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Celebrated Name:
Karl Ferrer
Real Name/Full Name:
Karl Ferrer
Gender:
Masculine
Age:
36 years old
Date of birth:
January 30, 1960
Place of birth:
N / A
Nationality:
N / A
Height:
185cm
Weight:
78kg
Sexual Orientation:
Just
Marital status:
single
Wife/Spouse (Name):
N / A
Children/children (son and daughter):
no
Date/Girlfriend (Name):
N / A
Is Carl Ferrer gay?:
no
Profession:
businessperson
Salary:
N / A
net worth:
1 million dollars
Last updated:
January 2021
Carl Ferrer is a businessman who was born on January 30, 1960. He is known for his work as a profession. Carl was working for the Backpage Company, where she was primarily involved in buying and selling sex, when federal law enforcement seized her in April.
If we talk more about Backpage, it is more ified as a promotional website that over time has grown into the largest marketplace for the sex business. Ase from his career, Carl’s information focused on his career rather than his life. Therefore, some of the essential information that may be relevant to his life may be missing.
You may know Carl Ferrer very well, but do you know how old and tall he is and what is his 2021 Net Worth? If you don’t know, we have prepared this article with details of Carl Ferrer Short Biography Wiki, Career, Working Life, Personal Life, Net Worth Today, Age, Height, Weight and more Facts. Well, if you’re ready, let’s get started.
Early Life & Biography
Unfortunately, we have no information about Carl’s life. According to research, the information proved is more related to what he does and some of the challenges he has faced in his career. Therefore, we have no information about his family, which includes his mother, father, siblings, or rather where he was born and raised. Not forgetting information about his education, ie the schools he attended.
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Personal Life
Information about Carl’s personal life is either unknown or he has chosen to keep it low-key. At the moment we are not aware of his relationships or his previous relationships. As such, we can’t give an account of his personal life at the moment, but would do so once Carl clarifies.
Age, Height, and Weight
Born on January 30, 1960, Carl Ferrer will be 60 years old on January 24, 2021. He is 185 cm tall and weighs 78 kg.
Career
Carl’s career was not as successful as expected as he faced most of the challenges that threaten his professional life. Carl is part of Backpage Company, best known for being the second largest online ifieds site in the United States. Backpage was launched a few years ago, in 2004 by New Time Media.
Backpage was a ified ad known for being the largest and most prominent marketplace for buying and selling sex when federal law enforcement seized it, which was in April 2018. The Backpages service came under investigation as it was suspected of being a hub for the sex trade of minors and adults.
Carl, who was the company’s CEO, was arrested along with the employees on charges of pimping a minor and conspiring to do the same. It sa Backpage was the main human trafficking channel to promote their product, which includes both adults and children for Johns. In summary, we can say that Carls’ career has not been as successful as one would have expected as a CEO.
Awards & Achievements
As per his career, Carl hasn’t been in the spotlight to receive any awards or nominations, but we still can’t ignore what he has accomplished in terms of his career. That he managed to get a higher position in his work, a lot still happens that cannot be assumed.
Net Worth & Salary of Carl Ferrer
Being in a good position and being part of one of the top rated companies automatically says a lot about your wealth. Unfortunately, according to research, very little information is known about him. His net worth is difficult to ascertain, but as of January 2021 it is around $1 million.
To at least approximate his net worth, we still don’t know what he owns; this includes the houses, cars or material possessions. Therefore, his net worth remains blank at the moment but it will be investigated and will be announced as soon as it is known.
In summary, having achieved a great position in his career, Carl makes it clear that he is good at his job. This means that he is a very hard working man and very capable of being able to reach a higher position. However, his career was not that successful, which does not he the fact that Carl has shown a good character in terms of success. As the CEO of backspace, one of the top-rated companies, it’s clear that it’s made a good amount of money.
Guimary Bio, Wikipedia, Age, Height, Weight, Family, Boyfriend and Networth
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Carl Ferrer’s Net Worth, Age, Height, Weight, Girlfriend, Dating …
Being born on, 30 January 1960 Carl Ferrer is 60 years old as of today’s date 24th January 2021. His height is 185cm tall, and his weight is 78 kg.
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Date Published: 1/27/2022
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Carl Ferrer Net Worth 2022: Age, Height, Weight, Girlfriend, Dating …
Carl Ferrer Net Worth 2022: Age, Height, Weight, Girlfriend, Dating, Bio-Wiki ; Real Name/Full Name: Carl Ferrer ; Gender: Male ; Age: 38 years old ; Birth Date: 30 …
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Date Published: 6/17/2021
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Carl Ferrer Net Worth, Height, Weight, Age, Bio 2022
Do you want to know about Carl Ferrer. In this writing, we have added the Carl Ferrer’s net worth, age, height, weight, girlfriend/affairs …
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Cary Grant – Wikipedia
Cary Grant was an English-American actor. Known for his transatlantic accent, debonair demeanor, light-hearted approach to acting, and sense of comic timing …
Source: en.wikipedia.org
Date Published: 11/9/2021
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Carl Ferrer Net Worth 2022 Age, Height, Weight, Girlfriend, Dating, Bio-Wiki
Realized Name: Carl Ferrer Real Name/Full Name: Carl Ferrer Gender: Male Age: 38 years Date of Birth: January 30, 1960 Place of Birth: N/A Nationality: N/A Height: 185 cm Weight: 78 kg Sexual Orientation: Straight Marital Status: Single Wife/Spouse (Name): N/A Children/Children (Son and Daughter): No Dating/Girlfriend (Name): N/A Is Carl Ferrer gay?: No Occupation: Businessman Salary: N/A Net Worth 2022: 1st Million US Dollars Last updated: May 2022
Carl Ferrer is a businessman who was born on January 30, 1960. He is known for his work as a profession. Carl was working for the Backpage Company, where she was primarily involved in buying and selling sex, when federal law enforcement seized her in April.
If we talk more about Backpage, it is more classified as a promotional website that over time has grown into the largest marketplace for the sex business. Aside from his career, Carl’s information focused on his career rather than his life. Therefore, some of the essential information that may be relevant to his life may be missing.
You may know Carl Ferrer very well, but do you know how old and tall he is and what his 2022 net worth is? If you don’t know, we have prepared this article with details of Carl Ferrer Short Biography Wiki, Career, Working Life, Personal Life, Net Worth Today, Age, Height, Weight and more Facts. Well, if you’re ready, let’s get started.
Early Life & Biography
Unfortunately, we have no information about Carl’s life. According to research, the information provided is more related to what he does and some of the challenges he has faced in his career. Therefore, we have no information about his family, which includes his mother, father, siblings, or rather where he was born and raised. Not forgetting information about his education, ie the schools he attended.
Personal life
Information about Carl’s personal life is either unknown or he has chosen to keep it low-key. At the moment we are not aware of his relationships or his previous relationships. As such, we can’t give an account of his personal life at the moment, but would do so once Carl clarifies.
age, height and weight
Carl Ferrer was born on January 30, 1960 and is 62 years old as of today, May 18, 2022. He is 185 cm tall and weighs 78 kg.
Career
Carl’s career was not as successful as expected as he faced most of the challenges that threaten his professional life. Carl is part of Backpage Company, best known for being the second largest online classifieds site in the United States. Backpage was launched a few years ago, in 2004 by New Time Media.
Backpage was a classified ad known for being the largest and most prominent marketplace for buying and selling sex when federal law enforcement seized it, which was in April 2018. The Backpages service came under investigation as it was suspected of being a hub for the sex trade of minors and adults.
Carl, who was the company’s CEO, was arrested along with the employees on charges of pimping a minor and conspiring to do the same. It said Backpage was the main human trafficking channel to promote their product, which includes both adults and children for Johns. In summary, we can say that Carls’ career has not been as successful as one would have expected as a CEO.
Awards & Achievements
As per his career, Carl hasn’t been in the spotlight to receive any awards or nominations, but we still can’t ignore what he has accomplished in terms of his career. That he managed to get a higher position in his work, a lot still happens that cannot be assumed.
Carl Ferrer Net Worth and Salary in 2022
Being in a good position and being part of one of the top rated companies automatically says a lot about your wealth. Unfortunately, according to research, very little information is known about him. His net worth is hard to know but as of May 2022 it is around $1 million.
To at least approximate his net worth, we still don’t know what he owns; this includes the houses, cars or material possessions. Therefore, his net worth remains blank at the moment but it will be investigated and will be announced as soon as it is known.
