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Coach Da Ghost, whose real name is Culture Bermudez, is a popular 24-year-old rapper from New York. Brooklyn’s drill talent CoachDaGhost now signed Gucci Mane’s 1017 record.
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Coach Da Ghost Wiki
Full Name / Real Name
Culture Bermudez
birthday / date of birth
1993
Age
24
birth sign
–
born country
US
hometown
Brooklyn
nationality
American
ethnicity
African American
profession
rapper
Education (high school/college/university)
N / A
Marital status
Unmarried
sexuality
Just
wife/spouse/partner
N / A
Current relationship status
single
Girlfriend
none
children (son, daughter)
none
social media
net worth
$400,000
height in feet
5 feet 9 inches
Coach Da Ghost Net Worth
We have given Coach Da Ghost the wealthy income salary report details which are given below.
Estimated Net Worth of Coach Da Ghost in 2020: $1 Million to $5 Million (approx.)
Costina got Curves🇺🇸… Wiki Biography,age,weight,relationships,net worth 💕💕
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Coach Da Ghost Wiki, Biography, Age, Net Worth, Salary …
Coach Da Ghost Wiki ; Current Relationship Status, Single ; Girlfriend, None ; Children (Son, Daughter), None ; Social Media, Instagram ; Net Worth, $400,000.
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Coach Da Ghost Wiki, Biography, Age, Net … – NCERT POINT
Lets check out Coach Da Ghost Wiki, Biography, Age, Net Worth, Religion, Income, Salary, Height, Weight, Body Measurement, Girlfriend, …
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Coach Da Ghost Wiki ; Current Relationship Status, Single ; Girlfriend, None ; Children (Son, Daughter), None ; Social Media, Instagram ; Net Worth, $400,000.
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Mariah Amato (Dancer) Wikipedia, Bio, Age, Height … – TVW.net
Mariah Amato is an American dancer and social media personality. She is well known for social personal over the last two years. She has had brand deals.
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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.
In 1944, Grant starred opposite Priscilla Lane, Raymond Massey and Peter Lorre in Frank Capra’s dark comedy Arsenic and Old Lace as the maniacal Mortimer Brewster, part of a bizarre family that includes two murderous aunts and an uncle who claims to be President Teddy his Roosevelt. Grant accepted the role after it was originally offered to Bob Hope, who turned it down due to scheduling conflicts. Grant found the film’s macabre subject matter difficult to come to terms with and believed it to be the worst performance of his career. That year he received his second Oscar nomination for a role opposite Ethel Barrymore and Barry Fitzgerald in the Clifford Odets-directed film None but the Lonely Heart, set in London during the Great Depression.[174] Later that year he appeared on the CBS radio series Suspense and played a tormented character on The Black Curtain who hysterically realizes his amnesia has disrupted the male order in society.
1946–1953: Post-war success and slump
After a brief cameo alongside Claudette Colbert in Without Reservations (1946), Grant portrayed Cole Porter in the musical Night and Day (1946). Production proved problematic, with scenes often requiring multiple takes, frustrating the cast and crew. Grant next appeared with Ingrid Bergman and Claude Rains in the Hitchcock-directed film Notorious (1946), playing a government agent who recruits the American daughter of a convicted Nazi spy (Bergman) to lead a Nazi organization in the aftermath of World War II to infiltrate Brazil. 178] During the course of the film, the characters of Grant and Bergman fall in love and after about two and a half minutes they share one of the longest kisses in film history.[179] Wansell notes how Grant’s performance “underlined how far his unique qualities as a screen actor had matured in the years since The Awful Truth”.
In 1947, Grant starred in the comedy The Bachelor and the Bobby-Soxer (released in Britain as Bachelor Knight), opposite Myrna Loy and Shirley Temple, as an artist who becomes embroiled in a court case when he is accused of assault. The film was acclaimed by critics, who admired the film’s slapstick qualities and the chemistry between Grant and Loy;[184] it became one of the best-selling films at the box office that year. Later that year he starred opposite David Niven and Loretta Young in the comedy The Bishop’s Wife, playing an angel sent down from heaven to clarify the relationship between the bishop (Niven) and his wife (Loretta Young).[186 ] The film was a huge commercial and critical success and was nominated for five Academy Awards. Life Magazine called it “intelligently written and competently acted”.[186]
The following year Grant again played with Loy the neurotic Jim Blandings, the defending champion in the comedy Mr. Blandings Builds His Dream Home. Although the film lost money for RKO, Commonweal Grant’s Philip T. Hartung considered his role as a “frustrated publicity man” to be one of his finest screen performances. He appeared with Betsy Drake and Franchot Tone in Every Girl Should Be Married, an “airy comedy,” playing a bachelor trapped in marriage by Drake’s devious character. He ended the year as the fourth most popular movie star at the box office. In 1949, Grant starred opposite Ann Sheridan in the comedy I Was a Man of War Bride, in which he appeared as a woman dressed in a skirt and wig. During filming, he contracted infectious hepatitis and lost weight, which affected his appearance in the picture. The film, based on the autobiography of Belgian resistance fighter Roger Charlier, proved successful, becoming the highest-grossing film for 20th Century Fox that year at over $4.5 million and tied with Hawks’ screwball comedies of the late 1930s years compared. At the time, he was one of the highest-paid Hollywood stars, commanding over $300,000 per picture.
