Showing posts with label Connections. Show all posts
Showing posts with label Connections. Show all posts

Monday, November 13, 2023

The Bishop's Wife (1947)

 " is Cary Grant’s playing that rescues the role of the angel named Dudley from the ultimate peril..."

With Loretta Young.

The Bishop's Wife - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Robert Nathan’s early novel (1928), The Bishop’s Wife, has been revived by Samuel Goldwyn (with help on the script from Robert Sherwood and Leonardo Bercovici) to honor the current boom in cinema angels.  Unlike the majority of his predecessors, however, Mr. Nathan’s angel is not beyond descending to diabolical methods to achieve his heavenly purposes, and the gleam in his eye is scarcely seraphic. 

If the angel is considerably less tedious than most, it is, first of all, because the miracles he is called upon to perform are onerous neither to him nor to his audience.  A flick of the hand and a bottle of brandy refills perpetually; a smile and every woman within its range feels divinely beautiful.  Certain other of his feats, conceived with a heavier hand, are retrieved from disaster by the direction of Henry Koster who wisely refrains from bearing down full weight on the script.  But it is Cary Grant’s playing that rescues the role of the angel named Dudley from the ultimate peril of coyness.  With nothing more than a beaming countenance and an air of relaxation that is certainly not of this world, he achieves a celestial manner without so much of a hint of wings on his dark blue suit.  An expert cast is on hand to show by reflection what Cary Grant has refrained from making irksomely explicit.  David Niven’s prelate is a wistful and absent-minded character who is scarcely a match for Dudley.  As the Bishops’ wife, Loretta Young is sufficiently lovely to make even an angel fall; and in lesser roles Monty Woolley, James Gleason and Elsa Lanchester react to Dudley’s miraculous passage with characteristic gaiety.

The Bishop had prayed to God for guidance in how to separate Mrs. Hamilton, a rich parishioner, from sufficient money to build a cathedral.  God sent him Dudley and Dudley had soon resolved his dilemma by threatening Mrs. Hamilton with the name of her long-lost lover.  Now, Dudley convinces both her and the Bishop that God could better be served by abandoning the cathedral project in favor of helping the needy.  This is a refreshingly practical notion and comes with the lure of novelty from a screen which has heretofore thrown its weight – in the manner of The Bells of St. Mary’s – in favor of building churches.  For this reason alone The Bishop’s Wife should commend itself to the public." 

Hermine Rich Isaacs, Theatre Arts Magazine

New Artwork by Rebekah Hawley at Studio36 -
Number 51 - The Bishop's Wife (Lobby Card Style)

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Saturday, September 23, 2023

Arsenic and Old Lace (1944)

 "...a superb blend of horror and comedy..."

With Raymond Massey and Peter Lorre.

Arsenic and Old Lace - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"My favorite scene is the one from the picture Arsenic and Old Lace which begins with Cary Grant making the spine-chilling discovery that his two dear old maiden aunts are poisoners who have murdered some dozen men.  

The old ladies' sweetly matter-of-fact attitude toward their gruesome hobby is a superb blend of horror and comedy, and the scene develops uproariously.  

I was helpless with laughter as I watched Cary change from a normal young man to a decidedly dizzy one, talking to himself, staring into the window seat from which bodies mysteriously appeared and disappeared, and making various wild attempts to cope with the situation."

- Ida Lupino, Saturday Evening Post

New Artwork by Rebekah Hawley at Studio36 -
Number 47 - Arsenic and Old Lace (Lobby Card Style)

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Friday, September 22, 2023

None But The Lonely Heart (1944)

   "...plays its ...hero so attentively and sympathetically..."

With Konstantin Shayne.

