Hollywood Leading Men

Fear and Loathing in Las Vegas

2011-06-23T06:06:00.000-07:00

This movie starts out with a trip to Vegas and the main character's crazy ways. He walks and talks crazy and has a cigarette in his mouth most of the time. The two main characters show how some men live their lives, out of control and to excess. They get their way and walk around in a drug induced state. I like how they take care of each other and Gonzo is concerned about his friend. These are the only masculine traits I see in the movie.

Final details--Science Bldg 185, 7-9pm, Thurs.

2011-06-22T06:43:00.000-07:00

The first part of the final will be largely similar to the midterm with identifications and short essays and will be available online until Friday at midnight.

The inclass portion will be an essay that will ask you to repond to some element from the book we used for our text, Heroes, Antiheroes, and Dolts. I'm not specifiying what specific element or statement from the text you might be discussing. What I did ask, though, or rather allow, is that you go through the latter chapter (post Fifties) and cull particular quotations you find signficant and bring them with you. In your essay you'll be able to use those quotations for support or to refute--whichever fits in your view. If you have further questions, comment here or email me.

Denzel Washington Biography

2011-06-21T17:04:00.000-07:00

Denzel Washington:

Born: December 8, 1954

He was the son of a Pentecostal minister and a beautician and a former Gospel singer.

He attended Fordham University, receiving a BA in Journalism

Actor, Director, Screenwriter, and Film Producer

Getting onto the screen: He was cast as Dr. Philip Chandler in the medical drama TV series, St. Elsewhere, on NBC from 1982-1988.

This series pushed the envelope thematically. It was one of the first to address AIDS publically.

Film Career: Washington was a front-running, leading actor in the ‘80s and ‘90s, though his career seems far from over.

Actor Trademarks:

He commonly plays roles of real-life figures.

Example: Steve Biko, Malcolm X, Rubin Carter, Melvin B. Tolson, Frank Lucas, and Herman Boone.

He really gets into his roles by extensive preparation. Many times, in real-life, he will take on the duties and responsibilities that his character really has for an extended time. Example: When preparing to play a boxing role in the movie The Hurricane, he worked out for a year with L.A. boxing trainer Terry Claybon.

He directed: Both of these films are based on true stories

Antwone Fisher

The Great Debaters

Awards:

Chosen by People magazine as one of the 50 Most Beautiful People in the world [1990]

First African-American actor to receive two Academy Awards

Two Golden Globes

Tony Award

NAACP Image Award for Outstanding Actor in a Motion Picture for Mississippi Masala.

Director:

Mira Nair

Born: October 15, 1957

She was born in India and attended Delhi University and later she attended Harvard.

Film Career: She began acting then later turned to directing.

Many of her films have a central theme dealing with interracial relationships like we will see in Mississippi Masala. Many of the elements we see in her films are a reflection into her own life. She married a native Ugandan, Mahmood Mamdani in Uganda when she was researching for tonight’s film in 1988.

Currently she resides in New York where she teaches in the Film Division of the School of Arts at Columbia University.

Some of her other works include:

Salaam Bombay! (1988)

The Perez Family (1995)

Kama Sutra: A Tale of Love (1996)

Monsoon Wedding (2001)

Vanity Fair (2004)

Amelia (2009)

She was offered the job of directing Harry Potter and the Order of the Pheonix (2007)

She was nominated for numerous awards and has won over 23 various awards including:

1988: New Generation Award

1988: Lilian Gish Award (Excellence in Feature Film), Los Angeles Women in Film Festival

2002: UNESCO Award

FOR Mississippi Masala:

1991: Golden Osella (Best Original Screenplay), Venice Film Festival: Mississippi Masala (with Sooni Taraporevala)[24]

1991: Critics Special Award, São Paulo International Film Festival: Mississippi Masala

1992: Best Director (Foreign Film), Italian National Syndicate of Film Journalists: Mississippi Masala

Movie Overview:

Release Date: February 5, 1992

This story was inspired by the observation of many motels in the Deep South that were owned and operated by Asian Indians who had arrived in America via Uganda where they had lived for several generations. She learned about that in 1972 all Asians Indians were ordered to leave Uganda by the leader, Idi Amin.

Unlike most Hollywood movies or television shows, Mississippi Masala avoids stereotypical portrayals of minority members.

You will not find in this film an Indian-American who speaks English with a thick accent and runs a 24-hour convenience store, or an Afro-American who hangs around street corners all day long and collects unemployment benefits. Instead, we see minority members being portrayed as real human beings with feelings just like anybody else's.