The early 1950s marked the beginning of a slump in Grant’s career. His roles as a top brain surgeon caught in the midst of a bitter revolution in a Latin American country in crisis and as a medical professor and orchestra conductor alongside Jeanne Crain in People Will Talk were poorly received.[198] Grant was fed up with being successful, wealthy and popular after twenty years of being Cary Grant, noting “Playing yourself, your real self, is the hardest thing in the world.” In 1952, Grant starred in the comedy Room for One More, playing an engineer husband who adopted two children from an orphanage with his wife (Betsy Drake). He reunited with Howard Hawks to direct the offbeat comedy Monkey Business, starring Ginger Rogers and Marilyn Monroe. Although the Motion Picture Herald critic wrote effusively that Grant gave the best of his career with an “extraordinary and agile performance” surpassed by Rogers, he received mixed reviews overall. The romantic comedy Dream Wife would save his career, but it was a critical and financial failure upon publication in July 1953, when Grant was 49. Despite being offered the lead role in A Star is Born, Grant decided against playing that character. Believing his film career to be over, he briefly left the industry.
1955–1959: Another career highlight
In 1955, Grant agreed to star alongside Grace Kelly in To Catch a Thief, in which he played a retired jewel thief named John Robie, nicknamed “The Cat”, who lived on the French Riviera. Grant and Kelly worked well together during production, which was one of the most enjoyable experiences of Grant’s career. He found Hitchcock and Kelly very professional, later stating that Kelly was “possibly the best actress I’ve ever worked with”. Grant was one of the first actors to become independent by not renewing his studio contract, effectively exiting the studio system which almost completely controlled all aspects of an actor’s life. He decided which films he would appear in, often had personal choices of directors and co-stars, and sometimes negotiated a share of the gross receipts, which was unusual at the time. Grant was paid more than $700,000 for his 10% of the gross of the hit To Catch a Thief, while Hitchcock was paid less than $50,000 for directing and producing. Although critical response to the film as a whole was mixed, Grant received high praise for his performance, with critics commenting on his suave, handsome appearance in the film.
Scholarship 1956
In 1957, Grant starred opposite Kerr in the romance An Affair to Remember, in which she played an international playboy who becomes the object of her affections. Schickel sees the film as one of the definitive romantic images of the period, but notes that Grant was not entirely successful in attempting to replace the film’s “bubbly sentimentality”. That year, Grant also appeared opposite Sophia Loren in The Pride and the Passion. He had expressed interest in playing William Holden’s role in The Bridge on the River Kwai, but found that his commitment to The Pride and the Passion prevented him from doing so. Shot on location in Spain, the film was problematic with co-star Frank Sinatra irritating his cast and leaving production after just a few weeks. Although Grant had an affair with Loren during filming, Grant’s attempts to marry Loren during production proved unsuccessful, leading to him expressing anger when Paramount married her to him in Houseboat (1958) as part of their contract faced. The sexual tension between the two was so great during the making of Houseboat that the producers found it almost impossible to manage.[217] Later in 1958, Grant starred opposite Bergman in the romantic comedy Indiscreet, in which he played a successful financier who has an affair with a famous actress (Bergman) while pretending to be a married man. During filming, he forged a closer friendship and gained new respect for her as an actress. Schickel stated that he felt the film was possibly the best romantic comedy film of the era and that Grant himself stated that it was one of his personal favourites. Grant received his first of five Golden Globe Award nominations for Best Actor – Motion Picture, Musical or Comedy for his performance and ended the year as Favorite Movie Star at the Box Office.
