David McKay (later a publisher of comic books) contains what is listed as a preface to the second edition of the work stating, "Concerning any genuineness of any portion of the work, the Editor has not offered an opinion, nor is it necessary that he should."^[5]

Account by Flavius Josephus[link]

The name "Salome" is given to the stepdaughter of Herod Antipas (unnamed in the Gospels of Matthew and Mark) in Josephus's Jewish Antiquities (Book XVIII, Chapter 5, 4):

Herodias, [...], was married to Herod,^[6] the son of Herod the Great, who was born of Mariamne, the daughter of Simon the high priest, who had a daughter, Salome; after whose birth Herodias took upon her to confound the laws of our country, and divorced herself from her husband while he was alive, and was married to Herod, her husband's brother by the father's side, he was tetrarch of Galilee; but her daughter Salome was married to Philip,^[7] the son of Herod, and tetrarch of Trachonitis; and as he died childless, Aristobulus,^[8] the son of Herod,^[9] the brother of Agrippa, married her; they had three sons, Herod, Agrippa, and Aristobulus;^[10]

Salome in the arts[link]

Salome has become a symbol for dangerous female seductiveness. Her dance before Herod, or with the head of John the Baptist on a charger have provided inspiration for Christian artists.

Despite Josephus's account, she was not consistently called Salome until the nineteenth century,^{[citation needed]} when Gustave Flaubert (following Josephus) referred to her as Salome in his short story "Herodias".

Painting and sculpture[link]

Salome and the Apparition of the Baptist's Head, watercolor by Gustave Moreau

This Biblical story has long been a favourite of painters. Painters who have done notable representations of Salome include Titian, Henri Regnault, Georges Rochegrosse, Gustave Moreau, Federico Beltran-Masses. Titian's version (illustration c.1515) emphasizes the contrast between the innocent girlish face and the brutally severed head. Because of the maid by her side, this Titian painting is also considered to be Judith with the Head of Holofernes. Unlike Salome who goes nameless in the Christian bible, Judith is a Judeo-Christian mythical patriot whose story is perhaps less psychological and being a widow, may not be particularly girlish nor innocent in representations. In Moreau's version (illustration, left) the figure of Salome is emblematic of the femme fatale, a fashionable trope of fin-de-siecle decadence. In his 1884 novel À rebours Frenchman Joris-Karl Huysmans describes, in somewhat fevered terms, the depiction of Salome in Moreau's painting:

No longer was she merely the dancing-girl who extorts a cry of lust and concupiscence from an old man by the lascivious contortions of her body; who breaks the will, masters the mind of a King by the spectacle of her quivering bosoms, heaving belly and tossing thighs; she was now revealed in a sense as the symbolic incarnation of world-old Vice, the goddess of immortal Hysteria, the Curse of Beauty supreme above all other beauties by the cataleptic spasm that stirs her flesh and steels her muscles, - a monstrous Beast of the Apocalypse, indifferent, irresponsible, insensible, poisoning.^[11]

Salomé, by Henri Regnault (1870).

Theatre and literature[link]

In 1877 Gustave Flaubert's Three Tales were published, including "Herodias". In this story full responsibility for John's death is given to Salome's mother Herodias and the priests who fear his religious power. Salome herself is shown as a young girl who forgets the name of the man whose head she requests as she is asking for it. Jules Massenet's 1881 opera Hérodiade was based on Flaubert's short story.

"The Peacock Skirt", illustration by Aubrey Beardsley for Oscar Wilde's play Salome, 1896

Oscar Wilde's play[link]

Salomé's story was made the subject of a play by Oscar Wilde that premiered in Paris in 1896, under the French name Salomé. In Wilde's play, Salome takes a perverse fancy for John the Baptist, and causes him to be executed when John spurns her affections. In the finale, Salome takes up John's severed head and kisses it.

Because at the time British law forbade the depiction of Biblical characters on stage, Wilde wrote the play originally in French, and then produced an English translation (titled Salome). To this Granville Bantock composed incidental music, which was premiered at the Court Theatre, London, on 19 April 1918.

Richard Strauss opera[link]

The Wilde play (in a German translation of Hedwig Lachmann) was edited down to a one-act opera by Richard Strauss. The opera Salome, which premiered in Dresden in 1905, is famous for the Dance of the Seven veils. As with the Wilde play, it turns the action to Salome herself, reducing her mother to a bit-player, though the opera is less centered on Herod's motivations than the play.

