Rita Hayworth, Charles Vidor, Gilda | When Electrolysis Proxies for the Existential

updated

ORIGINALLY POSTED 2/20/07


Tex[t]-Mex's oldest chapter, the one that started it all in a way, features a mouthful of a moniker that goes by the name of "When Electrolysis Proxies for the Existential: A Somewhat Sordid Meditation on What Might Occur if Frantz Fanon, Rosario Castellanos, Jacques Derrida, Gayatri Spivak, and Sandra Cisneros Asked Rita Hayworth Her Name at the Tex[t]-Mex Beauty Parlor."

If I had the chapter to write over again, I think I would have spent many more pages teasing out the allegories implicit in the Charles Vidor 1946 Rita-vehicle Gilda. Seen here, in an image whisked away from Dr. Macro's inimitable site, is the face (or is it 'faces'), that launched an existential and follicular crisis in the history of Latina figuration. The electrolysis-assisted odyssey that lead "Mexican" Margarita Carmen Dolores Cansino to Hollywood bombshell Rita Hayworth, is one for the ages.

Additionally, in a clip here from via TCM that I wished I could have embedded in my book, I have also included the infamous "Mame" sequence from Gilda.


Don't think for a second that Rita (aka Margarita Carmen Dolores Cansino) and Vidor, the director, are not aware of the irony of the song's lyrics.

Here, in a picture from last year, your Tex[t]-Mex Galleryblogger reveals his affections for Margarita Dolores Cansino!