In 1959, Grant starred in the Hitchcock-directed film North by Northwest, playing an advertising executive who becomes involved in a case of mistaken identity. Like Indiscreet[222][223] it was warmly received by critics and was a huge commercial success and is now often cited as one of the greatest films of all time.[x] Weiler writes in The New York Times: Praising Grant’s performance and noting , that the actor “was never more at home than in that role of promotional man-on-the-lam” and handled the role “with professional aplomb and grace.” Grant wore one of his most iconic suits in the film, which became very popular, a 14-gauge, mid-grey, subtly checked worsted suit that was custom-made on Savile Row. Grant ended the year playing the role of submarine skipper for the U.S. Navy opposite Tony Curtis in the comedy Operation Petticoat. The Daily Variety reviewer saw Grant’s comic performance as a classic example of making audiences laugh without lines, noting, “In this film, most of the gags play him off. It is his reaction, deadpan, frightened, etc., always underplayed, that creates or releases the humor”. The film was a huge box office success, and in 1973 Deschner ranked the film as the highest-grossing film of Grant’s career at the US box office, grossing $9.5 million.
1960–1966: Final film roles[edit]
In 1960, Grant starred alongside Deborah Kerr, Robert Mitchum and Jean Simmons in The Grass Is Greener, which was filmed in England at Osterley Park and Shepperton Studios. McCann notes that Grant took great delight in “ridiculing the over-fine taste and mannerisms of his aristocratic character”, although the film was panned and considered his worst since Dream Wife. In 1962, Grant starred in the romantic comedy That Touch of Mink in which he played the suave, wealthy businessman Philip Shayne who was romantically involved with an office worker played by Doris Day. He invites her to his apartment in Bermuda, but her guilty conscience spreads. The film was critically acclaimed and received three Academy Award nominations and won the Golden Globe Award for Best Comedy Film, in addition to another Golden Globe Award nomination for Best Actor. Deschner ranked the film as the second-highest-grossing film of Grant’s career.
Producers Albert R. Broccoli and Harry Saltzman originally sought Grant to play James Bond in Dr. No (1962), however, scrapped the idea as Grant would only be engaged for a feature film; Hence the producers decided to look for someone who could be part of a franchise after James Mason only agreed to commit to three films. 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 their close relationship was evident on camera, although Hepburn says he was particularly concerned during filming that he would be criticized for being far too old for her and to be regarded as a “cradle thief”. Writer Chris Barsanti writes, “It’s the film’s sly flirtation that makes it such brilliant entertainment. Grant and Hepburn play each other like the professionals they are.” Well-received by critics,[245] the film is often called “the best Hitchcock film that Hitchcock never made.”[246][247]
In 1964, Grant changed from his typically suave, distinguished screen persona to play a gray-haired sandpiper who is forced to serve as a coastguard on an uninhabited island in the World War II romantic comedy Father Goose. The film was a huge commercial success and when it was released on Radio City at Christmas 1964, it grossed over $210,000 at the box office in its first week, beating the record Charade had set the previous year. Grant’s last film, Walk, Don’t Run (1966), a comedy starring Jim Hutton and Samantha Eggar, was filmed on location in Tokyo and is set against the backdrop of the housing crisis at the 1964 Tokyo Olympics.[252] Newsweek concluded, “While Grant’s presence in person is essential, the character he plays is almost entirely superfluous. Perhaps one has to conclude that a man in his fifties or sixties 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 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 raising her and bringing a sense of permanence and stability to her life. In the 1960s he became increasingly disillusioned with cinema and rarely found a script that appealed to him. He remarked, “I could have continued acting and played a grandfather or a bum, but I’ve discovered more important things in life.” After doing Charade, he knew the “Golden Age” of Hollywood was over. He showed little interest in a career comeback and would respond to the suggestion with a “fat opportunity.” He did, however, appear briefly in the audience of the video documentary for Elvis’ 1970 Las Vegas concert Elvis: That’s the Way It Is. In the 1970s he received the negatives of some of his films, which he sold to television in 1975 for over two million dollars.
Morecambe and Stirling argue that Grant’s absence from film after 1966 was not because he had “turned his back irrevocably on the film industry” but because he was “caught between a decision made and the temptation to eat a bit of humble cake and again announce themselves to the cinema audience”. During the 1970s, MGM was keen on redesigning 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, starring Grant. Grant explained that Warren Beatty went to great lengths to get him to play the role of Mr. Jordan in Heaven Can Wait (1978), which eventually went to James Mason. Morecambe and Stirling claim that Grant also expressed interest in starring in A Touch of Class (1973), The Verdict (1982) and a film adaptation of William Goldman’s 1983 book on screenwriting, Adventures in the Screen Trade.
