The Loveliest Rita

She may not have been a meter maid, the one so adoringly described by Paul McCartney in the 1967 ditty from The Beatles' highly acclaimed "Sgt. Pepper's Lonely Hearts Club Band" album, but she was made for stardom. One of several performers who emerged from the Golden Age of Hollywood as a timeless icon, Rita Hayworth left behind a legacy that has transcended the silver screen to remain culturally relevant to this day. More than just an actress or a pin-up girl whose beauty inspired GIs' dreams and broke hearts during World War II, Rita's place in history has been cemented on the Hollywood Walk of Fame, on the American Film Institute's 100 greatest legends list and in a 1944 musical that forever immortalized her breathtaking image on the front page of a magazine.

Although Metro-Goldwyn-Mayer (MGM) is often considered to be the motion-picture studio with the grandest productions and "more stars than there are in heaven," the producers at Columbia Pictures had a trick or two up their sleeves when they cast Rita alongside dancer-extraordinaire Gene Kelly and comedic entertainer Phil Silvers in Cover Girl, bringing to life a sumptuous treat, the studio's first Technicolor release, filled with showstopping dance numbers and a wardrobe of elaborate costumes that effortlessly bridged the gap between past and present. A superb soundtrack from composers

Ira Gershwin and Jerome Kern would also mark a turning point in movie musical history as the songs were integrated into the plot, no longer serving as mere entertainment but intentionally moving the story along.

While Rita seemed like a shoo-in to play the dual role of turn-of-the-century showgirl Maribelle Hicks and modern chorus girl Rusty Parker — having starred in three other musicals in years prior — Gene Kelly was the dark horse who truly had his work cut out for him. On loan from MGM while another production was delayed, Gene had to prove that he had what it takes to not only play the leading role of nightclub manager Danny McGuire but to choreograph the film alongside the talented Stanley Donen — an opportunity not yet granted to him by MGM. Despite a few setbacks on the set, Gene did not disappoint; Columbia Pictures had truly discovered gold when Cover Girl became a hit thanks in part to his remarkable contributions. But despite its streak of good fortune, the studio could not contain the so-called lightning in the bottle, which seemed to strike on the sole occasion, as Gene returned to his parent studio and soared to greater heights.

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*Contains spoilers*

The undeniable chemistry between Gene's Danny and Rita's Rusty made for a winning formula as the two entertainers, yoked professionally and romantically, struggle to keep their relationship afloat amid a career seemingly destined to take off full steam ahead. When we first meet Rusty during the humorous and light-hearted "The Show Must Go On," we don't necessarily pick the redheaded beauty out of the crowd. She is one of many in a lineup of showgirls who perform with plenty of enthusiasm but are lacking the refinement needed to make it out of Brooklyn and to the big league. It's not until we follow Rusty to the sleek and sophisticated offices of the Coudair Publishing Company that we realize there's something quite different and irresistible about her.

Surrounded by a room full of hopefuls who are all seeking the same opportunity — a chance to become the face of Vanity magazine's upcoming wedding issue — Rusty is truly captivating. Her stunning looks and otherworldly presence demand immediate attention even as her poise and gentle demeanor slowly gain the audience's admiration. The reserved way in which Rusty carries herself paints a stark contrast to the over-the-top behavior of her colleague Maurine Martin (Leslie Brooks), who is also in the running. Until Maurine jeopardizes Rusty's chances for consideration with the magazine publisher's assistant, Cornelia Jackson (Eve Arden), with bad advice, there is no doubt that she can become a top contender for the highly sought-after cover. Rusty's saving grace, perhaps a higher power lending a helping hand, is her uncanny resemblance to her beloved grandmother, Maribelle.

Setting the tone of the picture, Rita Hayworth embarks on a journey through time, capturing the essence of two women whose lives are so closely intertwined. The cleverly staged "Who's Complaining" number, led by the character of Genius (Phil Silvers) against a playful backdrop of cartoonish landscapes, finds Rusty catching the eye of the magazine publisher himself, John Coudair (Otto Kruger). A flashback follows after John remembers his past and draws upon his mysterious connection to Maribelle, a revelation that transforms a memory into a performing stage complete with a whimsical racetrack at the turn of the twentieth century.

An absolutely gem of a presentation, "Sure Thing" generously delivers eye-catching outfits, dapper gentlemen, meticulously painted moving set pieces and an overall infectious and memorable dose of good old-fashioned fun to Cover Girl's repertoire.