None But The Lonely Heart - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"None But The Lonely Heart, a story about the education of a young man in London's pre-war slums, is an unusually sincere, almost-good film and was made under unusually unexpected auspices.  Its star, Cary Grant, asked that it be made, and plays its far from Cary Grantish hero so attentively and sympathetically that I all but overlooked the fact that he is not well constituted for the role.  Its most notable player, Ethel Barrymore, seemed miscast too, but I was so soft as to be far more than satisfied by her beauty and authority.  Its director, Clifford Odets, who also turned Richard Llewellyn's novel into the screen play, is still liable to write - or preserve from the book - excessive lines like "dreaming the better man"; he suggests his stage background as well as his talent by packaging his bits too neatly; and his feeling for light, shade, sound, perspective, and business is too luscious for my taste.  But I believe that even if he doesn't get rid of such faults he will become a good director.  I base my confidence in him chiefly on  the genuine things about his faith in and love for people, which are as urgent and evident here as his sentimentalities; on two very pretty moments in the film, one of two drunken men playing with their echoes under an arch, the other of two little girls all but suffocated by their shy adoration of the hero; and on the curiously rich, pitiful, fascinating person, blended of Cockney and the Bronx, whom he makes of a London girl, with the sensitive help of June Duprez.  I suppose I should be equally impressed by the fact that the picture all but comes right out and says that it is a bad world which can permit poor people to be poor; but I was impressed rather because Odets was more interested in filling his people with life and grace than in explaining them, arguing over them, or using them as boxing gloves." 

- James Agee, The Nation

New Artwork by Rebekah Hawley at Studio36 -
Number 46 - None But The Lonely Heart (Lobby Card Style)

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Tuesday, September 19, 2023

The Howards of Virginia (1940)

 "...Grant meets the exigencies of a difficult role with more gusto than persuasion."

With Paul Kelly.

The Howards of Virginia - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Elizabeth Page's best seller of last year, The Tree of Liberty, comes to the screen as The Howards of Virginia.  Although using only a portion of the 985-page novel, Columbia still seems to have tackled a larger canvas than it could paint effectively, with the result that this cavalcade of Colonial and Revolutionary America, while ambitious, expensive, and generally interesting, comes to life all to infrequently. 

Adapted by Sidney Buchman  and directed by Frank Lloyd, the Howard saga is most effective in the sequences that recreate frontier life and manners as seen through the eyes of the woman who loves her husband while rebelling against his democratic ideas.  These sequences are impressive in their homely humor and realism, though much footage otherwise wasted inevitably pulls the emotional punches in the story of Matt's relationship with his wife and children.  

Obviously miscast, Cary Grant meets the exigencies of a difficult role with more gusto than persuasion.  Martha Scott follows her impressive screen debut in Our Town with a sincere if more conventional characterization.  That this history has been staged with exceptional fidelity, is due in part to the fact that its Williamsburg sequences were filmed on location in the historic city which was reconstructed by John D. Rockefeller, Jr. as a $20,000,000 project to perpetuate America's past."


New Artwork by Rebekah Hawley at Studio36 -
Number 37 - The Howards of Virginia (Lobby Card Style)

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Saturday, September 2, 2023

I Was A Male War-Bride (1949)

   "...a past master at playing the handsome      he-man thrown for a loss by a difficult dame..."

I Was A Male War-Bride - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"A temperamental French army captain and a strong-minded WAC lieutenant stationed in Occupied Germany spend the first half of this comedy hating each other and the second half trying to find a way for the captain to emigrate to the United States.  There is a short intermission between halves in which the two sparring partners get married.  

The film is poorly paced.  By the time Captain Rochard and Lieutenant Gates get to the altar, it seems as if we've had our money's worth.  But, no - complications are barely beginning.  It appears that the only provision under which Rochard may accompany his wife back to the States is the law regulating the immigration of war brides.  It is with this embarrassing predicament that the film finally gets down to the business announced in the title.  

The comedy has its share of bright and breezy moments.  Cary Grant is a past master at playing the handsome he-man thrown for a loss by a difficult dame or an undignified situation.  But none of the boy-girl situations in this opus is original enough to stand being spun out for two hours."   

Scholastic Magazine

New Artwork by Rebekah Hawley at Studio36 -
Number 54 - I Was A Male War-Bride (1949) (Lobby Card Style)

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Friday, September 1, 2023

The Bachelor and the Bobby-Soxer (1947)

   "...poor Mr. Grant finds himself doing many things that hardly fit his age."

With Shirley Temple.