In the late 1970s and early 1980s, Grant was 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 Mountbatten’s funeral, he was quoted as saying to a friend: “I’m absolutely broken and I’m so goddamn old…. I’ll give up everything next year. I’ll be in bed… I’ll just close all the doors, turn off the phone and enjoy my life.” Grace Kelly’s death was the hardest for him as it was unexpected, and the two dated after filming To Catch a Thief remained close friends. [y] Grant visited Monaco three or four times a 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 held a two-month retrospective of more than 40 of Grant’s films. In 1982 he was honored with the Man of the Year award from the New York Friars Club at the Waldorf-Astoria Hotel. He turned 80 on January 18, 1984, and Peter Bogdanovich remarked that a “serenity” had come over him. Grant was in good health until suffering a minor stroke in October of that year. In the last years of his life he toured the United States on the one-man show A Conversation with Cary Grant, showing excerpts from his films and answering audience questions. In his last four years he has made some 36 public appearances, from New Jersey to Texas, and audiences have ranged from older film buffs to enthusiastic college students discovering his films for the first time. Grant admitting the performances were “ego fodder”, noting “I know who I am on the inside and out, but it’s nice to have at least established the outside”.
Business interests[ edit ]
Stirling calls Grant “one of the brightest businessmen to ever walk Hollywood”. His long-standing friendship with Howard Hughes, dating back to the 1930s, led to him being invited into Hollywood’s most glamorous circles and their lavish parties. Biographers Morecambe and Stirling state that Hughes played an important role in the development of Grant’s business interests so that by 1939 he was “already an astute entrepreneur with various commercial interests”. Scott also played a role, encouraging Grant to invest his money in stocks, making him a wealthy man by the late 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, teaming up with Richard Widmark, Roy Rogers and Red Skelton to buy a hotel there. Behind his business interests was a particularly bright mind, to the point that his friend David Niven once said, “Before computers came along, Cary had one in his head.” Film critic David Thomson believes that Grant’s intelligence came across on screen, stating that “no one else looked so good and at the same time so intelligent”.
After Grant retired from the screen, he became more active in business. He accepted a position on the board of Fabergé. This position was not honorary, as some had assumed; Grant regularly attended meetings and traveled internationally to support them. His salary was modest compared to the millions in his film career, a reported salary of $15,000 a year. Such was Grant’s influence on the company that George Barrie once claimed that Grant played a role in growing the company to approximately $50 million in annual sales by 1968, a nearly 80% growth since its founding in 1964. The Position also allowed the use of a private plane that Grant could use to fly to his daughter’s wherever her mother, Dyan Cannon, worked.
In 1975, Grant was appointed director of MGM. In 1980, after the parent company split, he served on the boards of directors of MGM Films and MGM Grand Hotels. He played an active role in promoting the MGM Grand Hotel in Las Vegas when it opened in 1973 and continued to promote the city through the 1970s. When Allan Warren met Grant for a photoshoot earlier that year, he remarked on how tired Grant looked and his “slightly melancholic air”. Grant later joined the boards of directors 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, at the age of 38. He also legally changed his name to “Cary Grant” at this point. At the time of his naturalization, he listed his middle name as “Alexander” rather than “Alec”.[3]
One of Hollywood’s wealthiest stars, Grant owned homes in Beverly Hills, Malibu, and Palm Springs. He was impeccable in his grooming, and Edith Head, the renowned Hollywood costume designer, appreciated his “meticulous” attention to detail and considered him to have the greatest fashion sense of any actor she had worked with. McCann attributed his “almost obsessive grooming” with tanning, which deepened with age, to Douglas Fairbanks, who was also a major influence on his refined dress sense. McCann notes that because he was working class and not well educated, Grant made extra efforts throughout his career to mingle with high society, absorbing their knowledge, manners, and etiquette to compensate and to cover up. His image was meticulously drawn from the early days in Hollywood, where he frequently sunbathed and avoided being photographed smoking, despite the fact that he was smoking two packs a day at the time. Grant stopped smoking through hypnotherapy in the early 1950s. He remained health conscious and remained very lean and athletic well into his late career, although Grant claimed he “never bent a finger to stay fit”. He claimed he “did everything in moderation. Except making love”.
