Cary Grant: A Celebration
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During Cary Grant's long life a great deal of testimony accumulated. Even early in the search for him, it can be established that he had a dark side and a light side. The source of Cary's art, argues Schickel, lay in his ability to colour his comedy with malice and self-absorption. The reverse was true also - he seemed easily able to get a laugh even in the midst of dramatic tension. This most private of men was an open actor, a performer willing to try anything to make a scene work. It is perhaps because he was able so artfully to reveal so much of himself in this way that he revealed almost nothing of himself under direct questioning. This tribute to Cary Grant's art is based on a re-evaluation of all his films and a re-interpretation of all the biographical information. Schickel maps the intersection where the man's personal history and his screen personality met.
contributed something to the manic spirit of screwballism). Elegant apparitions. Grant and Constance Bennett as the ghostly, cheerful George and Marion Kerby in Topper (1937). People at Kaufman’s level could drop in on Hollywood when the price was right without loss of critical regard or social status. They could also afford to come home and write satires of it like Once in a Lifetime, which, sweet irony here, they could then sell to the movies. But the younger and/or less successful members
verbal comedy and farce. The Warriners love each other in the tender, exasperated, bantering way that was established as the proper form of sophisticated address for married pairs by Nick and Nora Charles. They also have a dog, Mr Smith (the same wire-haired terrier that worked in The Thin Man series), who provides them with the opportunity to have a goofy custody fight that is devoid of the discomfort one would feel if the dog were actually a child. Mr Smith also provides Jerry with an
is a man picking his way through a minefield. And he brings a grace bordering on the gallant to the pathos of the concluding passages. Despite the movie’s relative lack of success he had quietly expanded his territory. In Name Only. Director John Cromwell’s dark romance is one of Grant’s most underrated films. It is the story of an unhappily married man who meets the woman who can change all that (Carole Lombard) on a riding trail, wins her, then almost loses her when his wife refuses to give
Zeisler SCENARIO John L. Balderston; from a story by E. Phillips Oppenheim PHOTOGRAPHY Otto Heller CAST Ernest Bliss (Cary Grant); Frances (Mary Brian); Sir James Aldroyd (Peter Gawthorne); Lord Honiton (Henry Kendall); Dorrington (Leon M Lion); Masters (John Turnbull); Crawley (Arthur Hardy); Clare (Iris Ashley); The Buyer (Garry Marsh); Giuseppe (Andrea Malandrinos); Montague (Alfred Wellesley); Mrs Heath (Marie Wright); Mrs Mott (Buena Bent); Scales (Charles Farrell); Bill Bronson (Hal
Guiol; story by Ben Hecht and Charles MacArthur, inspired by Rudyard Kipling’s poem Gunga Din PHOTOGRAPHY John H. August EDITORS Henry Berman and John Lockert CAST Cutter (Cary Grant); MacChesney (Victor McLaglen); Ballantine (Douglas Fairbanks Jr.); Gunga Din (Sam Jaffe); Guru (Eduardo Ciannelli); Emmy (Joan Fontaine); Colonel Weed (Montague Love); Higginbotham (Robert Coote); Chota (Abner Biberman); Major Mitchell (Lumsden Hare) RUNNING TIME 117 minutes RELEASE DATE 17 February 1939