The Bachelor and the Bobby-Soxer - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Without taxing or insulting your intelligence, some new comedies are providing some hearty laughs and a good excuse for timely escape into air-cooled cinema palaces.  The plot of The Bachelor and the Bobby-Soxer won't solve any major problems about the younger generation, but its lines are amusing and the members of its handsome cast are bubbling with anxiety to entertain.  Cary Grant is pleasantly coy as the artist-playboy who finds himself squiring a love-sick seventeen-year-old in order to avoid a more trying sentence.  Because Shirley Temple is such an attractive young actress, the task should be considerably lightened for him; but high-school girls these days have extraordinary ideas about how their knights in shining armor should behave and poor Mr. Grant finds himself doing many things that hardly fit his age.  He's a good sport about the whole thing (even during the obstacle race at the picnic) until he realizes how much he prefers Shirley's older sister, played by Myrna Loy, who looks lovely but acts like a cold tomato because she's a female judge who takes herself very seriously indeed.  Rudy Vallee, in another of his clever portraits of a stuffed shirt, is more to her liking - until she too sees Cary lustrous in armor.  Irving Reis has directed his cast for laughs and succeeds in getting them.  Ray Collins, as a court psychiatrist, tries to inject a serious note on the behavior of adolescents who have crushes; but even he succumbs to the spirit of this playful comedy."

Philip T. Hartung, The Commonweal

New Artwork by Rebekah Hawley at Studio36 -
Number 50 - The Bachelor and the Bobby-Soxer (Lobby Card Style)

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Friday, August 18, 2023

In Name Only (1939)

  "No surprises are the easy ad-libbish styles of Stars Grant and Lombard..."

With Carole Lombard.

In Name Only - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"In Name Only will puzzle cinemagoers who thought they knew just what high jinks to expect when Screwball Cary Grant falls in love with Screwball Carole Lombard.  Far from high jinks is the somber situation of rich young Alec Walker when he falls in love with Julie Eden, a widowed commercial artist who has taken a summer cottage near his stately county seat.  For, as rarely happens in a screwball comedy but is very likely to happen in life, Alec has a tenacious wife with an undeveloped sense of humor, parents who also thought infidelity no joke.  Before Lovers Grant and Lombard fight through to the clear, they have traded more punches than puns, emerged with the realization that matrimony is more than the off-screen ending to a Grant-Lombard movie.  

A mature, meaty picture, based on the novel Memory of Love, by veteran bucolic Bessie Brewer (wife of muralist Henry Varnum Poor), In Name Only has its many knowing touches deftly underscored by Director John Cromwell, brought out by a smoothly functioning cast.  No surprises are the easy ad-libbish styles of Stars Grant and Lombard, the enameled professional finish of oldtime Actor Charles Coburn as Alec's conventional father.  Surprising to many cinemaddicts, however, will be the effectively venomous performance, as Alec's mercenary wife, of Cinemactress Kay Francis.  Having worked out a long-term contract with Warner Bros. which kept her in the top money (over $5,000 a week) but buried her as the suffering woman in a string of B pictures, sleek Cinemactress Francis in her first free-lance job shows that she still belongs in the A's, that, properly encouraged, she can pronounce the letter r without wobbling."


New Artwork by Rebekah Hawley at Studio36 -
Number 34 - In Name Only (Lobby Card Style)

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Sunday, July 30, 2023

The Toast of New York (1937)

  "The production is faultless..."

With Thelma Leeds.

The Toast of New York - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"This film is chiefly noteworthy for the rounded characterization of an early American individualist which Edward Arnold adds to his fine gallery of screen portraits, and, more than the careful and authentic reconstruction of old New York, his performance conveys the spirit of the time in which this historical drama is laid.  It is the story of Jim Fisk who drops his medicine-show business at the opening of the Civil War to prosper at cotton smuggling and go on to the higher gamble of the stock market.  Attacked by the press as an Ogre feeding on the small investors, he conceives the gigantic scheme of cornering the nation's gold and enters upon a financial struggle with Cornelius Vanderbilt.  Balked in his dream and disappointed in love, his strange career is abruptly closed by mob violence.  The direction of Rowland V. Lee is turned toward a large scale portrait which will serve for all the robber barons of our checkered post-Civil War industrialism.  Frances Farmer, Cary Grant and Donald Meek lend support and Jack Oakie provides more than one man's share of comedy.  The production is faultless and the morality of great wealth is a timely subject of discussion, so adults will undoubtedly find this production much to their liking."