In summary, having achieved a great position in his career, Carl makes it clear that he is good at his job. This means that he is a very hard working man and very capable of being able to reach a higher position. However, his career was not that successful, which does not hide the fact that Carl has shown a good character in terms of success. As the CEO of backspace, one of the top-rated companies, it’s clear that it’s made a good amount of money.
Carl Ferrer Net Worth, Height, Weight, Age, Bio 2022
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Cary Grant
English-American actor (1904–1986)
For the voice coach and television presenter, see Carrie Grant
Cary Grant (born Archibald Alec Leach; [a] January 18, 1904 – November 29, 1986) was an English-American actor. Known for his transatlantic accent, easygoing demeanor, light-hearted approach to acting, and flair for comic timing, he was one of the defining leading figures of classic Hollywood from the 1930s through the mid-1960s.
Grant was born and raised in Bristol, England. He was drawn to the theater from an early age when he attended the Bristol Hippodrome. At the age of 16 he toured the USA as a stage artist with the Pender Troupe. After a string of successful performances in New York City, he decided to stay there. He made his name in vaudeville in the 1920s, touring the United States before moving to Hollywood in the early 1930s.
Grant first appeared in crime films or dramas such as Blonde Venus (1932) with Marlene Dietrich and She Done Him Wrong (1933) with Mae West, but later rose to prominence for his appearances in screwball romantic comedies such as The Awful Truth (1937) with Irene Dunne, Bringing Up Baby (1938) with Katharine Hepburn, His Girl Friday (1940) with Rosalind Russell and The Philadelphia Story (1940) with Hepburn and James Stewart. These pictures are often ranked among the greatest comedy films of all time.[6] Other well-known films he acted in during this period were the adventure Gunga Din (1939) and the dark comedy Arsenic and Old Lace (1944). He also began with dramas such as Only Angels Have Wings (1939) with Jean Arthur, Penny Serenade (1941) again with Dunne and None but the Lonely Heart (1944) with Ethel Barrymore; For the latter two, he was nominated for an Academy Award for Best Actor.
During the 1940s and 50s, Grant developed a close working relationship with director Alfred Hitchcock, who cast him in four films: Suspicion (1941) with Joan Fontaine, Notorious (1946) with Ingrid Bergman, To Catch a Thief (1955) with Grace Kelly and North by Northwest (1959), starring James Mason and Eva Marie Saint, with Notorious and North by Northwest receiving particularly critical acclaim. In the suspense dramas Suspicion and Notorious, Grant played darker, morally ambiguous characters. Late in his career, Grant received critical acclaim as a leading romantic actor and received five Golden Globe nominations for Best Actor, including Indiscreet (1958), again with Bergman, That Touch of Mink (1962), with Doris Day, and Charade (1963) with Audrey Hepburn. Critics remember him for his unusually wide appeal as a handsome, suave actor who didn’t take himself too seriously and was able to play with his own dignity in comedy without completely sacrificing it.
Grant was married five times, three of them eloping to actresses: Virginia Cherrill (1934-1935), Betsy Drake (1949-1962) and Dyan Cannon (1965-1968). He had one daughter, Jennifer Grant, with Cannon. He retired from film acting in 1966 and pursued numerous business interests, representing the cosmetics company Fabergé and serving on the board of Metro-Goldwyn-Mayer. In 1970 he was presented with an honorary Oscar by his friend Frank Sinatra at the 42nd Academy Awards, and in 1981 he received the Kennedy Center Honors. He died of a stroke on November 29, 1986 in Davenport, Iowa, at the age of 82. In 1999, the American Film Institute named him the second-biggest male star of Golden Age Hollywood cinema, behind Humphrey Bogart.
Early life and education[edit]
Grant was born Archibald Alec Leach on 18 January 1904 at 15 Hughenden Road in the north Bristol suburb of Horfield.[2] He was the second child of Elias James Leach (1872–1935) and Elsie Maria Leach (née Kingdon; 1877–1973). His father worked as a dressmaker in a clothing factory while his mother worked as a seamstress. His older brother, John William Elias Leach (1899–1900), died of tuberculous meningitis the day before his first birthday. Grant may have considered himself partially Jewish. [b] He had an unfortunate upbringing; his father was an alcoholic and his mother had clinical depression.
He had such a traumatic childhood, it was awful. I work with a lot of kids on the street and I’ve heard a lot of stories about what happens when a family breaks down – but his was just horrifying. – Grant’s wife Dyan Cannon on his childhood.[17]
Grant’s mother taught him to sing and dance when he was four and she was keen for him to take piano lessons. She occasionally took him to the movies, where he enjoyed the performances of Charlie Chaplin, Chester Conklin, Fatty Arbuckle, Ford Sterling, Mack Swain and Broncho Billy Anderson. He was sent to Bishop Road Primary School in Bristol at 4+1⁄2.
Grant’s biographer Graham McCann claimed his mother “didn’t know how to give affection, nor did she know how to receive it”. Biographer Geoffrey Wansell notes that his mother felt bitterly guilty for the death of Grant’s brother John and never recovered.[c] Grant acknowledged that his negative experiences with his mother affected his relationships with women later in life. She frowned on alcohol and tobacco and cut pocket money for minor mishaps. Grant attributed her behavior to overprotectiveness and feared that like John, she would lose him.
When Grant was nine, his father took his mother to Glenside Hospital, a mental hospital, and told him she had gone on a “long vacation”. he later stated that she had died. Grant grew up disliking his mother, especially after she left the family. After she was gone, Grant and his father moved into his grandmother’s home in Bristol. When Grant was ten, his father remarried and started a new family, and Grant did not find out that his mother was still alive until he was 31; his father confessed to the lie shortly before his own death.[17] Grant arranged for his mother to leave the facility in June 1935, shortly after learning of her whereabouts. He visited her in October 1938 after the shooting of Gunga Din had been completed.
Grant enjoyed the theatre, particularly pantomimes at Christmas, which he attended with his father. He befriended a troupe of acrobatic dancers known as “The Penders” or “Bob Pender Stage Troupe”. He then trained as a stilt walker and began touring with them. Jesse Lasky was a Broadway producer at the time and saw Grant perform at the Wintergarten Theater in Berlin around 1914.
In 1915 Grant received a scholarship to attend Fairfield Grammar School in Bristol, although his father could barely afford to pay for the uniform. He was quite capable in most academic subjects,[d] but he excelled in sports, particularly in the fives, and his good looks and acrobatic talent made him a popular figure.[35] He developed a reputation for mischief and frequently refused to do his homework. A former classmate referred to him as “a scruffy little boy,” while an old teacher recalled “the naughty little boy who was always making noise in the back row and never did his homework.” He spent his evenings working behind the scenes in Bristol theatres, and in 1917 at the age of 13 he was in charge of lighting the magician David Devant at the Bristol Empire to escape from domestic life. The time spent in Southampton increased his wanderlust; Desperate to leave Bristol, he tried to enlist as a cabin boy, but he was too young.
On March 13, 1918, 14-year-old Grant was expelled from Fairfield. Several explanations have been given, including being found in the girls’ toilet and helping two other classmates steal in the nearby town of Almondsbury. Wansell alleges that Grant purposely set out to be expelled from school to pursue a career in entertainment with the troupe, and that he rejoined Pender’s troupe three days after being kicked out. His father had a better paying job in Southampton and Grant’s ejection brought local authorities to his door with questions about why his son was living in Bristol and not with his father in Southampton. His father then signed a three-year contract between Grant and Pender, which provided Grant’s weekly salary, as well as room and board, dance lessons, and other training for his profession until the age of 18. The contract also included a salary provision for salary increases based on work performance.
Vaudeville and stage career[edit]
The Pender troupe began touring the country and Grant developed the skill in pantomime to augment his physical abilities. They traveled on the RMS Olympic to conduct a tour of the United States on July 21, 1920, when he was 16, arriving a week later. Biographer Richard Schickel writes that Douglas Fairbanks and Mary Pickford were on the same ship, returning from their honeymoon, and that Grant played shuffleboard with him. He was so impressed with Fairbanks that he became an important role model. After arriving in New York, the group performed at the New York Hippodrome, which at the time was the largest theater in the world with a capacity of 5,697. They performed there for nine months, did 12 shows a week and had a successful production of Good Times.
Doing stand-up comedy is extremely difficult. Your timing has to change from show to show and city to city. You always adapt to the size of the audience and the size of the theater. —Grant on stand-up comedy.