Grant’s daughter, Jennifer, explained that her father made hundreds of friends from all walks of life and that her home was frequently visited by 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 are the closest of friends and that the two men share a similar charisma and “undefinable charm” and are eternally “high on life.” While raising Jennifer, Grant archived artifacts from her childhood and adolescence in a room-sized, bank-grade safe he installed in the house. Jennifer attributed this meticulous collection to the fact that artifacts from his own childhood had been destroyed during the Luftwaffe bombing of Bristol in World War II (an event that also took the lives of his uncle, aunt, cousin and husband and wife). cousin’s grandson demanded). , and he may have wanted to prevent her from suffering a similar loss.
Grant and Sophia Loren starred together in Houseboat (1958). Grant’s wife Betsy Drake wrote the original screenplay, and Grant originally intended her to co-star with him. After beginning an affair with Loren during the filming of The Pride and the Passion (1957), Grant arranged for Loren to take Drake’s place with a rewritten script, which Drake asked not to receive credit for. The affair ended in bitterness before filming of The Pride and the Passion 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 for 12 years. The two met early in Grant’s career at Paramount Studios in 1932 when Scott was filming Sky Bride while Grant was filming Sinners in the Sun, and moved in together soon after. While Scott’s biographer Robert Nott states that there is no evidence that Grant and Scott were homosexual, their lifestyle sparked debate about Grant’s sexuality and was common knowledge in Hollywood at the time that both were bisexual, pre-film production code and other factors made speaking openly about gay lifestyles an even greater professional obligation. Scotty Bowers, who knew them both, wrote: “I don’t know if their wives ever knew what went on between them.” [302] After Grant’s death, Bowers claimed in his autobiography Full Service to have had sexual affairs with both Scott and Grant.[303][304] A few years earlier, Grant had been openly living with gay Hollywood designer Orry-Kelly.[305] Their sexual relationship is explored in the film “Women He Undressed” about Kelly.[306] Their relationship reportedly ended because “Grant knew he had to hide his sexuality in order to make it as an actor in Hollywood”. This political shift in Hollywood from general societal acceptance of lesbian and gay life and relationships in the 1920s and early ’30s to a more oppressive and oppressive professional and cultural climate soon after, including its impact on Cary and Randy, is well within a biography documented by William Haines, a gay 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 would continue to have affairs with men.” [308] Screenwriter Arthur Laurents once expressed this view that Grant was “bisexual at best”.[309] However, Grant’s daughter Jennifer and his former wife Betsy Drake have both denied these claims.[311] In her memoir Good Stuff, Jennifer posited that her father may or may not have engaged in sexual experimentation and “enjoyed being called gay”, but expressed uncertainty about whether Cary was homosexual. Grant himself consistently denied the allegation, and virtually all his friends and associates concurred, including particularly vocal close friends Peter Bogdanovich and Howard Hawks. Far from enjoying being called gay, Cary sued when Chevy Chase joked on Tom Snyder’s television interview series The Tomorrow Show in 1980 that Grant was a “gay.” What a girl!” was, and Chase was forced to retract his words and award a cash settlement of ten thousand dollars.
LSD[edit]
Scholarship 1955
Grant began experimenting with the drug LSD in the 1950s, a decade before it became popular. His then wife Betsy Drake showed a keen interest in psychotherapy and through her fellowship developed a considerable knowledge in the field of psychoanalysis. Radiologist Mortimer Hartman began treating him with LSD in the late 1950s, with Grant being optimistic that the treatment could help him feel better and remove any of his inner turmoil stemming from his childhood and failed relationships. He had an estimated 100 sessions over several years. Grant had long viewed the drug positively, stating 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 was still taking the drug as part of a cure to salvage their relationship in 1967. Grant later remarked that “taking LSD was an absolutely stupid thing to do, but I was a bossy brute, hiding all sorts of layers and defenses, hypocrisy and vanity. I had to get rid of them and wipe the slate clean.”
relationships[edit]
Grant has been married five times. He married Virginia Cherrill on 9 February 1934 at Caxton Hall in London. She divorced him on March 26, 1935, after being accused of hitting her. The two were embroiled in a highly publicized divorce case, with Cherrill demanding $1,000 a week in benefits from his Paramount earnings. After the marriage ended, he dated actress Phyllis Brooks from 1937. They considered marriage and vacationed together in Europe in mid-1939, visiting Dorothy Taylor Dentice di Frasso’s Roman villa in Italy, but the relationship ended later that year.