- Thomas J. Fitzmorris, America

New Artwork by Rebekah Hawley at Studio36 -
Number 28 - The Toast of New York (Lobby Card Style)

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Saturday, July 22, 2023

Notorious (1946)

      "...with Ingrid Bergman and Cary Grant to bring glamour and sultry vitality to the leads..."

With Ingrid Bergman.

Notorious - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"The unease that assaults an artist transplanted bodily out of his native soil has affected even veteran director Alfred Hitchcock who, since his arrival in Hollywood, has consistently failed to live up to the standards of Thirty-Nine Steps and The Lady Vanishes.  A celebration is therefore in order for his most recent effort, Notorious.  With a highly polished script by Ben Hecht, and with Ingrid Bergman and Cary Grant to bring glamour and sultry vitality to the leads, Mr. Hitchcock has fashioned a film in the supercharged American idiom of the sort that made Casablanca popular.  With a minimum of tricks and an uncluttered story line, he tells of a beautiful American spy who marries an enemy leader and is rescued at Zero hour by her secret service superior when her husband tries to poison her.

- Hermine Rich Isaacs, Theatre Arts Magazine

New Artwork by Rebekah Hawley at Studio36 -
Number 49 - Notorious (Lobby Card Style)

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Monday, July 17, 2023

North by Northwest (1959)

      "...two of the very slickest operators before and behind the Hollywood cameras."

With Eva Marie Saint.

North by Northwest - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"If it does nothing else (but it does, it does), North by Northwest resoundingly reaffirms the fact that Cary Grant and Alfred Hitchcock are two of the very slickest operators before and behind the Hollywood cameras.  Together they can be unbeatable.  Each has his own special, career-tested formula.  Actor Grant's is a sartorial spiffiness and mannered charm; producer-director Hitchcock's is an outrageously simple yet effective blend of mayhem and humor at mayhem's expense, the whole usually framed by a famous piece of scenery that no one else had ever considered a suitable backdrop for melodramatic shenanigans.  The present shiny and colorful collaboration offers Grant as a dapper Madison Avenue advertising executive being chased by foreign agents over the slippery precipices of the Presidential faces carved into Mount Rushmore - a most unlikely bit of contrived suspense, but one that is hypnotizing while it jangles the nerves." 


New Artwork by Rebekah Hawley at Studio36 -
Number 66 - North by Northwest (Lobby Card Style)

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Sunday, July 2, 2023

An Affair to Remember (1957)

      " early exponent of cinematic charm, still looks good and talks good..."

With Deborah Kerr.

An Affair to Remember - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Leo McCarey has had the good sense not to pretend that this romantic comedy is ever anything more than that, meanwhile exploiting a quality so long absent from the screen that it comes through with all the force of a brand new discovery - namely, charm.  Jerry Wald, the producer, observed that one reason there were so few real love stories being made any more was because there were so few actors who could play them convincingly.  "Today's actors," he said, "either look good and talk lousy or they look lousy and talk good."  Well, Cary Grant, an early exponent of cinematic charm, still looks good and talks good - and his graceful performance as a playboy is one good reason for seeing this film." 

- Arthur Knight, Saturday Review

New Artwork by Rebekah Hawley at Studio36 -
Number 62 - An Affair to Remember (Lobby Card Style)

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Thursday, May 25, 2023

Only Angels Have Wings (1939)

      "...this Columbia film easily outranks most of its plane-crashing, sky-spectacular predecessors."

With Jean Arthur and Crew.

Only Angels Have Wings - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"The year's output of aviation films subtracts none of the vigor and little of the freshness from Only Angels Have Wings.  More than a year in production, and coming at the tail end of an overworked screen cycle, this Columbia film easily outranks most of its plane-crashing, sky-spectacular predecessors.  

Produced, directed and written by Howard Hawks (Ceiling Zero and the Dawn Patrol of 1930), whose original story Jules Furthman has turned into a taut, economical script, this is the collective drama of a group of American aviators in the banana town of Barranca, set at the base of the mountains in the Latin-American tropics.  

Worthy of script, direction and particularly effective recreation of its tropical setting is the film's first-rate company.  Grant and Miss Arthur, perfectly cast in the leading roles, are supported by skillful and convincing characterizations, particularly by Sig Rumann as owner of the rickety plane service, Thomas Mitchell as a grounded flyer, and in lesser roles, Rita Hayworth, Allyn Joslyn, and Noah Beery, Jr.  Perhaps of most interest to screen fans is the fact that Richard Barthelmess, after a three-year absence from the screen, takes to the comeback road with a splendid performance."