Grant became part of the vaudeville circuit and began touring, performing in places like St. Louis, Missouri, Cleveland and Milwaukee and deciding to stay in the US with some of the other members when the rest of the troupe returned to the UK. During this time he met the Marx Brothers and Zeppo Marx was an early role model for him. In July 1922 he appeared in a group called “Knockabout Comedians” at the Palace Theater on Broadway. That summer he formed another group with several former Pender troupe members called The Walking Stanleys, and later that year starred in a variety show called Better Times at the Hippodrome. While serving as a paid accompanist for opera singer Lucrezia Bori at a Park Avenue party, he met George C. Tilyou Jr., whose family owned Steeplechase Park. Upon learning of his acrobatic experience, Tilyou hired him to work as a stilt walker, drawing large crowds on the newly opened Coney Island Boardwalk. He wore a light-colored coat and carried a sandwich board advertising the amusement park.
Boom-Boom The Casino Theater on Broadway and 39th Street where Grant appeared in Shubert’s
Grant spent the next few years touring the United States with The Walking Stanleys. In 1924 he visited Los Angeles for the first time, which made a lasting impression on him. The group split and he returned to New York, where he began performing at the National Vaudeville Artists Club on West 46th Street, juggling, performing acrobatics and comic sketches, and spending a brief stint as a unicycle rider known as “Rubber Legs”. . The experience was particularly challenging, but it gave Grant an opportunity to hone his comic technique and develop skills that would later serve him well in Hollywood.
Grant became a leading man alongside Jean Dalrymple and decided to form the “Jack Janis Company” which began touring vaudeville shows. During this period he was sometimes mistaken for an Australian and was nicknamed “Kangaroo” or “Boomerang”. His accent seemed to have changed when he moved to London with the Pender troupe and worked in many music halls in the UK and US, eventually becoming what some call a Transatlantic or Mid-Atlantic accent. He was cast as an Australian in Reggie Hammerstein’s musical Golden Dawn, for which he made $75 a week. The show was not well received, but it ran 184 performances and several critics began to remark on Grant as the “pleasant new youth” or “skillful young newcomer”. The following year he joined the William Morris Agency and was offered another teenage role by Hammerstein in his play Polly, an unsuccessful production. One critic wrote that Grant “has a strongly masculine manner but unfortunately fails to bring out the beauty of the score”. Wansell notes that the pressures of a failed production began to annoy him and he was eventually pulled from the run after six weeks of poor reviews. Despite the setback, Hammerstein’s rival Florenz Ziegfeld tried to buy Grant’s contract, but Hammerstein sold him to the Shubert Brothers instead. JJ Shubert cast him in a small role as Spaniard opposite Jeanette MacDonald in the French daring comedy Boom-Boom at the Casino Theater on Broadway, which premiered on January 28, 1929, ten days after his 25th birthday. MacDonald later admitted that Grant was “absolutely terrible in the role”, but he displayed a charm that endeared him to people and effectively saved the show from failing. The play ran 72 shows and Grant made $350 a week before moving to Detroit and then Chicago.
Grant 1930
To comfort himself, Grant bought a 1927 Packard Sport Phaeton. He visited his half-brother Eric in England and returned to New York to play the role of Max Grunewald in a Shubert production of A Wonderful Night. It premiered at the Majestic Theater on October 31, 1929, two days after the Wall Street Crash, and lasted until February 1930 with 125 shows. The play received mixed reviews; One critic slammed his acting, comparing it to a “mixture of John Barrymore and Cockney”, while another announced that he brought an “air of elfin Broadway” to the role. Grant still found it difficult to form relationships with women, noting that he “never seemed able to fully communicate with them” even after many years “surrounded by all sorts of attractive girls” in the theater the street and in New York.
In 1930 Grant toured for nine months in a production of the musical The Street Singer. It ended in early 1931, and the Shuberts invited him to spend the summer performing on stage at The Muny in St. Louis, Missouri; He appeared in 12 different productions and gave 87 shows. [g] He was praised by local newspapers for these performances and gained a reputation as a romantic leading man. Significant influences on his acting during this period were Gerald du Maurier, A.E. Matthews, Jack Buchanan and Ronald Squire. He admitted he was drawn to acting because of a “great need to be liked and admired”. He was eventually fired by the Shuberts at the end of the summer season when he refused to accept a pay cut due to financial difficulties caused by the Depression. However, his unemployment was short-lived; Impresario William B. Friedlander offered him the romantic lead in his musical Nikki, and Grant starred opposite Fay Wray as a soldier in post-World War I France. The production opened in New York on September 29, 1931, but was canceled after only 39 performances due to the effects of the Great Depression.
Film career[edit]
1932–1936: Acting debut and early roles
Grant’s role in Nikki was praised by The New York Daily News’ Ed Sullivan, who noted that the “young lad from England” had “a great future in film”. The review led to another screen test by Paramount Publix, which led to an appearance as a sailor in Singapore Sue (1931), a ten-minute short directed by Casey Robinson. According to McCann, Grant delivered his lines “without any conviction”. [h] Through Robinson, Grant met Jesse L. Lasky and B.P. Schulberg, the co-founder and general manager of Paramount Pictures, respectively. After a successful screen test, directed by Marion Gering, Schulberg signed the 27-year-old Grant to a five-year contract on December 7, 1931, with an initial salary of $450 a week. Schulberg requested that he change his name to “something that sounded more purely American, like Gary Cooper,” and they eventually settled on Cary Grant.
Grant set out to establish himself as what McCann calls “the epitome of male glamour,” making Douglas Fairbanks his first role model. McCann notes that Grant’s Hollywood career took off immediately because he displayed a “real charm” that made him stand out among the other handsome actors at the time and made it “remarkably easy to find people willing to start his embryonic career.” He made his feature film debut in the Frank Tuttle-directed comedy This is the Night (1932), in which he played an Olympic javelin thrower opposite Thelma Todd and Lili Dazua. Grant disliked his role and threatened to leave Hollywood, but to his surprise, a critic from Variety praised his performance, thinking he looked like “a potential femme rave”.
In 1932, Grant played a wealthy playboy alongside Marlene Dietrich in Blonde Venus, directed by Josef von Sternberg. Grant’s role is described by William Rothman as projecting the “characteristic brand of non-macho masculinity that should enable him to embody a man capable of being a romantic hero”. Grant found that he had conflicts with the director during filming, and the two often argued in German. He played a suave playboy guy in a number of films: Merrily We Go to Hell alongside Fredric March and Sylvia Sidney, Devil and the Deep with Tallulah Bankhead, Gary Cooper and Charles Laughton (Cooper and Grant did not share scenes), Hot Saturday opposite Nancy Carroll and Randolph Scott and Madame Butterfly with Sidney.[89] According to biographer Marc Eliot, these films, while not making Grant a star, made him good enough to establish him as one of Hollywood’s “new generation of fast-rising actors”.
In 1933, Grant attracted attention for appearing opposite Mae West in the Pre-Code films She Done Him Wrong and I’m No Angel.[k] West later claimed she discovered Cary Grant.[l] Of course Grant had already done that Blonde Venus the previous year in which he was Marlene Dietrich’s leading man. Pauline Kael noted that Grant did not appear confident in his role as Salvation Army director in She Done Him Wrong, which made him all the more charming.[97] The film was a box office hit, grossing more than $2 million in the United States, and has since received widespread acclaim.[m] For I’m No Angel, Grant’s salary was increased from $450 to $750 a week. The film was even more successful than She Done Him Wrong and saved Paramount from bankruptcy; Vermilye calls it one of the best comedy films of the 1930s.
After a string of financially unsuccessful films, including roles as the president of a company sued for knocking out a boy in an accident in Born to Be Bad (1934) for 20th Century Fox,[n] a cosmetic surgeon in Kiss and Make- Up (1934) and a blinded pilot opposite Myrna Loy in Wings in the Dark (1935) and press reports of troubles in his marriage to Cherrill,[o] Paramount concluded that Grant was expendable.[p]
Grant’s prospects improved in the latter half of 1935 when he was loaned to RKO Pictures. Producer Pandro Berman agreed to take him on in the face of failure because “I saw him do things that were excellent, and [Katharine] Hepburn wanted him too.” His first project with RKO was in George Cukor’s Sylvia Scarlett ( 1935), playing a rowdy Cockney con, was the first of four collaborations with Hepburn.[q] Though it was a commercial failure, its dominating performance was lauded by critics, and Grant always felt that the film was intended to be the breakthrough film have been for his career. When his contract with Paramount ended with the release of Wedding Present in 1936, Grant decided not to renew it and wanted to freelance. Grant claimed to be the first freelance actor in Hollywood. His first project as a freelance actor was The Amazing Quest of Ernest Bliss (1936), filmed in England. The film was a box office bomb, causing Grant to reconsider his decision. Critical and commercial success with Suzy later that year, in which he played a French aviator alongside Jean Harlow and Franchot Tone, saw him sign joint deals with RKO and Columbia Pictures, allowing him to select the stories that he felt suited his acting style. His Columbia deal was a four-film deal over two years, guaranteeing him $50,000 each for the first two and $75,000 each for the others.