He married Barbara Hutton, one of the richest women in the world, in 1942 after her grandfather, Frank Winfield Woolworth, inherited $50 million. They were derisively nicknamed “Cash and Cary,” though in a prenuptial agreement, Grant denied any financial settlement to avoid being accused of marrying 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 “best friends”.[329] He dated Betty Hensel for a time and then on December 25, 1949 married Betsy Drake, the co-star of two of his films. This was his longest marriage, ending on August 14, 1962.
Grant heiratete Dyan Cannon am 22. Juli 1965 im Desert Inn von Howard Hughes in Las Vegas, und ihre Tochter Jennifer wurde am 26. Februar 1966 als sein einziges Kind geboren; [334] Er nannte sie häufig seine “beste Produktion”. 335] Er sagte über die Vaterschaft:
Mein Leben hat sich an dem Tag verändert, an dem Jennifer geboren wurde. Ich bin zu dem Schluss gekommen, dass der Grund, warum wir auf diese Erde gebracht wurden, darin besteht, uns fortzupflanzen. Etwas zurücklassen. Keine Filme, denn du weißt, dass ich glaube, dass meine Filme nicht lange halten werden, wenn ich weg bin. Sondern ein anderer Mensch. This is important.
Grant und Cannon trennten sich im August 1967.[337]
Am 12. März 1968 war Grant auf dem Weg zum Flughafen JFK in Queens, New York, in einen Autounfall verwickelt, als ein Lastwagen die Seite seiner Limousine traf. Grant wurde für 17 Tage mit drei gebrochenen Rippen und Blutergüssen ins Krankenhaus eingeliefert. Bei dem Unfall wurde auch eine Begleiterin, Baronin Gratia von Fürstenberg, verletzt.[339] Neun Tage später ließen sich Grant und Cannon scheiden.[340]
Grant hatte Ende der 1960er Jahre eine kurze Affäre mit der Schauspielerin Cynthia Bouron. Er war seit 1958 mit der Academy of Motion Picture Arts and Sciences uneins, wurde aber 1970 zum Empfänger eines Academy Honorary Award ernannt. Grant kündigte an, dass er an der Preisverleihung teilnehmen würde, um seinen Preis entgegenzunehmen, und beendete damit seinen 12 einjähriger Boykott der Zeremonie. Zwei Tage nach dieser Ankündigung reichte Bouron eine Vaterschaftsklage gegen ihn ein und erklärte öffentlich, dass er der Vater ihrer sieben Wochen alten Tochter sei,[aa] und sie nannte ihn als Vater auf der Geburtsurkunde des Kindes.[344] Grant forderte sie zu einem Bluttest auf und Bouron stellte keinen zur Verfügung, und das Gericht ordnete an, dass sie seinen Namen aus der Bescheinigung streichen musste.[344][345][ab] die viel jüngere Victoria Morgan.
Am 11. April 1981 heiratete Grant Barbara Harris, eine britische PR-Agentin für Hotels, die 47 Jahre jünger war als er. Die beiden hatten sich 1976 im Royal Lancaster Hotel in London kennengelernt, wo Harris zu dieser Zeit arbeitete und Grant an einer Fabergé-Konferenz teilnahm. Sie wurden Freunde, aber erst 1979 zog sie zu ihm nach Kalifornien. Grants Freunde hatten das Gefühl, dass sie einen positiven Einfluss auf ihn hatte, und Prinz Rainier von Monaco bemerkte, dass Grant „nie glücklicher gewesen“ sei als in seinen letzten Jahren mit ihr.
politics [edit]
Die Biografin Nancy Nelson bemerkte, dass Grant sich nicht offen politischen Anliegen anschloss, aber gelegentlich aktuelle Ereignisse kommentierte. Grant sprach sich gegen die schwarze Liste seines Freundes Charlie Chaplin während der Zeit des McCarthyismus aus und argumentierte, dass Chaplin kein Kommunist sei und dass sein Status als Entertainer wichtiger sei als seine politischen Überzeugungen. Im Jahr 1950 sagte er einem Reporter, dass er gerne eine Präsidentin der Vereinigten Staaten sehen würde, beteuerte aber, er zögere, sich zu politischen Angelegenheiten zu äußern, weil er glaubte, dies sei nicht der Ort für Schauspieler, dies zu tun.[351]
1976 trat Grant öffentlich auf dem Nationalkonvent der Republikanischen Partei in Kansas City auf, während dessen er eine Rede zur Unterstützung der Wiederwahl von Gerald Ford und für die Gleichstellung der Frau hielt, bevor er Betty Ford auf die Bühne stellte. Ein Interview mit Grant aus dem Jahr 1977 in der New York Times stellte fest, dass seine politischen Überzeugungen konservativ waren, stellte jedoch fest, dass Grant sich nicht aktiv für Kandidaten einsetzte.