Antoine Mariotte opera[link]

Shortly after the success of Strauss's opera, Antoine Mariotte created another opera based on Wilde's original French script. It was premiered on 30 October 1908 at the Grand Théâtre at Lyon. This opera was revived only in 2005 at the Montpellier Festival.

Ballet[link]

In 1907 Florent Schmitt received a commission from Jacques Rouché to compose a ballet, La tragédie de Salomé, for Loie Fuller to perform at the Théâtre des Arts. Another Salome ballet was composed by the Japanese composer Akira Ifukube in 1948. Danish choreographer Flemming Flindt's ballet Salome with music by Peter Maxwell Davies premiered in 1978.

Poetry[link]

In "Salome" (1896) by the Greek poet Constantine Cavafy, characterised by some critics as "neo-Pagan", Salome instigated the death of John the Baptist as part of a futile effort to get the interest of "a young sophist who was indifferent to the charms of love". When Salome presents to him the Baptist's head, the sophist rejects it, remarking in jest "Dear Salome, I would have liked better to get your own head". Taking the jest seriously, the hopelessly infatuated Salome lets herself be beheaded and her head is duly brought to the sophist, who however rejects it in disgust and turns back to studying the Dialogues of Plato.

Other Salome poetry has been written by among others including Ai (1986), Nick Cave (1988), and Carol Ann Duffy (1999).

Songs[link]

Songs about Salome were written by, among others, Tommy Duncan (1952), Karel Kryl (1965), Drs. P (1974), John Cale (1978), Kim Wilde (1984), U2 (1990), Andrew Lloyd Webber (1993), Liz Phair (1993), Kurt Elling (1995), Susan McKeown (1995), Mark St. John Ellis as Elijah's Mantle (1995), Old 97's (1997), The Changelings (1997), The Residents (1998), Enrique Bunbury (1998), Chayanne (1999), Patti Smith (2000), Killing Miranda (2001), Gary Jules's "Pills" (2001), The Booda Velvets (2001), Xandria (2007), Pete Doherty (2009), Os Pontos Negros (2009), 9GOATS BLACK OUT (2009), Justin Vivian Bond (2011).

Film[link]

Depictions[link]

Wilde's Salome has often been made into a film, notably a 1923 silent film, Salome, starring Alla Nazimova in the title role and a 1988 Ken Russell play-within-a-film treatment, Salome's Last Dance, which also includes Wilde and Lord Alfred Douglas as characters. Steven Berkoff filmed his stage version of the play in 1988.

In the 1950 film Sunset Boulevard, the principal character Norma Desmond is portrayed as writing a screenplay for a silent film treatment of the legend of Salome, attempting to get the screenplay produced, and performing one of the scenes from her screenplay after going mad.

IMDB lists at the very least 25 Salome/Salomé films, and numerous resettings of the Salome story to modern times. These films include:

• Salomé (1918), starring Theda Bara in the title role. Flavius Josephus was credited for the story.
• Salomé (1953), starring Rita Hayworth in the title role.
• King of Kings (1961), a biblical epic film with Brigid Bazlen as Salomé.
• The Nativity (1978), with Kate O'Mara playing Salome.
• Salome (1981), a Filipino film, directed by Laurice Guillen. Salome is played by Gina Alajar
• Salome (1986), a French-Italian production
• Salomé (2002), directed by Carlos Saura, using flamenco dance.
• Salomé in Low Land (2006), an animated short film by Christian Zagler using low-tech videogame style combined with opera music.
• Visage, a film based on the myth of Salomé at the Louvre starring Fanny Ardant and Laetitia Casta
• Jesus, a film which features Salome, played by Gabriella Pession.
• Wilde Salomé (2011), a film by Al Pacino. Salomé is played by Jessica Chastain.

Television[link]

In 2011, American broadcasting company HBO announced that in the fifth season of their popular supernatural drama series True Blood, a character by the name of Salome would appear as an ancient vampire, sharing many traits with the biblical figure.^[12]

Video game[link]

The 2009 art game Fatale, by developer Tale of Tales, is a depiction of Salome in the context of an interactive vignette. The player begins by controlling John the Baptist prior to and during his execution. The second section is a courtyard scene, where Salome stands in silence, next to the head. The player is invited to examine the scene. When they have examined it sufficiently, their view is changed again, this time to that of Herod during the dance.