1937–1945: Hollywood’s fame [ edit ]
In 1937, Grant began the first film under his Columbia Pictures contract, When You’re in Love, in which he portrayed a wealthy American artist who ends up courting a famous opera singer (Grace Moore). His performance received positive feedback from critics, with Mae Tinee of The Chicago Daily Tribune describing it as the “best thing he’s done in a long time”. After a commercial failure in his second RKO project, The Toast of New York, [119] Grant was loaned to Hal Roach’s studio for Topper, a screwball comedy film distributed by MGM, which became his first major comedy success. Grant starred with Constance Bennett as one half of a wealthy free-ranging couple[121] who, as ghosts, wreak havoc on the world after they die in a car accident.[122] Topper became one of the most popular films of the year, with a Variety critic noting that both Grant and Bennett “do their jobs with great skill”. Vermilye described the film’s success as “a logical stepping stone” for Grant to star that year in The Awful Truth, his first film to be made with Irene Dunne and Ralph Bellamy. Although director Leo McCarey reportedly disliked Grant, who had mocked the director by showing off his mannerisms in the film, he recognized Grant’s comic talent and encouraged him to improvise his lines and draw on his skills developed in vaudeville. The film was a critical and commercial success, propelling Grant into a top Hollywood star, propelling him to screen personality as a slick light comedy lead in screwball comedies.
The Awful Truth began for Grant what film critic Benjamin Schwarz of The Atlantic later described as “the most spectacular run of all time for an actor in American films.”[129] In 1938 he starred opposite Katharine Hepburn in the screwball comedy Bringing Up Baby with a leopard and frequent bickering and verbal fights between Grant and Hepburn. He wasn’t sure at first how to play his character, but was prompted by director Howard Hawks to think of Harold Lloyd. Grant was given more leeway with the comic scenes, editing the film, and training Hepburn in the art of comedy. Despite dropping over $350,000 to RKO, the film received rave reviews from critics. Later that year he appeared again with Hepburn in the romantic comedy Holiday, which did not do so well commercially that Hepburn was considered a “box office poison” at the time.
Today, despite a series of commercial failures, Grant was more popular than ever and in great demand. According to Vermilye, in 1939 Grant played roles that were more dramatic, albeit with comic undertones. He played a British Army sergeant opposite Douglas Fairbanks Jr. in the adventure film Gunga Din, directed by George Stevens and set on a military base in India. Roles as a pilot opposite Jean Arthur and Rita Hayworth in Hawks’ Only Angels Have Wings, and a wealthy landowner opposite Carole Lombard in Only in Name followed.
In 1940, Grant played an unfeeling newspaper editor who learns that his ex-wife and former journalist, played by Rosalind Russell, is marrying insurance clerk Ralph Bellamy in Hawks’ comedy His Girl Friday, which was praised for her strong chemistry and “great verbal athleticism.” between Grant and Russell , grossing $505,000.[t] After playing a hillbilly from Virginia in The Howards of Virginia, considered Grant’s worst film and worst performance, McCann’s last film of the year was in the critically acclaimed romantic comedy The Philadelphia Story, in which he played the ex-husband of Hepburn’s character.[149][150] Grant felt his performance was so strong that he was bitterly disappointed not to have received an Oscar nomination, especially since his two main co-stars, Hepburn and James Stewart, received them, with Stewart winning for best actor. Grant joked, “I’d have to blacken my teeth first before the academy would take me seriously.” Film historian David Thomson wrote that “the wrong man got the Oscar” for The Philadelphia Story and that “Grant got better performances out of Hepburn than her (longtime companion) Spencer Tracy ever did.”[153] Stewart wins the Oscar” was seen as a gilded apology for having the award for last year’s Mr. Smith Goes to Washington stolen from him. Grant’s non-nomination for His Girl Friday that same year is also a “sin of omission” for the Oscars.[154]
The following year, Grant was considered for a Best Actor Oscar for Penny Serenade – his first nomination from the Academy. Wansell claims Grant found the film an emotional experience because he and wife-to-be Barbara Hutton began discussing having children of their own. Later that year he appeared in the psychological romantic thriller Suspicion, the first of Grant’s four collaborations with director Alfred Hitchcock. Grant didn’t warm to playing Joan Fontaine, finding her temperamental and unprofessional. Film critic Bosley Crowther of The New York Times felt that Grant was “provocatively irresponsible, boyishly gay, and also oddly mysterious, as the role rightly demands”. Hitchcock later stated that he felt the film’s ending, in which Grant is sent to prison instead of committing suicide, was “a complete mistake” for making that storyline with Cary Grant. If you don’t have a cynical ending, the story will become too easy. Time Out’s Geoff Andrew believes that Suspicion “was an excellent example of Grant’s ability to be both charming and sinister at the same time”.
In 1942, Grant took part in a three-week tour of the United States as part of a group in support of the war effort and was photographed visiting wounded Marines in hospital. He appeared in several routines of his own during these shows, often playing the straight man opposite Bert Lahr. In May 1942, when he was 38, the ten-minute propaganda short Road to Victory was released, in which he starred alongside Bing Crosby, Frank Sinatra and Charles Ruggles. In film, Grant played Leopold Dilg, a convict on the run who escapes after being wrongly convicted of arson and murder, in The Talk of the Town (1942). Hiding in a house with characters played by Jean Arthur and Ronald Colman, he plots little by little to secure his freedom. Crowther praised the script, noting that Grant played Dilg with a “casualness that’s mildly disturbing”. After a role as a foreign correspondent opposite Ginger Rogers and Walter Slezak in the offbeat comedy Once Upon a Honeymoon, in which he was praised for his scenes with Rogers,[165] he appeared in Mr. Lucky the following year, playing a player in one Casino on board a ship. The commercially successful submarine warfare film Destination Tokyo (1943) was shot in just six weeks in September and October, leaving it jaded; The Newsweek reviewer considered it one of the best performances of his career.
1944 spielte Grant neben Priscilla Lane, Raymond Massey und Peter Lorre in Frank Capras dunkler Komödie „Arsenic and Old Lace“ den manischen Mortimer Brewster, der einer bizarren Familie angehört, zu der zwei mörderische Tanten und ein Onkel gehören, der behauptet, Präsident Teddy zu sein Roosevelt. Grant nahm die Rolle an, nachdem sie ursprünglich Bob Hope angeboten worden war, der sie aufgrund von Terminkonflikten ablehnte. Grant fand es schwierig, mit dem makabren Thema des Films fertig zu werden, und glaubte, dass es die schlechteste Leistung seiner Karriere war. In diesem Jahr erhielt er seine zweite Oscar-Nominierung für eine Rolle neben Ethel Barrymore und Barry Fitzgerald in dem von Clifford Odets inszenierten Film „None but the Lonely Heart“, der in London während der Weltwirtschaftskrise spielt.[174] Ende des Jahres trat er in der CBS-Radioserie Suspense auf und spielte in The Black Curtain einen gequälten Charakter, der hysterisch feststellt, dass seine Amnesie die männliche Ordnung in der Gesellschaft beeinträchtigt hat.
1946–1953: Nachkriegserfolg und Einbruch
Nach einem kurzen Cameo-Auftritt neben Claudette Colbert in Without Reservations (1946) porträtierte Grant Cole Porter in dem Musical Night and Day (1946). Die Produktion erwies sich als problematisch, da Szenen oft mehrere Einstellungen erforderten, was die Besetzung und die Crew frustrierte. Grant trat als nächstes mit Ingrid Bergman und Claude Rains in dem von Hitchcock inszenierten Film Notorious (1946) auf und spielte einen Regierungsagenten, der die amerikanische Tochter eines verurteilten Nazi-Spions (Bergman) rekrutiert, um nach dem Zweiten Weltkrieg eine Nazi-Organisation in Brasilien zu infiltrieren. 178] Im Laufe des Films verlieben sich die Figuren von Grant und Bergman ineinander und teilen nach etwa zweieinhalb Minuten einen der längsten Küsse der Filmgeschichte.[179] Wansell merkt an, wie Grants Auftritt “unterstrich, wie weit seine einzigartigen Qualitäten als Filmschauspieler in den Jahren seit The Awful Truth gereift waren”.