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Gene Kelly had surpassed all expectations with his creative and innovative approach to dancing without the physical confines of a soundstage when he choreographed a sequence that foreshadowed two famous numbers that would grace the silver screen at MGM years later. Finished with their search for a pearl in an oyster — a weekly ritual that takes place at a local bar — Danny, Genius and Rusty attempt to cheer each other up with a rousing rendition of "Make Way for Tomorrow," their spirits at an all-time high as they laugh, tell jokes, pick up a few props along the way and frolic down the streets of Brooklyn and well into the night. Whether this is intentional or purely coincidental, "Make Way for Tomorrow" is a premonitory and subconscious nod to both the popular "Good Morning" scene, brought to life by leading characters Don Lockwood (Gene), Kathy Selden (Debbie Reynolds) and Cosmo Brown (Donald O'Connor), who seem to share their counterparts' sentiments, and Don's iconic solo, policeman and all, in 1952's Singin' in the Rain.

Another highlight of Gene's contribution to Cover Girl is "Put Me to the Test," an all-sensory extravaganza that immerses the nightclub in color and song as Danny and Rusty get ready to take the stage for their showstopping duet. In this scene, Rita proves herself a highly formidable partner alongside one of Hollywood's greatest dancers. There is admiration and devotion between both characters as they celebrate the spirit of love, but the hope-filled and positive note on which the performance ends is temporary. For like a season that changes from summer to fall, "Long Ago and Far Away" — perhaps one of the greatest melodies with the most haunting lyrics ever written — arrives to foreshadow the potential for loss and longing the two have yet to encounter, a feeling temporarily subdued but not completely forgotten for the remainder of the film.

Rusty and Danny's commitment to each other and their nightclub are indeed put to the ultimate test with the arrival of producer Noel Wheaton (Lee Bowman). Smitten by the cover girl whose talent is just as profound as her beauty, Noel makes Rusty a lucrative offer. The choice to leave for the Broadway stage or stay with the man she loves seems like an easy one for Rusty — until Danny makes an important decision of his own. Utilizing trick photography and superimposition, yet another innovative approach to choreography taken during Cover Girl, Gene depicts Danny's emotional duress and internal struggle during the cinematic masterpiece known as the "Alter Ego" dance.

When filming the sequence, Stanley Donan took a break from choreography to sit behind a stationary camera, poised to capture Gene's movements from strategically marked locations. Once the set was painted in black, Gene recreated the movements for his alter-ego counterpart so that the secondary footage could be printed within the same frame as the first. A costly endeavor for Columbia Pictures, Gene and Stanley's inventive contribution was worth the effort, taking Cover Girl's mastery — a far cry from the film's lukewarm origins — to the next level.

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The correlation between Rusty and her grandmother grows stronger as Cover Girl's story continues, drawing parallels between their professional aspirations and senses of personal fulfillment. As John continues reminiscing about his romantic past, he recalls how Maribelle truly felt about him, expressing her sentiments about her well-to-do suitor and his family on certain occasions. Although Maribelle is clearly taken care of and provided for, at least in the financial sense, she feels criticized, even rejected, by John's mother. Unimpressed with the hospitality she has been shown so far, Maribelle lets her fiancé know how she feels during a tongue-in-cheek song called "Poor John," sung in a British accent as a tribute to the original version performed by Vesta Victoria, an English music-hall entertainer. The costumes worn by the dancers in the number, adorned by pearls to resemble outfits worn by street performers in the 1900s, closely resemble (and may have inspired) those that were visible in "Supercalifragilisticexpialidocious" from Walt Disney's Mary Poppins.

While "Put Me to the Test" and "Alter-Ego" are strong contenders for the best musical presentations, both superb in terms of staging and execution, the momentum continues to build until the very end of the 1944 motion picture. Despite each consecutive number's attempt to surpass and outdo its predecessors, the most impressive and unforgettable scene outperforms them all. "Cover Girl," the film's title track, focuses a larger-than-life camera lens on an assembly of beautiful and vibrant women, all taking turns to grace the covers of popular magazines. The scene, serving as yet another bit of inspiration for "The Girl on the Magazine Cover" in 1948's Easter Parade, acts as a precursor to properly introduce and spotlight Rusty — the star of the show — shining brightly in a Ziegfeld-inspired world that blurs the line between fantasy and reality.