See also[link]

Wikimedia Commons has media related to: Salome

• Dance of the seven veils
• List of names for the Biblical nameless

References[link]

• Gillman, Florence Morgan. Herodias: At Home in the Fox's Den. Interfaces. Collegeville, Minn.: Liturgical Press, 2003. ISBN 0-8146-5108-9

External links[link]

• "Salome's Slow Drag" by Brun Campbell, c.1900-1908. (Ragtime piano with bones accompaniment)
• Salome II entry in historical sourcebook by Mahlon H. Smith
• FATALE, the computer game by Tale of Tales about Salome

Rita Hayworth
1945
Born	Margarita Carmen Cansino (1918-10-17)October 17, 1918 Brooklyn, New York, U.S.
Died	May 14, 1987(1987-05-14) (aged 68) New York City, New York, U.S.
Nationality	American
Occupation	Actress, dancer
Years active	1934–1972
Spouse	Edward C. Judson (1937–1942) Orson Welles (1943–1948) Prince Aly Khan (1949–1953) Dick Haymes (1953–1955) James Hill (1958–1961)
Children	Rebecca Welles (b. December 17, 1944) Yasmin Aga Khan (b. December 28, 1949)
Parents	Eduardo Cansino, Sr. Volga Hayworth
Relatives	Eduardo Cansino, Jr. (brother, deceased)
Signature

Rita Hayworth (born Margarita Carmen Cansino; October 17, 1918 – May 14, 1987) was an American dancer and film actress who garnered fame during the 1940s as one of the era's top stars. Appearing first as Rita Cansino, she agreed to change her name to Rita Hayworth and her hair color to dark red to attract a greater range in roles. Her appeal led to her being featured on the cover of Life magazine five times, beginning in 1940.^[1]

The first dancer featured on film as a partner of both the stars Fred Astaire and Gene Kelly, Hayworth appeared in a total of 61 films over 37 years.^[2] She is listed by the American Film Institute as one of the 100 Greatest Stars of All Time.

Early life[link]

Hayworth was born in Brooklyn, New York in 1918 as Margarita Carmen Cansino, the oldest child of two dancers, Eduardo Cansino, Sr., from Castilleja de la Cuesta, a little town near Seville, Spain,^[3] and Volga Hayworth, an American of Irish-English descent who had performed with the Ziegfeld Follies.^[4] The Catholic couple had married in 1917. They also had two sons: Eduardo, Jr. and Vernon.^[4][5]

Margarita's father wanted her to become a professional dancer, while her mother hoped she would become an actress.^[6] Her paternal grandfather Antonio Cansino was renowned as a Spanish classical dancer; he popularized the bolero and his dancing school in Madrid was world famous.^[7] Rita later recalled,

From the time I was three and a half ... as soon as I could stand on my own feet, I was given dance lessons."^[8] I didn't like it very much ... but I didn't have the courage to tell my father, so I began taking the lessons. Rehearse, rehearse, rehearse, that was my girlhood.^[9]

She attended dance classes every day for a few years in a Carnegie Hall complex, where she was taught by her uncle Angel Cansino. She performed publicly from the age of six.^[4] In 1926 at the age of eight, she was featured in La Fiesta, a short film for Warner Bros..^[4]

In 1927, her father took the family to Hollywood. He believed that dancing could be featured in the movies and that his family could be part of it. He established his own dance studio,^[4] where he taught such Hollywood luminaries as James Cagney and Jean Harlow.^{[citation needed]} During the Great Depression, he lost all his investments, as musicals were no longer in vogue and commercial interest in his dancing classes waned. He partnered with his daughter to form "The Dancing Cansinos". Since under California law, Margarita was too young to work in nightclubs and bars, her father took her with him to work across the border in Tijuana, Mexico. In the early 1930s, it was a popular tourist spot for people from Los Angeles.^[4] Due to her working, Cansino never graduated from high school; she completed ninth grade at Hamilton High in Los Angeles.

At the age of 16, Cansino took a bit part in the film Cruz Diablo (1934), which led to another in In Caliente (1935) with the Mexican actress Dolores del Río.^[4] Cansino danced with her father in such nightspots as the Foreign and the Caliente clubs. Winfield Sheehan, the head of the Fox Film Corporation, saw her dancing at the Caliente Club and quickly arranged for Hayworth to do a screen test a week later. Impressed by her screen persona, Sheehan signed her for a short-term six-month contract at Fox, under the name Rita Cansino, the first of name changes for her film career.