- Newsweek

New Artwork by Rebekah Hawley at Studio36 -
Number 33 - Only Angels Have Wings Lobby Card Style)

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Saturday, May 13, 2023

Without Reservations (1946)

     "Colbert and Wayne are rather charming in change-of-pace roles and there are cameos from Jack Benny and Cary Grant..."

With Claudette Colbert.

Without Reservations - Review is taken from Empire Online, 01.01.2000:

"Authoress Claudette Colbert is summoned to Hollywood to adapt her best-selling philosophical novel for the movies and happens, on the cross-country train, to run into Marine John Wayne, whom she thinks would be ideal for the role of her hero but who happens to think that her book is bunkum. A typical romantic comedy of cross-purposes banter, this also has a vicious anti-intellectual streak that winds up with the producer's wish-fulfilment plot twist of the novelist begging a Hollywood studio to leave all the intellectual business out of the film of her book. Colbert and Wayne are rather charming in change-of-pace roles and there are cameos from Jack Benny and Cary Grant, not to mention an amazingly dreadful turn from gossip diva Louella Parsons.

Kim Newman, Empire

New Artwork by Rebekah Hawley at Studio36 -
Cameo Without Reservations (Lobby Card Style)

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"I Know You!"...The Cameos of Cary Grant April 29 2020

Sinners In The Sun (1932)

     "How fortunate we are who, in this era of science, are enabled by the talkie invention to hear, as well as see, the smacks which maidenly indignation administers to the cheek of importunate millionaires!"

Sinners In The Sun - Review is taken from 'The Films of Cary Grant' by Donald Deschner (1973):

"Sinners In The Sun is, in effect, a display of luxury, and the tale of a man and a girl who temporarily despise love in a cottage, but virtuously return to it at last as being of more importance than the limousines, the Long Island parties, the fashion-parades, and the underclothes that enrich their unregenerate interlude.  These things have now become so much a formula that Hollywood has learned not to take them too seriously, with the result that they are less tedious than they might otherwise be.  Miss Carole Lombard and Mr. Chester Morris discharge their sentimental duties with easy accomplishment, while Miss Adrienne Ames, though afflicted with dialogue of the utmost crudity, gives a genuine touch of character to the rich young woman whom our hero erroneously marries.  But the film's chief merit is the sickness of its luxurious accompaniment.  The dresses are good, the flow from scene to scene is smooth and glittering, and our heroine is eternally unruffled even when she has plunged into a moonlit sea, clambered upon a raft and been forcibly kissed by an amateur wrestler who applies his art to persuade her.  How fortunate we are who, in this era of science, are enabled by the talkie invention to hear, as well as see, the smacks which maidenly indignation administers to the cheek of importunate millionaires!"

- The Times (London)

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Number 2 - Sinners In The Sun (Lobby Card Style)

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Wednesday, April 26, 2023

News Article Series: The Last Interview with Kent Schuelke - (1986)

Postscript: Hollywood’s Leading Man
By Kent Schuelke

Cary Grant left the world in the same fashion as he lived—quietly. Within 48 hours of the 82-year-old actor’s death on November 29th from a massive stroke in Davenport, Iowa, his remains had been flown to California and cremated. No funeral, no memorial service. That’s how Grant wanted it. Outside of his illustrious movie career, spanning 72 films, Grant shunned the spotlight, seldom giving interviews.

Born Archibald Leach in Bristol, England in 1904, Grant came to the United States in his early teens as a performer in a traveling acrobatic troupe. His talents led him to the Broadway stage, where he performed in musicals. A movie contract with MGM soon followed. To many critics, the debonair Grant was the greatest comedian in the history of cinema. Along with Howard Hawks, George Cukor, and Frank Capra, he helped invent the “screwball comedy.” With his sweeping charm, clipped accent and impeccable timing, he lit up some of Hollywood’s greatest comedies, including Bringing Up BabyTopperThe Awful Truth, and The Philadelphia Story. In those films, he costarred with many of Hollywood’s leading ladies: Katharine Hepburn, Marilyn Monroe, Mae West, Ingrid Bergman, and Grace Kelly. But probably Grant’s most important collaborator was Alfred Hitchcock, with whom he made North by NorthwestNotorious, and To Catch a Thief.

