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Welles’s film noir was a last-ditch attempt to save Hollywood's golden couple – instead, it put paid to their troubled marriage

It’s time to be aware of widows and galvanize the unique support that they need.

℘℘℘ Her mother, the improbably named Volga, was an ex-Ziegfeld Girl, born to a printer, Allynn Hayworth, and his wife, Maggie O’Hare, the daughter of Patrick and Bridget O’Hare, immigrants from Ireland. Her father, Eduardo Cansino, as black-hearted a villain as ever lived (saving a few of her husbands), was an exotic Spanish dancer and son of the man who introduced a sensuous dance, the Bolero, to Americans. Her parents settled into a humble Brooklyn apartment where she was born in 1918. Volga wanted to name her daughter Margaret after her mother, but Eduardo insisted on Carmen. The...

By Hope Davis Rita Hayworth and “Gilda” (1946) were my first loves of 1940s cinema and film noir. Hayworth, my favorite old Hollywood star and the lock screen on my phone, secured her “bombshell” status in this film. This role has cemented Hayworth as an icon of its decade and the “femme fatale” archetype. I found Hayworth captivating from my first watch, and while I don’t pretend to be a great judge of acting, I think her performance brings humanity to Gilda’s otherwise villainized character. This is not a feminist movie, but I indulge in my own feminist interpretation or re...