The Many Lives of Rita Moreno: Veteran performer reflects in latest documentary

During her entertainment career that spanned 70-plus years, Rita Moreno saw and achieved plenty. Not only is the Berkeley resident in the rarified EGOT class of having won all four major entertainment awards—Emmy, Grammy, Oscar and Tony—she is actually a KEGOT, having received a Kennedy Center Honor in 2015. She’s also only one of 24 people to have nailed the Triple Crown of Acting, with individual Academy, Emmy and Tony Awards. She and Helen Hayes are the only two people who have achieved both EGOT and the Triple Crown. In addition, Moreno received the 2004 Presidential Medal of Freedom—the country’s highest civilian honor—and was awarded the Peabody Career Achievement Award in 2019. Her filmography includes appearances in a slew of Hollywood classics including 1952’s Singin’ In the Rain, 1956’s The King and I and, most famously, 1961’s West Side Story, where she became the first Latina to win an Oscar for her role as Anita. All the doors she kicked down in television, film and stage—for other Latinos like Lin-Manuel Miranda—led to the Hispanic Organization of Latin actresses (HOLA) renaming their highest honor the HOLA Rita Moreno Award for Excellence, back in 2000.

But for all these achievements, no one ever approached the woman born Rosa Dolores Alverio Marcano about being the subject of a documentary. That is until Brent Miller, a producer on the Latino-flavored Netflix reboot of One Day At a Time, where Moreno played the matriarch Lydia Margarita del Carmen Inclán Maribona Leyte-Vidal de Riera, approached the octogenarian actress about just such a project. And while any other person with these accomplishments might jump at the chance, it wasn’t something the ever-humble Moreno ever considered.

“Brent came to me and asked if anyone had come to me and asked about doing a documentary, and I said, ‘No,’” she said with a laugh. “He just stared at me and said, ‘Never?’ I said, ‘No, and why would anybody ask me?’ He said, ‘Why would anybody ask you? With the life you’ve led.’ And I said, ‘What life have I led?’ Really, I said things like that because when you live your life it’s not something you think of that could even end up being a community service to people at large. You don’t think of that. You can tell by the documentary that I’m not a person who is affected. There is nothing about me that is pretend. He asked me if I’d like to do one and I really wasn’t sure. I honestly didn’t believe I would be that interesting.”

Even after that initial conversation, Moreno wasn’t keen on embarking on a project like this, despite being someone who self-admittedly loves the attention being a performer gives her; after all, “Any actor that tells you that they don’t appreciate attention is a liar.” A year passed before she signed off on being the subject of “Rita Moreno: Just a Girl Who Decided to Go For It,” the latest installment of PBS’ American Masters Series set to get its exclusive U.S. broadcast premiere on Oct. 5 in honor of Hispanic Heritage Month. Adding juice to the proceedings are executive producers Norman Lear and the aforementioned Miranda, both of who are among the interviewees that include Hector Elizondo, Gloria Estefan, Morgan Freeman, Mitzi Gaynor, Whoopi Goldberg, Eva Longoria, Justina Machado, Terrence McNally and others.

But before she took the plunge, the Puerto Rican native had some conditions. It had to be directed by a female director and it had to be honest. The first proviso was achieved when Mariem Pérez Riera, whose son Marcel Ruiz—who played Moreno’s grandson Alejandro on One Day At a Time—filled the director’s chair. As for the latter condition, this 90-minute documentary is unfailingly and brutally honest in a tone set by its subject and one not dissimilar to that found in Moreno’s 2011 autobiography Rita Moreno: A Memoir. The major takeaway for the documentary is that it’s a project Moreno absolutely felt had to be done given the times.

“What happened is something that hadn’t really crossed my mind or that of the director—is how relevant this documentary is,” she said. “It is so connected to right now and in a terrible way, because things have changed and they have not changed. That is what is so maddening.”

Like the book, “Just a Girl” traces Moreno’s idyllic early years growing up poor in the rural environs of Humacao, Puerto Rico, with her seamstress mother Rosa María and little brother Francisco. It was here that the future film star, known as Rosita, first found a love of performing for her maternal grandfather Justino.

“That’s really what started it—the fact that my abuelito used to play records and say, ‘Rosita, do something,’” Moreno said. “I’d start swishing my little booty around and dancing. He would applaud and laugh and I thought, ‘I like this a lot.’ I loved the attention it got me.”

When she was five, little Rosita wound up hopping on a ship with her mother and heading to New York City, leaving her brother behind. She’d never see him again. Arriving in 1936 in the dead of winter, mother and daughter endured not only seasonal contrast, but that of being the “other” in a world where Puerto Ricans were looked down on. Growing up in the Bronx, Washington Heights and a brief stint in the then-rural Long Island community of Valley Stream, she continued to experience exclusion, even after making her Broadway debut, at age 12, in a production called Skydrift. And while “Just a Girl” could have easily gone down the hagiographic path of “scrappy Latina fights and scrapes her way into a happy ending,” it is unsparing in reflecting the tremendous trauma, emotional pain and horrific episodes she endured that led to a suicide attempt and significant therapy. Pérez Riera used an animated paper doll as a major narrative device throughout the documentary to reflect the insecurity of Little Rosita in a way the older Rita Moreno carried through much of her adult life. It was a creative stroke Moreno adored.