death [edit]
North by Northwest Immer noch für
Grant war am Samstagnachmittag, dem 29. November 1986, im Adler Theatre in Davenport, Iowa, und bereitete sich auf seinen Auftritt in A Conversation with Cary Grant vor, als er krank wurde; er hatte sich unwohl gefühlt, als er im Theater ankam. Basil Williams fotografierte ihn dort und fand, dass er immer noch sein übliches höfliches Selbst aussah, aber er bemerkte, dass er sehr müde wirkte und einmal im Zuschauerraum stolperte. Williams erinnert sich, dass Grant eine halbe Stunde geprobt hat, bevor plötzlich „etwas nicht stimmte“ und er hinter der Bühne verschwand. Grant wurde zurück ins Blackhawk Hotel gebracht, wo er und seine Frau eingecheckt hatten, und ein Arzt wurde gerufen und entdeckte, dass Grant einen massiven Schlaganfall mit einem Blutdruckwert von 210 zu 130 hatte. Grant weigerte sich, ins Krankenhaus gebracht zu werden . Der Arzt erinnerte sich: „Der Schlaganfall wurde immer schlimmer. In nur fünfzehn Minuten verschlechterte sich sein Zustand rapide. Es war schrecklich, ihn sterben zu sehen und nicht helfen zu können. Aber er ließ uns nicht.“ Um 20:45 Uhr war Grant ins Koma gefallen und wurde in das St. Luke’s Hospital in Davenport, Iowa, gebracht. Er verbrachte 45 Minuten in der Notaufnahme, bevor er auf die Intensivstation verlegt wurde. Er starb um 23:22 Uhr im Alter von 82 Jahren.
Tod? Natürlich denke ich daran. Aber ich will mich nicht damit aufhalten … Ich denke, wenn man in meinem Alter ist, denkt man darüber nach, wie man es macht und ob man sich gut benimmt. —Grant im Alter von 73 Jahren.
Ein Leitartikel in der New York Times erklärte: „Cary Grant sollte nicht sterben. … Cary Grant sollte bleiben, unser ewiger Prüfstein für Charme und Eleganz, Romantik und Jugend.“ [358] Sein Körper wurde zurückgenommen nach Kalifornien, wo es eingeäschert und seine Asche im Pazifischen Ozean verstreut wurde. Auf seine Bitte hin wurde keine Beerdigung für ihn durchgeführt, was Roderick Mann als angemessen für “den Privatmann bezeichnete, der den Unsinn einer Beerdigung nicht wollte”. Sein Nachlass hatte einen Wert von 60 bis 80 Millionen Dollar; der Großteil davon ging an Barbara Harris und Jennifer.[271]
Bildschirmpersönlichkeit [ bearbeiten ]
Stipendium 1958
McCann schrieb, dass einer der Gründe, warum Grants Filmkarriere so erfolgreich war, darin besteht, dass er sich nicht bewusst war, wie gutaussehend er auf der Leinwand war und auf eine Weise handelte, die für einen Hollywoodstar dieser Zeit höchst unerwartet und ungewöhnlich war. George Cukor sagte einmal: „Siehst du, er war nicht auf sein Aussehen angewiesen. Er war kein Narzisst, er tat, als wäre er nur ein gewöhnlicher junger Mann. Und das machte es umso attraktiver, dass ein gutaussehender junger Mann Mann war lustig; das war besonders unerwartet und gut, weil wir denken, ‘Nun, wenn er ein Beau Brummel ist, kann er weder lustig noch intelligent sein’, aber er hat das Gegenteil bewiesen.” Jennifer Grant räumte ein, dass ihr Vater sich weder auf sein Aussehen verlassen habe, noch ein Charakterdarsteller sei, und sagte, dass er genau das Gegenteil davon sei und den „einfachen Mann“ spiele.