Film career[link]

Publicity photo 1940

During her time at Fox, Cansino appeared in five pictures, in non-notable roles. By the end of her six-month contract, Fox had merged into 20th Century Fox, with Darryl F. Zanuck serving as the executive producer. Dismissing Sheehan's interest in Cansino, Zanuck did not renew her contract. Feeling that Cansino had screen potential, the salesman and promoter Edward C. Judson, whom she would marry in 1936, got her the lead roles in several independent films and arranged a screen test with Columbia Pictures. The studio head Harry Cohn signed Cansino to a long-term contract, and cast her in small roles in Columbia features.

Often cast as the exotic foreigner, Cansino appeared in several roles in 1935: in Dante's Inferno, with Spencer Tracy; and Paddy O'Day, in which she played a Russian dancer. She was an Argentinian in Under the Pampas Moon and an Egyptian beauty in Charlie Chan in Egypt. In 1936 she took her first starring role as a "Latin type" in Human Cargo.^[4]

Cohn argued that Cansino's image was too Mediterranean, which reduced her opportunities to being cast in "exotic" roles, more limited in number. With Cohn and Judson's encouragement, Hayworth changed her hair color to dark red and her name to Rita Hayworth. She had electrolysis to raise her hairline and broaden the appearance of her forehead. By using her mother's maiden name, she led people to see her British-American ancestry and became a classic "American" pin-up.^[4]

In 1937, Hayworth appeared in five minor Columbia pictures and three minor independent movies. The following year, she appeared in five Columbia B films. In 1939, Cohn pressured director Howard Hawks to use Hayworth for a small but important role as a man-trap in the aviation drama Only Angels Have Wings, in which she played opposite Cary Grant and Jean Arthur.^[4] With this film's box-office success, fan mail for Hayworth began pouring into Columbia's publicity department. Cohn began to see Hayworth as his first and official new star. The studio never officially had stars under contract, except for Jean Arthur, who was trying to break with it.

with Fred Astaire in You Were Never Lovelier (1942)

Cohn began to build Hayworth up in 1940, in features such as Music in My Heart, The Lady in Question, and Angels Over Broadway. That year she was first featured in a Life magazine photo.^[1] He loaned Hayworth to Metro-Goldwyn-Mayer to appear in Susan and God, opposite Joan Crawford. While on loan to Warner Brothers, Hayworth appeared as the second female lead in The Strawberry Blonde (1941), opposite James Cagney and Olivia de Havilland.^[4] As the film was a big box-office success, Hayworth's popularity rose; she immediately became one of Hollywood's hottest properties. So impressed was Warner Brothers that they tried to buy Hayworth's contract from Columbia, but Cohn refused to release her.

Her success led to a supporting role in Blood and Sand (1941), opposite Tyrone Power and Linda Darnell, with Fox, the studio that had dropped her six years before. In one of her most notable screen roles, Hayworth played Doña Sol des Muire, the first of many screen sirens. This was another box-office hit.

She returned in triumph to Columbia Pictures and was cast in the musical You'll Never Get Rich (1941) opposite Fred Astaire, in one of the highest-budgeted films Columbia had ever made.^[4] So successful was the picture that the following year, the studio produced and released another Astaire-Hayworth picture, You Were Never Lovelier.^[4] In 1942, Hayworth also appeared in two other pictures, Tales of Manhattan and My Gal Sal.

During this period, Hayworth was featured in an August 1941 Life Magazine photo, in which she lounged seductively in a black-lace negligee.^[1] When the U.S. joined World War II in December 1941, the photo made Hayworth one of the top two "pin-up girls" of the war years; the other was the blonde Betty Grable. In 2002, the satin nightgown Hayworth wore for the photo sold for $26,888.^[10]

Peak years at Columbia[link]

In 1944, Hayworth made one of her best-known films, the Technicolor musical Cover Girl (1944), with Gene Kelly.^[4] The film established her as Columbia's top star of the 1940s. For three consecutive years, starting in 1944, Hayworth was named one of the top movie box office attractions in the world. She was adept in ballet, tap, ballroom, and Spanish routines.