1947 spielte Grant in der Komödie The Bachelor and the Bobby-Soxer (in Großbritannien als „Bachelor Knight“ veröffentlicht) neben Myrna Loy und Shirley Temple einen Künstler, der in ein Gerichtsverfahren verwickelt wird, als er wegen Körperverletzung angeklagt wird. Der Film wurde von den Kritikern gelobt, die die Slapstick-Qualitäten des Films und die Chemie zwischen Grant und Loy bewunderten;[184] er wurde in diesem Jahr einer der meistverkauften Filme an den Kinokassen. Später in diesem Jahr spielte er neben David Niven und Loretta Young in der Komödie The Bishop’s Wife und spielte einen Engel, der vom Himmel herabgesandt wurde, um die Beziehung zwischen dem Bischof (Niven) und seiner Frau (Loretta Young) zu klären.[186] Der Film war ein großer kommerzieller und kritischer Erfolg und wurde für fünf Oscars nominiert. Das Life Magazine nannte es “intelligent geschrieben und kompetent gehandelt”.[186]
Im folgenden Jahr spielte Grant wieder mit Loy den neurotischen Jim Blandings, den Titelverteidiger in der Komödie Mr. Blandings baut sein Traumhaus. Obwohl der Film für RKO Geld verlor, hielt Philip T. Hartung von Commonweal Grants Rolle als “frustrierter Werbemann” für eine seiner besten Leinwanddarstellungen. In Every Girl Should Be Married, einer „luftigen Komödie“, trat er mit Betsy Drake und Franchot Tone auf und spielte einen Junggesellen, der durch Drakes hinterhältigen Charakter in die Ehe gefangen ist. Er beendete das Jahr als viertbeliebtester Filmstar an den Kinokassen. In 1949, Grant starred alongside Ann Sheridan in the comedy I Was a Male War Bride in which he appeared in scenes dressed as a woman, wearing a skirt and a wig. During the filming he was taken ill with infectious hepatitis and lost weight, affecting the way he looked in the picture. The film, based on the autobiography of Belgian resistance fighter Roger Charlier, proved to be successful, becoming the highest-grossing film for 20th Century Fox that year with over $4.5 million in takings and being likened to Hawks’s screwball comedies of the late 1930s. By this point he was one of the highest paid Hollywood stars, commanding $300,000 per picture.
The early 1950s marked the beginning of a slump in Grant’s career.[195] His roles as a top brain surgeon who is caught in the middle of a bitter revolution in a Latin American country in Crisis, and as a medical-school professor and orchestra conductor opposite Jeanne Crain in People Will Talk were poorly received.[198] Grant had become tired of being Cary Grant after twenty years, being successful, wealthy and popular, and remarked: “To play yourself, your true self, is the hardest thing in the world”. In 1952, Grant starred in the comedy Room for One More, playing an engineer husband who with his wife (Betsy Drake) adopt two children from an orphanage.[202] He reunited with Howard Hawks to film the off-beat comedy Monkey Business, co-starring Ginger Rogers and Marilyn Monroe. Though the critic from Motion Picture Herald wrote gushingly that Grant had given a career’s best with an “extraordinary and agile performance”, which was matched by Rogers, it received a mixed reception overall.[u] Grant had hoped that starring opposite Deborah Kerr in the romantic comedy Dream Wife would salvage his career,[195] but it was a critical and financial failure upon release in July 1953, when Grant was 49. Though he was offered the leading part in A Star is Born, Grant decided against playing that character. He believed that his film career was over, and briefly left the industry.
1955–1959: Another career peak [ edit ]
In 1955, Grant agreed to star opposite Grace Kelly in To Catch a Thief, playing a retired jewel thief named John Robie, nicknamed “The Cat”, living in the French Riviera.[207] Grant and Kelly worked well together during the production, which was one of the most enjoyable experiences of Grant’s career. He found Hitchcock and Kelly to be very professional, and later stated that Kelly was “possibly the finest actress I’ve ever worked with”.[209][v] Grant was one of the first actors to go independent by not renewing his studio contract, effectively leaving the studio system, which almost completely controlled all aspects of an actor’s life. He decided which films he was going to appear in, often had personal choice of directors and co-stars, and at times negotiated a share of the gross revenue, something uncommon at the time. Grant received more than $700,000 for his 10% of the gross of the successful To Catch a Thief, while Hitchcock received less than $50,000 for directing and producing it. Though critical reception to the overall film was mixed, Grant received high praise for his performance, with critics commenting on his suave, handsome appearance in the film.
Grant in 1956
In 1957, Grant starred opposite Kerr in the romance An Affair to Remember, playing an international playboy who becomes the object of her affections. Schickel sees the film as one of the definitive romantic pictures of the period, but remarks that Grant was not entirely successful in trying to supersede the film’s “gushing sentimentality”. That year, Grant also appeared opposite Sophia Loren in The Pride and the Passion. He had expressed an interest in playing William Holden’s character in The Bridge on the River Kwai at the time, but found that it was not possible because of his commitment to The Pride and the Passion. The film was shot on location in Spain and was problematic, with co-star Frank Sinatra irritating his colleagues and leaving the production after just a few weeks. Although Grant had an affair with Loren during filming, Grant’s attempts to woo Loren to marry him during the production proved fruitless,[w] which led to him expressing anger when Paramount cast her opposite him in Houseboat (1958) as part of her contract. The sexual tension between the two was so great during the making of Houseboat that the producers found it almost impossible to make.[217] Later in 1958, Grant starred opposite Bergman in the romantic comedy Indiscreet, playing a successful financier who has an affair with a famous actress (Bergman) while pretending to be a married man. During the filming he formed a closer friendship and gained new respect for her as an actress. Schickel stated that he thought the film was possibly the finest romantic comedy film of the era, and that Grant himself had professed that it was one of his personal favorites. Grant received his first of five Golden Globe Award for Best Actor – Motion Picture Musical or Comedy nominations for his performance and finished the year as the most popular film star at the box office.
In 1959, Grant starred in the Hitchcock-directed film North by Northwest, playing an advertising executive who becomes embroiled in a case of mistaken identity. Like Indiscreet,[222][223] it was warmly received by the critics and was a major commercial success, and is now often listed as one of the greatest films of all time.[x] Weiler, writing in The New York Times, praised Grant’s performance, remarking that the actor “was never more at home than in this role of the advertising-man-on-the-lam” and handled the role “with professional aplomb and grace”.[228] Grant wore one of his most iconic suits in the film which became very popular, a fourteen-gauge, mid-gray, subtly plaid, worsted wool one custom-made on Savile Row.[229][230] Grant finished the year playing a U.S. Navy submarine skipper opposite Tony Curtis in the comedy Operation Petticoat. The reviewer from Daily Variety saw Grant’s comic portrayal as a classic example of how to attract the laughter of the audience without lines, remarking that “In this film, most of the gags play off him. It is his reaction, blank, startled, etc., always underplayed, that creates or releases the humor”. The film was major box office success, and in 1973, Deschner ranked the film as the highest earning film of Grant’s career at the US box office, with takings of $9.5 million.
1960–1966: Final film roles [ edit ]
In 1960, Grant appeared opposite Deborah Kerr, Robert Mitchum, and Jean Simmons in The Grass Is Greener, which was shot in England at Osterley Park and Shepperton Studios. McCann notes that Grant took great relish in “mocking his aristocratic character’s over-refined tastes and mannerisms”, though the film was panned and was seen as his worst since Dream Wife. In 1962, Grant starred in the romantic comedy That Touch of Mink, playing suave, wealthy businessman Philip Shayne romantically involved with an office worker, played by Doris Day. He invites her to his apartment in Bermuda, but her guilty conscience begins to take hold. The picture was praised by critics, and it received three Academy Award nominations, and won the Golden Globe Award for Best Comedy Picture, in addition to landing Grant another Golden Globe Award nomination for Best Actor. Deschner ranked the film as the second highest grossing of Grant’s career.
