Rita Hayworth

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1942 Oscar Trophy Sells For $79,200 At Auction, Who's The Buyer?

Rita Hayworth

An Oscar trophy dating back to 1942 has been sold at auction for $79,000, a figure far above the auctioneers estimate of $5,000 - $30,000. The iconic, shining award, which was given to Joseph C. Wright at the 15th Academy Awards, was bought by an unnamed buyer, though the auction house has teased that we "would recognize the name."

At the 1943 ceremony honouring films released the previous year, Wright picked up the award for his color art direction for the 1942 musical My Gal Sal which starred Rita Hayworth and Victor Mature. Wright received 12 Academy Award nominations and won twice. After Wright died in 1985 at the age of 92, the Oscar was passed on to his nephew, according to The AP.

The auctioneers are remaining tight-lipped over the identity of the buyer, leading to inevitable speculation regarding whether an A-list actor or filmmaker made the nostalgic and rare purchase to celebrate the days of Old Hollywood.

Continue reading: 1942 Oscar Trophy Sells For $79,200 At Auction, Who's The Buyer?

Gilda Review

Very Good
The definitive Rita Hayworth vehicle is this film, Gilda, her most famous film, shot when her career was beginning to slow down. Whether dancing, singing, or tempting a pair of men in an Argentine casino, Hayworth is a burning presence in ever scene -- every scene she's in, anyway. Hayworth is absent for the first 22 minutes of the movie, during which Charles Vidor sets up a plot about a troublesome gambler (Glenn Ford) who later enters into Gilda and her rich husband's life. Oh, and they have a past together, too. I could forget Ford, but Hawyworth deserves all the attention she gets throughout the film.

Separate Tables Review

Extremely overrated, Separate Tables stands as a so-called "classic" of the 1950s (look at that cast!) but its story is so dull that it's hard to get interested in all the pendantic romances of a group of people at a sleepy off-season resort hotel. Lancaster steals the show, but that's not saying much. The over-emotional score is way too much, as well.

The Lady From Shanghai Review

Orson Welles directs a fairly stereotypical 1940s tale of noir, with himself in the lead role as a penniless Irish sailor who gets caught up in a love affair with a rich man's wife (Rita Hayworth, Welles' real-life wife at the time) and a plot to fake the murder of the man's law firm partner. Convoluted and roughly edited, Welles' signature photography is stamped all over the film, but his usual savvy sense of plot and character development is lacking. The film unfortunately never wholly comes together, most notably during one of the most tepid, poorly-constructed courtroom sequences on film. The ending, however, a shootout in a hall of mirrors, is unforgettable and has since been widely copied.
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