Showing posts with label Hair. Show all posts
Showing posts with label Hair. Show all posts

Wednesday, September 17, 2008

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!

Saturday, January 19, 2008

Wow--Stage 6 Studio

I stumbled across an amazing new site for websurfing cinema buffs--theorists, cineastes, and film-geeks alike; it is called Stage 6 and it features high resolution clips and trailers.

nota bene: you may have to download and install divx software to see these clips!
warning: some of these files are huge and will take ages to load if you are not on a decent broadband server.

Here's a scene from Gilda starring Rita Hayworth, aka Margarita Carmen Cansino--it's the pivotal scene from the film where Gilda's erotic theatrics un-nerve Glenn Ford, pushing his confused character, Johnny Farrell, a bi-sexual grifter, to the breaking point!



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