Cohn continued to showcase Hayworth's dance talents; she was the first dancer featured on film to partner with both Fred Astaire and Gene Kelly. Columbia featured her in the Technicolor films: Tonight and Every Night (1945), with Lee Bowman; and Down to Earth (1947), with Larry Parks.

Her erotic appeal was most noted in Charles Vidor's black and white film noir Gilda (1946), with Glenn Ford, which caused censors some consternation. The role, in which Hayworth in black satin performed a legendary one-glove striptease, made her into a cultural icon as a femme fatale.^[4] While her film was still in release, extensive publicity linked her to a widely covered nuclear bomb test in the South Pacific.

Numerous reporters from hundreds of papers across the country were covering preparations in 1946 at Bikini Atoll in the Pacific Ocean's Marshall Islands for testing of the first nuclear bomb after World War II. The United States had been the first nation to use nuclear bombs, against the civilian population of Japan. Reporters publicized that young scientists had put the name of "Gilda" and Hayworth's image on the bomb, alluding to her bombshell status as a film star. Coverage varied widely at the time, but the story stuck that her image had been put on the bomb, and was repeated in her 1987 obituary in The New York Times, which readers relied on as fact.^[1] Her husband Orson Welles issued a public statement at the time, saying they would be pleased only if this were the last bomb test ever.^[1] Hayworth was furious to be used in this way.

Her biographer Barbara Leaming had a later interview with Welles in which he recalled,

"... the angriest was when she found out that they’d put her on the atom bomb. Rita almost went insane, she was so angry. She was so shocked by it! Rita was the kind of person that kind of thing would hurt more than anybody. She wanted to go to Washington to hold a press conference, but Harry Cohn (president of Columbia Pictures) wouldn’t let her because it would be unpatriotic.”^[11]

Recent research documents that only the name "Gilda" was put on the bomb; no image of Hayworth was used.^[1][4]

From the trailer for Lady from Shanghai (1947)

A year later, Hayworth's performance in The Lady from Shanghai (1947), directed by her husband Orson Welles, was critically acclaimed.^[4] The film's failure at the box office was attributed in part to Welles' having had Hayworth's famous red hair cut short and dyed platinum blonde for the role. Cohn had not been consulted and was furious that Hayworth's image was changed.

Also in 1947, Hayworth was featured in a Life cover story by Winthrop Sargeant, which led to her nickname as "The "Love Goddess".^[12] This term was adopted and used later as the title of a biopic and of a biography about her. In a 1980s interview, Hayworth said, "Everybody else does nude scenes, but I don't. I never made nude movies. I didn't have to do that. I danced. I was provocative, I guess, in some things. But I was not completely exposed."^[13]

Her next film, The Loves of Carmen (1948), again with Glenn Ford, was the first film co-produced by Columbia and Hayworth's own production company, The Beckworth Corporation (named for her and Orson's daughter Rebecca); it was Columbia's biggest moneymaker for that year. She received a percentage of the profits from this and all her subsequent films until 1955, when she dissolved Beckworth to pay off debts she owed to Columbia.^{[citation needed]}

Struggles with Columbia Pictures[link]

Hayworth had a strained relationship with Columbia Pictures for many years. In 1943, she was suspended without pay for nine weeks because she refused to appear in Once Upon a Time.^[14] (During this period in Hollywood, actors did not get to choose their films; they were on salary rather than receiving a fixed amount per picture.)

In 1947, Hayworth's new contract with Columbia provided a salary of US$250,000 plus 50% of film profits.^[15] In 1951 Columbia alleged it had $800,000 invested in properties for her, including the film she walked out on that year. She left Hollywood to marry Prince Aly Khan. She was suspended for failing to report to work on the film Affair in Trinidad.

In 1952 she refused to report for work because "she objected to the script."^[16] In 1955, she sued to get out of a contract with the studio, but asked for her $150,000 salary, alleging filming failed to start when agreed.^[17] She said,

I was in Switzerland when they sent me the script for Affair in Trinidad and I threw it across the room. But I did the picture, and Pal Joey too. I came back to Columbia because I wanted to work and first, see, I had to finish that goddamn contract, which is how Harry Cohn owned me!"^[18] "Harry Cohn thought of me as one of the people he could exploit," said Hayworth, "and make a lot of money. And I did make a lot of money for him, but not much for me.^[19]

Years after her film career had ended and Cohn was dead, Hayworth still resented her treatment by him and Columbia.