“This beautiful concept of the paper doll being little Rosita—that is so winning,” Moreno said. “I just love what she did with it by politicizing it in a very interesting and good way. She brought in academic women to talk about and clarify the kind of life I was living because of the times. That was brilliant, and I think that’s what makes the documentary really important and relevant. In the final analysis, it’s not about me or the celebrities that are in it so much as it is what the academic women say about those times. That, alone, made it into a completely different and original kind of biographical documentary.”

The move to Hollywood with her mother exposed Moreno to many more indignities. Sexual objectification was a constant. Among the most searing anecdotes is one about Columbia Studios head Harry Cohn, described by Moreno as “a distinctly vulgar and crude man,” being introduced to her at a cocktail party and after giving her the once-over saying, “You know, I’d like to fuck you.” The shock and revulsion on Moreno’s face was immediate, nearly seven decades later, as she said it was probably the third time in her life she had heard that word used. “And what did I do?” she said. “I giggled like an idiot and just backed away.”

That particular story concluded with Moreno’s host asking her to dance, where he proceeded to press up against her “very very hard … and he started to not just press against me, but grind, and he actually said, ‘You’re a sexy little bitch, aren’t you?’” And that’s only at the documentary’s 20-minute mark, where Moreno is also filmed watching the broadcast of Christine Blasey Ford testifying about Brett Cavanaugh’s alleged high school sexual misconduct during his Supreme Court confirmation hearing. Moreno admits that the combination of the times and her cultural upbringing dictated how she navigated this kind of horrific misogynistic behavior.

“I was brought up by a mom who said I should listen to men because they know everything and you don’t,” she said. “And if someone who is a man tells you to do something, then you do it. You had to be polite and respectful. That was Puerto Rico. That was Mamí. That didn’t make her a bad person. This is the way she was brought up, and she didn’t know any better.”

Also disturbing were the casting choices Moreno’s studio handlers made for her, where, as a person of color, she was thrown into ethnic roles that demanded she be Polynesian, Native American, Egyptian or Asian. It was a situation that took a significant toll on the young actress.

“When I came out to Hollywood, I went there under contract to MGM and that was a hard, hard, hard time,” she said. “I already didn’t feel so good about myself anyway because of my experiences in New York. It was a very different time. Whenever I wasn’t working, I’d be so sad and panicked. And then when I was working, I’d be thrilled for one day, and then I’d look at the script and it would be an American Indian girl or some Lolita/Conchita part, and then I would get sad again. It was just really difficult. All of that sent me into therapy years later, and that’s the best thing I ever did for myself.”

The documentary also sheds light on Moreno’s personal life, touching on the dysfunctional relationship she had with Marlon Brando, which included an abortion and a suicide attempt. And her 45-year-marriage to cardiologist and former manager Leonard Gordon, a union that yielded daughter Fernanda Gordon Fisher and two grandsons. While the relationship is portrayed in the documentary as being loving via sunny memories and a clip of Moreno discussing her 19th anniversary with Joan Rivers on The Tonight Show, Moreno followed up that footage by saying, “We were really not a good couple.” It’s a shocking revelation, and the honest response was undoubtedly a difficult conversation to have, particularly given how close she is with her daughter.

“It was not something I wanted to burden [Fernanda] with, because what are you going to do about it?” Moreno said. “What was I going to say? ‘Your father is impossible. He tries to control me.’ What is she going to do about that except feel terrible, because she was a real daddy’s girl? He was a very loving and thoughtful parent and grandparent to the boys. So I had to keep it to myself. But it was really hard. After he passed away, we started to talk. It always bothered me that he didn’t like that part of me he found to be kind of a little crass and vulgar. I love that it also connotes other things. We’re warm and giving people. We are all of those things as well. That’s part of my Hispanic nature. It’s absolutely so that I was all of those things. But I sure loved life. That was never a question.”

Moreno’s next move is a Steven Spielberg/Tony Kushner reboot of West Side Story set for release in December. In it, Moreno is not only an executive producer, but plays the role of Valentina, the candy store owner, a character originally called Doc and played by the late Ned Glass. The sensitive approach both men took in ensuring cultural and historical sensitivity has Moreno thrilled, particularly in contrast to the experiences she had with the original film.

“Tony Kushner and Spielberg are killing themselves and literally twisting themselves into pretzels trying to get it right,” she said. “These are the people who reached out to the University of Puerto Rico and told them they were going to do this movie and they wanted the Puerto Ricans’ input. They wanted to ask everyone to come and do a panel where they asked questions, and if they didn’t like the original, tell us why and how we can improve [on this reboot]. I think they did this twice. They worked so hard to be as honest, fair and realistic as they could be. I can tell you these kids were so prepared, unlike us. Let’s face it, the original was Romeo and Juliet In the Ghetto. The original was a brilliant concept, and it was what it was. If it wasn’t for that, we wouldn’t be here doing this movie, right?”

“American Masters—Rita Moreno: Just a Girl Who Decided to Go For It” debuts Oct. 5 and will be available for streaming concurrently with broadcast on all station-branded PBS platforms.
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