|There's no crying in Argentina!|
|Two sketches for Rita Moreno's character.|
The over-three-hour NBC/USA production would shown on television in the United States, but released Internationally by Paramount as a feature film. Travilla would create sixty-seven costume changes for Miss Dunaway costing over $250,000, with $13 million worth of Harry Winston diamonds loaned (along with four armed security guards.)
Then there were the thirty-six changes for Mr. Farentino, several for Miss Moreno and various other cast members and extras - it took two sewing departments, five tailors, five seamstresses, and seven wardrobe assistants to achieve the 1940s "look" needed.
|Script breakdown of scenes by years.|
|Various streetwalker ideas. Notice the repeated use of green.|
Travilla remembers their first meeting at Dunaway's penthouse apartment overlooking Central Park. "I arrived for my interview and upon exiting the private elevator in the foyer, the first thing I saw were the three remaining walls covered in framed sketches from Faye's favorite designers. At that point I thought "Oh Hell, I'm dead." . But I was determined to at least show her my drawings. I wanted to work on the series because it was a wonderful showcase for clothes."
|Several in various shades of browns.|
Dunaway "wore wonderful white lounging pajamas with thongs." he recalls. "her hair was flying' she was relaxed, casual, charming." The meeting lasted for three hours, Faye was delighted with the sketches and Travilla got the job. He looked forward to their next meeting when production began in Mexico. But when she arrived on the set, the spell of Evita was upon her. She was stronger, cooler, more controlled.
|Nightgown minus sheer robe on display in Palm Springs 2009.|
|Alternative version on left to film final on right.|
|Possibly one the suit mentioned above in this trio.|
The director, Marvin Chomsky (Roots) eventually calmed him down by explaining that the entire crew was in the same position as he - they were no longer directing an actress, but First Lady Peron herself, telling Travilla "She becomes more like that woman every day. But Bill, she's magnificent."
Privately, Travilla said Faye as "A very tough lady, and each day she got tougher." But publicly he was more gracious: "Perhaps she was difficult, but worthwhile. It's because she was really into her role. Faye not only wears my costumes beautifully, she becomes the character and is glorious in those clothes." He added, "She reminds me of Joan Crawford, whom I designed for in 'Flamingo Road' in 1949." A rather ironic statement as Dunaway's next role was as Crawford in the (now) camp classic Mommie Dearest.
Travilla was nominated for the 1981 Emmy for Outstanding Costume Design for a Special, losing to a PBS Ballet of Shakespeare's "The Tempest."
Zephyr Productions company that financed the $8 million film was owned by the late actor Gary Coleman, child star of Different Strokes.
|Production sign from filming.|