Unlike Maribelle, whose career is impacted directly by the goings on of her personal life, as evident in "Poor John," Rusty seemingly dances her way into a happily-ever-after scenario in "Cover Girl." The story's insinuation that Maribelle may not end up with the Coudair heir doesn't make her decision about a lifelong partner any easier, but it's hard to tell whether Rusty will follow in her grandmother's footsteps or choose a different path. At least for the time being. The irony between both situations, unaffected by time, is not lost on John as he walks down the aisle twice and accepts a fate that may not have his best interests in mind.

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Cover Girl's transformation from a musical into a masterpiece is commendable when one considers the uneasy road the film took in getting where it needed to go. In "Gene Kelly: A Life of Dance and Dreams," author Alvin Yudkoff describes many of the issues and triumphs that plagued the 1944 release before and after production. From the onset, Gene knew that he would receive second billing to Rita Hayworth and be typecast to play the part of a nightclub owner, a slight improvement on the Pal Joey character he portrayed on the stage before his foray into Hollywood. Columbia Pictures' head and production director Harry Cohn was less than enthusiastic to work with the Irishman, calling him too short and too temperamental — in his opinion, a troublemaker. In return, Gene thought that the early script and opening number, "The Show Must Go On," were too weak, and his outspoken manner in criticizing certain aspects of the production, plagued by budgetary constraints, did not sit well with director Charles Vidor.

As tough and uncompromising as Gene seemed to be, he never backed away from a challenge — especially one that required him standing up for what he believed in. Gene's support of Rita Hayworth, who was threatened by her ex-husband even as she was on the verge of marrying the legendary Orson Welles and being inappropriately approached by Harry Cohn, was particularly noteworthy. Doing what was in his power to make her feel safe and comfortable, Gene — with the help of Phil Silvers — made Rita's time on the "Cover Girl" more enjoyable. It is perhaps these collective efforts, and the rapport that ensued as result, that made the "Make Way for Tomorrow" scene so genuinely enjoyable.

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If there is ever to be a sole criticism of Cover Girl, it's that the film's ending and the moments leading up to it are not satisfying as they should be. Danny's bold move to shut down the nightclub and entertain the troops seems hasty and selfish, especially with regard to all the chorus girls who are out of jobs. A much-anticipated reunion between Danny and Rusty is interrupted by Genius, whose presence, though well-meaning, feels like that of a third wheel, and the final scene — as a result — feels comical and rushed. Despite all of the emotions that have been poured into the storyline, the motion picture doesn't quite make it to the final stretch.

With or without Genius, the spotlight eventually fades over Rusty Parker even as Danny's tale continues well into the 1980s. In Xanadu, a film that has gathered a cult following since its initial release, Gene Kelly plays a former nightclub owner who is, coincidentally, named Danny McGuire. A clarinet player instead of a dancer, the aging entertainer reminisces about the good old days of showbusiness and thinks fondly of the muse who inspired him so many years ago. If one is to assume that the muse in question is Olivia Newton-John's Kira, it's safe to say that Rusty either passed away or parted ways with Danny at some point in the future. Whatever the case or true identity of said nightclub owner may be, musical fans are likely to appreciate the affirming nod that is given in acknowledgement of Gene Kelly's work in Cover Girl.

Rita Hayworth's presence outside of the 1944 musical is just as extraordinary as Gene Kelly's, spanning across decades as fans and industry peers remember and honor her in surprising and unexpected ways. Mafia boss' Michael Corleone's bodyguard shouted Rita's name for all GIs to hear during a scene in 1972's The Godfather. Lynda Carter, the original Wonder Woman, paid tribute to the legendary actress in a 1983 biopic. Posters of the redheaded beauty along with a screening of her popular film, Gilda, made an appearance in 1994's The Shawshank Redemption. But cinematic references are just the beginning, and Rita's ethereal presence is not limited to the screen alone. While music icon Madonna made a reference to the star's good face in "Vogue," one of her most iconic hits, The White Stripes' lead singer, Jack White, drew inspiration from Rita when penning two tracks for the band's 2005 album release. Regardless of how or when an artist chooses to remember Rita, her name and likeness will forever be engrained within popular culture and preserved in a way that ensures new generations will stumble upon her — just like John Coudair when he found the ultimate cover girl.