Retiring from cinema in 1966, Grant spent the rest of his days in business, on the board of directors in at MGM and Faberge Cosmetics. He enjoyed his privacy, but his marriages—to Virginia Cherrill, Barbara Hutton, Betsy Drake, Dyan Cannon, and Barbara Harris—and his four divorces, brought him unwanted and unflattering publicity. In spite of such controversies, the public always loved Cary Grant.

This interview with Mr. Grant was done four months before his death. He did the interview in connection with a film tribute in his honor at the University of Iowa in Iowa City. This is one of the last public conversations with a legend.

Cary Grant

KENT SCHUELKE: What was your earliest ambition?
CARY GRANT: My earliest? I don't know, just to keep breathing in and out, I guess. I had no definite ambition. One has to go through one's education before forming thoughts about what one wants to do. Unless you've got some mad ideas about being a fireman or a great boxer or a football player. But I had none of those.

KS: What about acting?
CG: I had no ambition toward acting.

KS: I understand that as a boy you dreamed of traveling on the high seas. Did you want to be a sailor?
CG: Yes. I had an ambition to travel. I was born in a city -- Bristol -- from which there was a great deal of travel. It was a very old city, and in those days the ships came and left all the time from the port. I was constantly interested in what was going on down there and in those ships that took people all over the world.

A young Archie Leach travels to America on the White Star Liner 'Olympic'.

KS: How did you get started in acting?
CG: Because of my wish to travel, I joined a small troupe of ground acrobats. I first came to New York with the troupe. When the troupe went back to England, I remained here. I liked this country very much, and gradually I got into musicals. In those days, a musical generally only lasted a year, so there weren't very many. But I was in musicals before I came to film.

The Pender Troupe with Archie Leach (Bottom right)

KS: Young people who weren't even born when you made your last film are now discovering you in your classics. What do you think about that?
CG: I think they have a long life ahead of them. They will make their own choices. I hope for the best for the coming generation, but it doesn't seem to promise too much. But in every century people complain how the world is going. I don't know what the young people think or do; I only hear the emanation of their thoughts -- rock groups and similar noises. But if that's what makes them happy, fine -- as long as they don't do it next to me.

KS: How do you see yourself?
CG: How can I see myself? We are what we are in the opinion of others. It's up to them to make up their minds as to what we are. I can only see myself as a man of 82 who keeps on functioning. I do the best I can under the circumstances in which I've placed myself.

KS: How would you like history to remember you?
CG: As ... "A congenial fellow who didn't rock the boat," I suppose.

With wife, Barbara.

KS: Is your life relatively quiet these days?
CG: I live pretty quietly -- but what does one expect a man my age to do?

KS: Is that how you want to live out the rest of your life, quietly in Beverly Hills?
CG: I don't know how long that's going to be -- "the rest of my life" -- but I enjoy what I am doing and, of course, I shall live out my life here unless some extraordinary change suddenly occurs. If I didn't enjoy living in Beverly Hills, then I would move -- I can afford to do that.

KS: What is the most difficult thing about being Cary Grant, the movie star?
CG: I don't consider it difficult being me. The only thing that I wish -- that we all wish -- is that our faces were no longer part of our appearance in public. There's a constant repetition of people approaching me -- either for those idiotic things known as autographs or for something else. That's the only thing I deplore about this particular business.

Sharing a rare moment and signature with young fans.

KS: Do fans still approach you today?
CG: It happens, but not as much as it might to a Robert Redford or some younger, more popular star of today. It gets to be a bore.

KS: Have there been many interesting encounters with your fans?
CG: The people I'd most like to meet are the people who are the least likely to come up to me.

KS: Are you accessible to your fans? Do you interact with them?
CG: I do not care or like to talk to [my fans]. I'm not rude. I try to be as gracious as I can when someone next to me at dinner wants to know how I feel about a leading lady. But I don't answer any letters. I couldn't possibly answer everybody. I can't even attend to my own legal matters. I must receive two sacks of mail every day. So you can't answer the people. You feel rather sorry you can't, especially when there are children concerned, but it can't be done.