Producers Albert R. Broccoli and Harry Saltzman originally sought Grant for the role of James Bond in Dr. No (1962) but discarded the idea as Grant would be committed to only one feature film; therefore, the producers decided to go after someone who could be part of a franchise after James Mason would only agree to commit to three films.[240] In 1963, Grant appeared in his last typically suave, romantic role opposite Audrey Hepburn in Charade. Grant found the experience of working with Hepburn “wonderful” and believed that their close relationship was clear on camera, though according to Hepburn, he was particularly worried during the filming that he would be criticized for being far too old for her and seen as a “cradle snatcher”. Author Chris Barsanti writes: “It’s the film’s canny flirtatiousness that makes it such ingenious entertainment. Grant and Hepburn play off each other like the pros that they are”. The film, well received by the critics,[245] is often called “the best Hitchcock film Hitchcock never made”.[246][247]
In 1964, Grant changed from his typically suave, distinguished screen persona to play a grizzled beachcomber who is coerced into serving as a coastwatcher on an uninhabited island in the World War II romantic comedy Father Goose.[249] The film was a major commercial success, and upon its release at Radio City at Christmas 1964 it took over $210,000 at the box-office in the first week, breaking the record set by Charade the previous year. Grant’s final film, Walk, Don’t Run (1966), a comedy co-starring Jim Hutton and Samantha Eggar, was shot on location in Tokyo, and is set amid the backdrop of the housing shortage of the 1964 Tokyo Olympics.[252] Newsweek concluded: “Though Grant’s personal presence is indispensable, the character he plays is almost wholly superfluous. Perhaps the inference to be taken is that a man in his 50s or 60s has no place in romantic comedy except as a catalyst. If so, the chemistry is wrong for everyone”. Hitchcock had asked Grant to star in Torn Curtain that year, only to learn that he had decided to retire.
Later years [ edit ]
Grant at 69 in 1973
Grant retired from the screen in 1966 at the age of 62 when his daughter Jennifer Grant was born to focus on bringing her up and to provide a sense of permanence and stability in her life. He had become increasingly disillusioned with cinema in the 1960s, rarely finding a script of which he approved. He remarked: “I could have gone on acting and playing a grandfather or a bum, but I discovered more important things in life”. He knew after he had made Charade that the “Golden Age” of Hollywood was over. He expressed little interest in making a career comeback, and would respond to the suggestion with “fat chance”. He did, however, briefly appear in the audience of the video documentary for Elvis’s 1970 Las Vegas concert Elvis: That’s the Way It Is. In the 1970s, he was given the negatives from a number of his films, and he sold them to television for a sum of over two million dollars in 1975.
Morecambe and Stirling argue that Grant’s absence from film after 1966 was not because he had “irrevocably turned his back on the film industry”, but because he was “caught between a decision made and the temptation to eat a bit of humble pie and re-announce himself to the cinema-going public”. In the 1970s, MGM was keen on remaking Grand Hotel (1932) and hoped to lure Grant out of retirement. Hitchcock had long wanted to make a film based on the idea of Hamlet, with Grant in the lead role. Grant stated that Warren Beatty had made a big effort to get him to play the role of Mr. Jordan in Heaven Can Wait (1978), which eventually went to James Mason.[209] Morecambe and Stirling claim that Grant had also expressed an interest in appearing in A Touch of Class (1973), The Verdict (1982), and a film adaptation of William Goldman’s 1983 book about screenwriting, Adventures in the Screen Trade.
In the late 1970s and early 1980s, Grant became troubled by the deaths of many close friends, including Howard Hughes in 1976, Howard Hawks in 1977, Lord Mountbatten and Barbara Hutton in 1979, Alfred Hitchcock in 1980, Grace Kelly and Ingrid Bergman in 1982, and David Niven in 1983. At the funeral of Mountbatten, he was quoted as remarking to a friend: “I’m absolutely pooped, and I’m so goddamned old…. I’m going to quit all next year. I’m going to lie in bed…. I shall just close all doors, turn off the telephone, and enjoy my life”. Grace Kelly’s death was the hardest on him as it was unexpected, and the two had remained close friends after filming To Catch a Thief.[y] Grant visited Monaco three or four times each year during his retirement, and showed his support for Kelly by joining the board of the Princess Grace Foundation.
In 1980, the Los Angeles County Museum of Art put on a two-month retrospective of more than 40 of Grant’s films. In 1982, he was honored with the “Man of the Year” award by the New York Friars Club at the Waldorf-Astoria Hotel. He turned 80 on January 18, 1984, and Peter Bogdanovich noticed that a “serenity” had come over him. Grant was in good health until he had a mild stroke in October that year. In the last few years of his life, he undertook tours of the United States in the one-man show A Conversation with Cary Grant, in which he would show clips from his films and answer audience questions.[271] He made some 36 public appearances in his last four years, from New Jersey to Texas, and his audiences ranged from elderly film buffs to enthusiastic college students discovering his films for the first time. Grant admitted that the appearances were “ego-fodder”, remarking that “I know who I am inside and outside, but it’s nice to have the outside, at least, substantiated”.
Business interests [ edit ]
Stirling refers to Grant as “one of the shrewdest businessmen ever to operate in Hollywood”. His long-term friendship with Howard Hughes from the 1930s onward saw him invited into the most glamorous circles in Hollywood and their lavish parties. Biographers Morecambe and Stirling state that Hughes played a major role in the development of Grant’s business interests so that by 1939, he was “already an astute operator with various commercial interests”. Scott also played a role, encouraging Grant to invest his money in shares, making him a wealthy man by the end of the 1930s. In the 1940s, Grant and Barbara Hutton invested heavily in real estate development in Acapulco at a time when it was little more than a fishing village, and teamed up with Richard Widmark, Roy Rogers, and Red Skelton to buy a hotel there. Behind his business interests was a particularly intelligent mind, to the point that his friend David Niven once said: “Before computers went into general release, Cary had one in his brain”. Film critic David Thomson believes that Grant’s intelligence came across on screen, and stated that “no one else looked so good and so intelligent at the same time”.
After Grant retired from the screen, he became more active in business. He accepted a position on the board of directors at Fabergé. This position was not honorary, as some had assumed; Grant regularly attended meetings and traveled internationally to support them. His pay was modest in comparison to the millions of his film career, a salary of a reported $15,000 a year. Such was Grant’s influence on the company that George Barrie once claimed that Grant had played a role in the growth of the firm to annual revenues of about $50 million in 1968, a growth of nearly 80% since the inaugural year in 1964. The position also permitted the use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working.
In 1975, Grant was an appointed director of MGM. In 1980, he sat on the board of MGM Films and MGM Grand Hotels following the division of the parent company. He played an active role in the promotion of MGM Grand Hotel in Las Vegas when opened in 1973, and he continued to promote the city throughout the 1970s. When Allan Warren met Grant for a photo shoot that year he noticed how tired Grant looked, and his “slightly melancholic air”. Grant later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle, Hollywood, California), and Western Airlines (acquired by Delta Air Lines in 1987).[286]
Personal life[edit]
Grant became a naturalized United States citizen on June 26, 1942, aged 38, at which time he also legally changed his name to “Cary Grant”.[287][288] At the time of his naturalization, he listed his middle name as “Alexander” rather than “Alec”.[3]
One of the wealthiest stars in Hollywood, Grant owned houses in Beverly Hills, Malibu, and Palm Springs. He was immaculate in his personal grooming, and Edith Head, the renowned Hollywood costume designer, appreciated his “meticulous” attention to detail and considered him to have had the greatest fashion sense of any actor she had worked with. McCann attributed his “almost obsessive maintenance” with tanning, which deepened the older he got, to Douglas Fairbanks, who also had a major influence on his refined sense of dress. McCann notes that because Grant came from a working-class background and was not well educated, he made a particular effort over the course of his career to mix with high society and absorb their knowledge, manners and etiquette to compensate and cover it up. His image was meticulously crafted from the early days in Hollywood, where he would frequently sunbathe and avoid being photographed smoking, despite smoking two packs a day at the time. Grant quit smoking in the early 1950s through hypnotherapy. He remained health conscious, staying very trim and athletic even into his late career, though Grant claimed he “never crook[ed] a finger to keep fit”. He claimed that he did “everything in moderation. Except making love.”
Grant’s daughter Jennifer stated that her father made hundreds of friends from all walks of life, and that their house was frequently visited by the likes of Frank and Barbara Sinatra, Quincy Jones, Gregory Peck and his wife Veronique, Johnny Carson and his wife, Kirk Kerkorian, and Merv Griffin. She said that Grant and Sinatra were the closest of friends and that the two men had a similar radiance and “indefinable incandescence of charm”, and were eternally “high on life”. While raising Jennifer, Grant archived artifacts of her childhood and adolescence in a bank-quality, room-sized vault he had installed in the house. Jennifer attributed this meticulous collection to the fact that artifacts of his own childhood had been destroyed during the Luftwaffe’s bombing of Bristol in World War II (an event that also claimed the lives of his uncle, aunt, cousin, and the cousin’s husband and grandson), and he may have wanted to prevent her from experiencing a similar loss.