I used to have to punch a time clock at Columbia ... Every day of my life. That's what it was like. I was under exclusive contract, like they owned me ... I think he had my dressing room bugged ... He was very possessive of me as a person, he didn't want me to go out with anybody, have any friends. No one can live that way. So I fought him ... You want to know what I think of Harry Cohn? He was a monster.^[20]

Rita Hayworth and Glenn Ford in Gilda (1946)

Hayworth resented that the studio failed to train her to sing or to encourage her to learn how to sing.^[21] Although she appeared to sing in many of her films, she was usually dubbed. As the public did not know the secret, she was embarrassed to be asked to sing by troops at USO shows.^[22] She complained that:

I wanted to study singing, but Harry Cohn kept saying, 'Who needs it?' and the studio wouldn't pay for it. They had me so intimidated that I couldn't have done it anyway. They always said, 'Oh, no, we can't let you do it. There's no time for that; it has to be done right now!' I was under contract, and that was it.^[23]

Cohn had a reputation as a taskmaster, but he had his own criticisms of Hayworth. He had invested heavily in her before she began a reckless affair with the married Aly Khan, and it could have caused a backlash against her career and Columbia's success. For instance, an article in the British The People called for a boycott of Hayworth's films. It said, "Hollywood must be told its already tarnished reputation will sink to rock bottom if it restores this reckless woman to a place among its stars."^[24] Cohn expressed his frustration with Hayworth's judgment in an interview with Time magazine.

Hayworth might be worth ten million dollars today easily! She owned 25% of the profits with her own company and had hit after hit and she had to get married and had to get out of the business and took a suspension because she fell in love again! In five years, at two pictures a year, at 25%! Think of what she could have made! But she didn't make pictures! She took two or three suspensions! She got mixed up with different characters! Unpredictable!^[25]

Later career[link]

After the collapse of her marriage to Aly Khan in 1951, Hayworth returned to the United States with great fanfare, where she starred in a string of hit films: Affair in Trinidad (1952) with favorite co-star Glenn Ford; and in 1953 had two films released: Salome, with Charles Laughton and Stewart Granger; and Miss Sadie Thompson, with José Ferrer and Aldo Ray. Her performance in the latter film won critical acclaim.

She was off the big screen for another four years, due mainly to a tumultuous marriage to the singer Dick Haymes. After making Fire Down Below (1957) with Robert Mitchum and Jack Lemmon, and her last musical Pal Joey (1957) with Frank Sinatra and Kim Novak, Hayworth finally left Columbia.

She received good reviews for her acting in Separate Tables (1958), with Burt Lancaster and David Niven, and The Story on Page One (1960) with Anthony Franciosa. She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons.^[26] She continued to act in films until the early 1970s. She made a well-publicized 1971 television appearance on The Carol Burnett Show. Her last film was The Wrath of God (1972).

Beauty[link]

Hayworth was a top glamour girl in the 1940s, a pin-up girl for military servicemen and a beauty icon for women. At 5'6" (168 cm) and 120 lb (55 kgs)^[27] she was tall enough for her height to be a concern for dancing partners such as Fred Astaire. Hayworth got her big motion picture break because she was willing to change her hair color, whereas other actresses were not. She reportedly changed her hair color eight times in eight movies.^[28]

In 1949 Hayworth's lips were voted best in the world by the Artists League of America.^[29] She had a modeling contract with Max Factor to promote its Tru-Color lipsticks and Pan-Stik make-up.

Barbara Leaming writes in her biography of Hayworth, If This Was Happiness: A Biography of Rita Hayworth (1989) that, due to her fondness for alcohol and the stresses of her life, Hayworth aged before her time. Re-appearing in New York in 1956 to begin work on her first film in three years, Hayworth was described by the following: "despite the artfully applied make-up and shoulder-length red hair, there was no concealing the ravages of drink and stress. Deep lines had crept around her eyes and mouth, and she appeared worn, exhausted, older than her thirty-eight years." ^[30] Leaming wrote that during the filming of Fire Down Below, Hayworth heard a comment that she should hurry up as "no amount of time was going to make her look any younger."^{[citation needed]} In San Francisco the following year filming Pal Joey, she was signing autographs when she heard a fan say, "She looks so old."^{[citation needed]}

Personal life[link]