KS: Is is true that President Kennedy once telephoned you from the White House just to hear the sound of your voice?
CG: We all knew each other, just as we know our current President, who is a very dear and very friendly man. We [Reagan and Grant] are old friends.

KS: Film students break your films apart and analyze them. Do you think scholars place too much emphasis on films that were made strictly for entertainment?
CG: Oh, yes. A film's a film. As Hitch would say when someone would get all upset on the set, "Come on, fellas, relax -- it's only a movie." Now, if you want to bisect it and tri-sect it and cut it up into little pieces, well, that's up to you. We made them. We didn't know their intentions half the time, except to amuse and attract people to the box office.

With Alfred Hitchcock, during the filming of 'To Catch a Thief'.

KS: What are your memories of working with Alfred Hitchcock?
CG: I have only happy ones. They're all vivid because they're all interesting. It was a great joy to work with Hitch. He was an extraordinary man. I deplore these idiotic books written about him when the man can't defend himself. Even if you defend yourself against that kind of literature, it gets you nowhere.

KS: You worked with some of the most beloved leading ladies in film history. Who was the best actress with whom you worked?
CG: I've worked with many fine actresses. But in my opinion, the best actress I ever worked with was Grace Kelly. Ingrid [Berman], Audrey [Hepburn], and Deborah Kerr were splendid, splendid actresses, but Grace was utterly relaxed -- the most extraordinary actress ever. Her mind was razor-keen, but she was relaxed while she was doing it. I appreciated that. It's not an easy profession, despite what most people think.

With Grace Kelly, and Alfred Hitchcock. during the filming of 'To Catch a Thief'.

KS: Was it disappointing to you that Kelly gave up acting to marry Prince Rainier?
CG: As far as we were concerned, she as a lady, number one, which is rare in our business. Mostly, we have manufactured ladies -- with the exception of Ingrid, Deborah and Audrey. Grace was of that ilk. She was incredibly good, a remarkable woman in every way. And when she quit, she quit because she wanted to.

KS: How was working with Katharine Hepburn?
CG: Marvelous. I worked with her about five times. One doesn't do a thing more than once -- unless you're an idiot -- that one doesn't like.

'Bringing Up Baby' with Katharine Hepburn.

KS: In the 1950s, you announced that you were retiring from films. The retirement was short-lived, but what made you want to give up films at the height of your career?
CG: I was tired of making films.

KS: How did your friends and colleagues react to your decision?
CG: People say all sorts of things. I gave it up because I got tired of doing it at that point in my life; I had no idea then whether I would resume my career or not. The last time I left, I knew I wouldn't return to it. I enjoyed the profession very much, but I don't miss it a bit.

KS: Has anyone in the movie industry ever told you that your work has influenced the films they've done?
CG: Everybody copies everybody else, if they think you're doing something better than they. Athletes do that; that's evident in baseball scores and the improvement of the hitter today.

KS: How do you respond to the criticism that you never portrayed anyone but yourself in your films?
CG: Well, who else could I portray? I can't portray Bing Crosby; I'm Cary Grant. I'm myself in that role. The most difficult thing is to be yourself -- especially when you know it's going to be seen immediately by 300 million people.

KS: What about the people who say you should have expanded your repertoire to include more "character" roles?
CG: I don't care what people say. I don't take into consideration anything anyone says, including the critics. There's no point: You've made the film, it's done and if they want to criticize it, that's up to them. I don't pay attention to what anybody says -- except perhaps the director, the producer and my fellow actors. But I'm not making films; I haven't made a film in 20 years.

KS: Do you think these people misinterpret what you were trying to do?
CG: I have no concern with what anyone else is thinking -- I can't affect it -- or with what anybody else is saying anywhere in the world at any dinner table tonight. They may be discussing me or somebody else; I don't care. I've nothing to do with it, and I can't control it, so it doesn't matter what people say.

KS: Do you have a favorite film?
CG: Not really. I did them all for a purpose. Sometimes I hoped for better results; sometimes I was surprised by the results.

Visiting a Faberge factory, and meeting workers.

KS: Why did you leave acting for the business world in the '60s?
CG: Acting became tiresome for me. I had done it. I don't know how much further I might have gone in it. I have no knowledge of that, of course. But I enjoyed going from where I started on to a different world, equally interesting -- perhaps more so.