Grant and Sophia Loren starred together in Houseboat (1958). Grant’s wife Betsy Drake wrote the original script, and Grant originally intended that she would star with him. After he began an affair with Loren while filming The Pride and the Passion (1957), Grant arranged for Loren to take Drake’s place with a rewritten script for which Drake asked to not receive credit. The affair ended in bitterness before The Pride and the Passion’s filming ended, causing problems on the Houseboat set. Grant hoped to resume the relationship, but Loren decided to marry Carlo Ponti instead.
Grant lived with actor Randolph (Randy) Scott off and on for 12 years. The two met early on in Grant’s career in 1932 at the Paramount studio when Scott was filming Sky Bride while Grant was shooting Sinners in the Sun, and moved in together soon afterwards. While Scott’s biographer Robert Nott states that there is no evidence that Grant and Scott were homosexual, their lifestyle prompted debate over Grant’s sexuality and was common knowledge in Hollywood at the time that each was bisexual in behavior, before the Motion Picture Production Code and other factors made being forthright on gay lifestyles an even greater professional liability. Scotty Bowers, who knew them both, wrote, “I don’t know if their wives ever knew what was going on between them.”[302] After Grant’s death, Bowers made a claim in his autobiography Full Service to have had sexual affairs with both Scott and Grant.[303][304] A few years before, Grant had lived openly with gay Hollywood designer, Orry-Kelly.[305] Their sexual relationship is explored in the film, Women He Undressed, about Kelly.[306] Reportedly, because “Grant knew he needed to hide his sexuality in order to make it as an actor in Hollywood”, their relationship ended.[307] This political shift in Hollywood from general social acceptance of lesbian and gay life and relationships in the 1920s and early ’30s to a more repressive and oppressive professional and cultural climate soon thereafter, including its impact on Cary and Randy, is well documented in a biography of William Haines, a homosexual actor of the era who refused to play the game of pretending to be straight. Haines wrote “The studio pushed [Grant] back into the arms of women… Cary had begun his pattern of frequent marriages; he’d continue to have affairs with men.”[308] Screenplay writer Arthur Laurents once expressed the view that Grant was “at best bisexual.”[309] However, Grant’s daughter Jennifer and his former wife Betsy Drake have both disputed these claims.[311] In her memoir Good Stuff Jennifer posited that her father may or may not have experimented sexually and “somewhat enjoyed being called gay” but expressed uncertainty as to whether Cary was homosexual.[312] Grant himself always denied the accusation and practically all of his friends and co-workers concurred, including particularly vocal close friends Peter Bogdanovich and Howard Hawks. Far from enjoying being called gay, when Chevy Chase joked on Tom Snyder’s television interview series The Tomorrow Show in 1980 that Grant was a “homo. What a gal!”, Cary sued him for slander, and Chase was forced to retract his words and pay Grant a cash settlement of ten thousand dollars.
LSD [ edit ]
Grant in 1955
Grant began experimenting with the drug LSD in the 1950s, a decade before it became popular. His wife at the time, Betsy Drake, displayed a keen interest in psychotherapy, and through her Grant developed a considerable knowledge of the field of psychoanalysis. Radiologist Mortimer Hartman began treating him with LSD in the late 1950s, with Grant optimistic that the treatment could make him feel better about himself and rid of all of his inner turmoil stemming from his childhood and his failed relationships. He had an estimated 100 sessions over several years. For a long time, Grant viewed the drug positively, and stated that it was the solution after many years of “searching for his peace of mind”, and that for the first time in his life he was “truly, deeply and honestly happy”. Dyan Cannon claimed during a court hearing that he was an “apostle of LSD”, and that he was still taking the drug in 1967 as part of a remedy to save their relationship. Grant later remarked that “taking LSD was an utterly foolish thing to do but I was a self-opinionated boor, hiding all kinds of layers and defences, hypocrisy and vanity. I had to get rid of them and wipe the slate clean.”
relationships[edit]
Grant was married five times. He wed Virginia Cherrill on February 9, 1934, at the Caxton Hall registry office in London. She divorced him on March 26, 1935, following charges that he had hit her. The two were involved in a bitter divorce case which was widely reported in the press, with Cherrill demanding $1,000 a week from him in benefits from his Paramount earnings. After the demise of the marriage, he dated actress Phyllis Brooks from 1937. They considered marriage and vacationed together in Europe in mid-1939, visiting the Roman villa of Dorothy Taylor Dentice di Frasso in Italy, but the relationship ended later that year.
He married Barbara Hutton in 1942, one of the wealthiest women in the world, following a $50 million inheritance from her grandfather Frank Winfield Woolworth. They were derisively nicknamed “Cash and Cary”, although Grant refused any financial settlement in a prenuptial agreement to avoid the accusation that he married for money.[z] Toward the end of their marriage they lived in a white mansion at 10615 Bellagio Road in Bel Air. They divorced in 1945, although they remained the “fondest of friends”.[329] He dated Betty Hensel for a period, then married Betsy Drake on December 25, 1949, the co-star of two of his films. This proved to be his longest marriage, ending on August 14, 1962.
Grant married Dyan Cannon on July 22, 1965, at Howard Hughes’ Desert Inn in Las Vegas, and their daughter Jennifer was born on February 26, 1966, his only child;[334] he frequently called her his “best production”.[335] He said of fatherhood:
My life changed the day Jennifer was born. I’ve come to think that the reason we’re put on this earth is to procreate. To leave something behind. Not films, because you know that I don’t think my films will last very long once I’m gone. But another human being. That’s what’s important.
Grant and Cannon separated in August 1967.[337]
On March 12, 1968, Grant was involved in a car accident in Queens, New York, en route to JFK Airport, when a truck hit the side of his limousine. Grant was hospitalized for 17 days with three broken ribs and bruising. A female companion, Baroness Gratia von Furstenberg, was also injured in the accident.[339] Nine days later, Grant and Cannon divorced.[340]
Grant had a brief affair with actress Cynthia Bouron in the late 1960s. He had been at odds with the Academy of Motion Picture Arts and Sciences since 1958, but he was named as the recipient of an Academy Honorary Award in 1970. Grant announced that he would attend the awards ceremony to accept his award, thus ending his 12-year boycott of the ceremony. Two days after this announcement, Bouron filed a paternity suit against him and publicly stated that he was the father of her seven-week-old daughter,[aa] and she named him as the father on the child’s birth certificate.[344] Grant challenged her to a blood test and Bouron failed to provide one, and the court ordered her to remove his name from the certificate.[344][345][ab] Between 1973 and 1977, he dated British photojournalist Maureen Donaldson, followed by the much younger Victoria Morgan.
On April 11, 1981, Grant married Barbara Harris, a British hotel public relations agent who was 47 years his junior. The two had met in 1976 at the Royal Lancaster Hotel in London where Harris was working at the time and Grant was attending a Fabergé conference. They became friends, but it was not until 1979 that she moved to live with him in California. Grant’s friends felt that she had a positive impact on him, and Prince Rainier of Monaco remarked that Grant had “never been happier” than he was in his last years with her.
politics [edit]
Biographer Nancy Nelson noted that Grant did not openly align himself to political causes, but did occasionally comment on current events. Grant spoke out against the blacklisting of his friend Charlie Chaplin during the period of McCarthyism, arguing that Chaplin was not a communist and that his status as an entertainer was more important than his political beliefs. In 1950, he told a reporter that he would like to see a female president of the United States but asserted a reluctance to comment on political affairs, believing it was not the place of actors to do so.[351]
In 1976, Grant made a public appearance at the Republican Party National Convention in Kansas City during which he gave a speech in support of Gerald Ford’s reelection and for female equality before introducing Betty Ford onto the stage.[352][353] A 1977 interview with Grant in The New York Times noted his political beliefs to be conservative but observed Grant did not actively campaign for candidates.[354]
death [edit]
North by Northwest Still for
Grant was at the Adler Theater in Davenport, Iowa, on the afternoon of Saturday, November 29, 1986, preparing for his performance in A Conversation with Cary Grant when he was taken ill; he had been feeling unwell as he arrived at the theater. Basil Williams photographed him there and thought that he still looked his usual suave self, but he noticed that he seemed very tired and that he stumbled once in the auditorium. Williams recalls that Grant rehearsed for half an hour before “something seemed wrong” all of a sudden, and he disappeared backstage. Grant was taken back to the Blackhawk Hotel where he and his wife had checked in, and a doctor was called and discovered that Grant was having a massive stroke, with a blood pressure reading of 210 over 130. Grant refused to be taken to the hospital. The doctor recalled: “The stroke was getting worse. In only fifteen minutes he deteriorated rapidly. It was terrible watching him die and not being able to help. But he wouldn’t let us.” By 8:45 p.m., Grant had slipped into a coma and was taken to St. Luke’s Hospital in Davenport, Iowa. He spent 45 minutes in the emergency room before being transferred to intensive care. He died at 11:22 p.m., aged 82.