Grants Anziehungskraft war sowohl bei Männern als auch bei Frauen ungewöhnlich groß. Pauline Kael bemerkte, dass Männer er sein wollten und Frauen davon träumten, mit ihm auszugehen. Sie bemerkte, dass Grant seine weiblichen Co-Stars anders behandelte als viele der führenden Männer zu dieser Zeit und sie als Subjekte mit mehreren Qualitäten betrachtete, anstatt sie “als Sexobjekte zu behandeln”. Leslie Caron sagte, er sei der talentierteste Hauptdarsteller, mit dem sie zusammengearbeitet habe.[364] David Shipman schreibt, dass „er mehr als die meisten Stars der Öffentlichkeit angehörte“. Eine Reihe von Kritikern hat argumentiert, dass Grant die seltene Starfähigkeit hatte, ein mittelmäßiges Bild in ein gutes zu verwandeln. 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]
Stefan James Biography, Wife , Age, Family and Net Worth
Who is Stephen James?
Stefan James is a Canadian businessman, online personality, digital content provider, life coach and digital content creator whose self-mastery courses have helped countless people build lucrative independent careers.
Stephen James
How old is Stefan James?
He was born on May 3, 1986 in Vancouver, British Columbia, a province in Canada. In 2022 he will be 36 years old.
Stefan James has a “passion to enjoy life to the fullest”. Stefan is known on YouTube for his tutorials on how to get rich and start a profession. His most viewed YouTube videos to date include “Investing For Beginners | Advice on getting started” with 3.8 million views.
How To Overcome Fear And Anxiety In 30 Seconds has 1.8 million views and How To Sell on Amazon FBA For Beginners (A Complete, Step-by-Step Tutorial) has over 2.1 million views.
In January 2012, he started his career as a motivational content creator on Instagram. Since then, he has continued to share his insights and advice on getting started on a variety of other social media platforms, including Facebook and YouTube.
However, YouTube became his preferred platform as it allowed him to show longer films to larger audiences. As of February 10, 2012, he published his videos on YouTube. His first video was titled My Goals and Resolutions for 2012. At that time he was only 26 years old.
Stephen Jacob
“My Morning Ritual – How To Be Productive, Happy & Healthy Everyday” is the title of his video. The first of his videos, uploaded on March 7, 2012, became popular online. As of 2022, it has received over 841,000 views.
His most viewed video “She Makes $40,000 Per Month on Amazon at 23 Years Old” was released on April 20, 2017 and has received over 6 million YouTube views as of this writing.
Profile Summary
Name Stefan James Nickname James Gender Male Occupation Entrepreneur, Internet personality, digital content creator, life coach and digital content creator Famous for He gained popularity through his self-help, finance and entrepreneurship type content on YouTube and Instagram. Date of Birth 3 May 1986 Age (as of 2022) 36 years (2022) Birthplace Vancouver, British Columbia Province of Canada Zodiac Sign Libra School Gilman School University Vanderbilt University Educational Qualifications Graduate Father Mr. James Mother Mrs. James Brother N/A Sister N/A Friend N/A Religion Christianity Hometown Vancouver, British Columbia Province of Canada Current Residence Vancouver, British Columbia Province of Canada Girlfriend Tatiana James Ex-Girlfriend N/A Marital Status Married Wife Tatiana James Hobbies Travel Awards N/A Million Monthly Income $15,000 – $25,000 Height in Centimeters 185 cm Height in Meters 1.85 m Height in Feet 6 ft Weight 80 kg Eye Color Black Hair Color Brown Skin Color White
Stephen Jacob
Social Media Status:
Stefan has 1.27 million subscribers and 69 million views on his YouTube channel (Project Life Mastery), 148,000 followers on Facebook (Stefan James), 92.2,000 followers on Instagram (@stefanjames23) and 13,000 followers on Twitter (@StefanJames23) .
Facebook @stefanjames23 150,000 fans
Instagram @projectlifemastery 84,000 followers
Youtube @ProjectLifeMastery 1.30 million subscribers
Twitter @stefanjames23 13,000 followers
Snapchat stefanjames1
email [email protected]
Website projectlifemastery.com
Fascinating little things from Stefan James include:
▪︎In January 2012 Stefan founded the Project Life Mastery Company.
▪︎Stefan is not only all that, but also a philanthropist.
▪︎From January 2008 to January 2013 he was Executive Coach and co-founder of Lifestyle Transformations.
▪︎The website for his business is projectlifemastery.com.
Stefan James with his wife Tatiana James
Frequently asked questions about Stefan James
What makes Stefan James so popular?
He is a Canadian businessman, internet personality, digital materials creator, life coach and digital content creator.
Is Stefan James currently dating?
Tatiana James is his wife.
His Estimated Net Worth
In 2022, his projected net worth will be $5 million.
What future plans does he have?
He will continue to work as a content developer and entrepreneur.
Is he the subject of controversy?
no
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