Death? Of course I think of it. But I don’t want to dwell on it … I think the thing you think about when you’re my age is how you’re going to do it and whether you’ll behave well. —Grant at age 73.
An editorial in The New York Times stated: “Cary Grant was not supposed to die. … Cary Grant was supposed to stick around, our perpetual touchstone of charm and elegance and romance and youth.”[358] His body was taken back to California, where it was cremated and his ashes scattered in the Pacific Ocean. No funeral was conducted for him following his request, which Roderick Mann remarked was appropriate for “the private man who didn’t want the nonsense of a funeral”. His estate was worth in the region of 60 to 80 million dollars; the bulk of it went to Barbara Harris and Jennifer.[271]
Screen persona [ edit ]
Grant in 1958
McCann wrote that one of the reasons why Grant’s film career was so successful is that he was not conscious of how handsome he was on screen, acting in a fashion which was most unexpected and unusual from a Hollywood star of that period. George Cukor once stated: “You see, he didn’t depend on his looks. He wasn’t a narcissist, he acted as though he were just an ordinary young man. And that made it all the more appealing, that a handsome young man was funny; that was especially unexpected and good because we think, ‘Well, if he’s a Beau Brummel, he can’t be either funny or intelligent’, but he proved otherwise”. Jennifer Grant acknowledged that her father neither relied on his looks nor was a character actor, and said that he was just the opposite of that, playing the “basic man”.
Grant’s appeal was unusually broad among both men and women. Pauline Kael remarked that men wanted to be him and women dreamed of dating him. She noticed that Grant treated his female co-stars differently than many of the leading men at the time, regarding them as subjects with multiple qualities rather than “treating them as sex objects”.[97] Leslie Caron said that he was the most talented leading man she worked with.[364] David Shipman writes that “more than most stars, he belonged to the public”. A number of critics have argued that Grant had the rare star ability to turn a mediocre picture into a good one. Philip T. Hartung of The Commonweal stated in his review for Mr. Lucky (1943) that, if it “weren’t for Cary Grant’s persuasive personality, the whole thing would melt away to nothing at all”. Political theorist C. L. R. James saw Grant as a “new and very important symbol”, a new type of Englishman who differed from Leslie Howard and Ronald Colman, who represented the “freedom, natural grace, simplicity, and directness which characterise such different American types as Jimmy Stewart and Ronald Reagan”, which ultimately symbolized the growing relationship between Britain and America.
Once he realized that each movement could be stylized for humor, the eyepopping, the cocked head, the forward lunge, and the slightly ungainly stride became as certain as the pen strokes of a master cartoonist. —Film critic Pauline Kael on the development of Grant’s comic acting in the late 1930s[97]
McCann notes that Grant typically played “wealthy privileged characters who never seemed to have any need to work in order to maintain their glamorous and hedonistic lifestyle”. Martin Stirling thought that Grant had an acting range which was “greater than any of his contemporaries”, but felt that a number of critics underrated him as an actor. He believes that Grant was always at his “physical and verbal best in situations that bordered on farce”. Charles Champlin identifies a paradox in Grant’s screen persona, in his unusual ability to “mix polish and pratfalls in successive scenes”. He remarks that Grant was “refreshingly able to play the near-fool, the fey idiot, without compromising his masculinity or surrendering to camp for its own sake”. Wansell further notes that Grant could, “with the arch of an eyebrow or the merest hint of a smile, question his own image”. Stanley Donen stated that his real “magic” came from his attention to minute details and always seeming real, which came from “enormous amounts of work” rather than being God-given. Grant remarked of his career: “I guess to a certain extent I did eventually become the characters I was playing. I played at being someone I wanted to be until I became that person, or he became me”. He professed that the real Cary Grant was more like his scruffy, unshaven fisherman in Father Goose than the “well-tailored charmer” of Charade.
Grant often poked fun at himself with statements such as, “Everyone wants to be Cary Grant—even I want to be Cary Grant”,[374] and in ad-lib lines such as in His Girl Friday (1940): “Listen, the last man who said that to me was Archie Leach, just a week before he cut his throat.” In Arsenic and Old Lace (1944), a gravestone is seen bearing the name Archie Leach.[376] Alfred Hitchcock thought that Grant was very effective in darker roles, with a mysterious, dangerous quality, remarking that “there is a frightening side to Cary that no one can quite put their finger on”. Wansell notes that this darker, mysterious side extended to his personal life, which he took great lengths to cover up in order to retain his debonair image.
Legacy [ edit ]
No other man seemed so classless and self-assured … at ease with the romantic as the comic … aged so well and with such fine style … in short, played the part so well: Cary Grant made men seem like a good idea. —Biographer Graham McCann on Cary Grant.
Biographers Morecambe and Stirling believe that Cary Grant was the “greatest leading man Hollywood had ever known”. Schickel stated that there are “very few stars who achieve the magnitude of Cary Grant, art of a very high and subtle order” and thought that he was the “best star actor there ever was in the movies”.[381] David Thomson and directors Stanley Donen and Howard Hawks concurred that Grant was the greatest and most important actor in the history of the cinema.[129] He was a favorite of Hitchcock, who admired him and called him “the only actor I ever loved in my whole life”, and remained one of Hollywood’s top box-office attractions for almost 30 years.[385] Pauline Kael stated that the world still thinks of him affectionately because he “embodies what seems a happier time−a time when we had a simpler relationship to a performer”.[97]
Grant was nominated for Academy Awards for Penny Serenade (1941) and None But the Lonely Heart (1944), but he never won a competitive Oscar;[ac] he received a special Academy Award for Lifetime Achievement in 1970. The inscription on his statuette read “To Cary Grant, for his unique mastery of the art of screen acting with respect and affection of his colleagues”. Presenting the award to Grant, Frank Sinatra announced: “No one has brought more pleasure to more people for so many years than Cary has, and nobody has done so many things so well”.
Grant was awarded a special plaque at the Straw Hat Awards in New York in May 1975 which recognized him as a “star and superstar in entertainment”. The following August, Betty Ford invited him to give a speech at the Republican National Convention in Kansas City and to attend the Bicentennial dinner for Queen Elizabeth II at the White House that same year. He was invited to a royal charity gala in 1978 at the London Palladium. In 1979, he hosted the American Film Institute’s tribute to Alfred Hitchcock, and presented Laurence Olivier with his honorary Oscar. In 1981, Grant was accorded the Kennedy Center Honors. Three years later, a theater on the MGM lot was renamed the “Cary Grant Theatre”. In 1995, more than 100 leading film directors were asked to reveal their favorite actor of all time in a Time Out poll, and Grant came second only to Marlon Brando. On December 7, 2001, a statue of Grant by Graham Ibbeson was unveiled in Millennium Square, a regenerated area next to Bristol Harbour, Bristol, the city where he was born.[393] In November 2005, Grant again came first in Premiere magazine’s list of “The 50 Greatest Movie Stars of All Time”.[394] The biennial Cary Comes Home Festival was established in 2014 in his hometown Bristol.[395] McCann declared that Grant was “quite simply, the funniest actor cinema has ever produced”.
Grant was portrayed by John Gavin in the 1980 made-for-television biographical film Sophia Loren: Her Own Story.[397]
Filmography and stage work [ edit ]
From 1932 to 1966, Grant starred in over seventy films. In 1999, the American Film Institute named him the second greatest male star of Golden Age Hollywood cinema (after Humphrey Bogart).[398] He was nominated for the Academy Award for Best Actor for Penny Serenade (1941) and None but the Lonely Heart (1944).[174] ] Widely recognized for comedic and dramatic roles, among his best-known films are Blonde Venus (1932), She Done Him Wrong (1933), Sylvia Scarlett (1935), The Awful Truth (1937), Bringing Up Baby (1938), Gunga Din (1939), Only Angels Have Wings (1939), His Girl Friday (1940), The Philadelphia Story (1940), Suspicion (1941), Arsenic and Old Lace (1944), Notorious (1946), An Affair to Remember (1957), North by Northwest (1959), and Charade (1963).[6]
Notes [edit]
References[ edit ]
Sources [ edit ]
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