On the other hand, male Anglo-Saxons, who rarely appear in the movie, receive a different treatment. Whenever they make an appearance, something terrible occurs. For example, we will see a crazy driver screaming and shouting at Demetrus after he rear-ended his car; a cold and uncaring banker who threatens to repossess Demetrus' van if he fails to come up the loan payment; the police brutality heaped on Demetrus and Mina during their arrest; teenagers who play loud music and trash their motel room; and an unreasonable customer who complains about the high motel room rates. (Su)

Mississippi Masala- In Hindi: spicy… keep an eye open to the metaphor! =)

Hitchcock, North by Northwest

2011-06-21T07:47:00.000-07:00

Cary Grant's character was quite different than his character in Philadelphia Story. He let a woman led him around and almost get killed, but he looked great in his suit. He had a image to keep up and he did it in this movie. He also got the girl at the end through a twist of fate. The scene at Mount Rushmore was something. I have been there and I didn't see how people could climb around the faces. I wondered about the title until I saw the Northwest planes and fiqured it out. It had a great ending and Cary Grant played his masculine role well. He is still looked at today as one of Hollywood's leading male actors.

Jonathan Demme - Director of Philadelphia

2011-06-18T07:23:00.000-07:00

Robert Jonathan Demme was born on Feruary 22, 1944 in Baldwin, Long Island, New York. He is known for directing The Silence of the Lambs in 1991, Philadelphia in 1993, The Manchurian Candidate in 2004 and Rachel Getting Married in 2008. He also produced the last three movies. He won an Oscar for Silence of the Lambs, and it won "in all major categories, including Best Picture and Best Director." (movies.yahoo.com.) He is five foot ten. He was divorced to Evelyn Prucell. Now he is married to Joanne Howard and has three children. The children are Josephine Demme, Ramon Castle Demme and Brooklyn James Demme. His mother Dorothy Demme was in some roles in several of her son's movies. She died on November 20, 1995.

He has some trademarks like: he regularly casts Charles Napier and Chris Isaak in his movies. He makes sure the characters look directly in the camera. He often uses New Order songs in his movies scores. He also uses the steadicam a lot with handheld shots interspersed.

Here is some trivia. He cast a lot of the same actors in his movies, including Denzel Washington, Paul Lazar, Ted Levine and Tracey Walter. Eight of the actors he directed where in Oscar nominated performances; they are Mary Steerburgen, Jason Robards, Christine Lahti, Dean Stockwell, Anthony Hopkins, Jodie Foster, Tom Hanks and Anne Hathaway. Four of these people won Oscars for acting in Demme's movies; they are Steerburgen Hopkins, Foster and Hanks.

Here are some personal quotes. "I don't think it's sacrilegious to remake any movie, including a good or even great movies. I think what's sacrilegious is to make a bad movie, whether it's a remake or an original. It's what I always tell my actor friends, anybody who's in this, the (business), you've gotta try to hold out and only do the scripts, do the material that offers you the opportunity to do your best work. Because if you do stuff that doesn't give you that opportunity? Your work's not gonna be good. And you're gonna suffer in the long run from that. So I don't care if it's a remake if it's a great script with parts in it that can sttract fatastic actors, God, you know, to make the movie." (IMDB)

Here is another quote: "I was really hooked on movies at a very young age. The Manchurian Candidate (1962), along with Seven Days in May (1964), Fall-Safe (1964), and Dr. Strangelove or How I learned to Stop Worrying and Love the Bomb. (1964) were this quartet of anarchistic black-and-white American movies, each of which did things that you just didn't do in American movies, especially in the realm of irrevernce toward politics and government institutions and the Army. I was what, 16, it was shocking, it was thrilling and, interestingly, it predated my exposure to the French New Wave so, in a way, this was the American, a certain kind of new wave in American movies." (IMDB)

Jonathan Demme was a very energetic versatile and optimistic director of movies that are character driven. He started making B movies in the 1970's like "Caged Heat" in 1974 and "Crazy Mama" in 1975 to become one of Hollywood's most acclaimed filmmaker. He directed ten movies after "Crazy Mama" and before "Silence of the Lambs".

"Though many viewed the director's decision to film "Philadelphia" (1993) as a mea culpa in response to the charges of homophobia in "The Silence of the Lambs," which were leveled by members of the gay press who decried the complex sexuality of the film's killer, Demme had actually been working on the project with openly gay screenwriter Ron Nywsaner as early as 1988. Nonetheless, the moving courtroom drama dealing with discrimination against gays and PWAs (People with AIDS) was a landmark in mainstream Hollywood history. Greeted with mixed reviews, "Philadelphia" provied an attention-getting and Oscar-winning role for Tom Hanks as the afflicted homosexual lawyer who loses his job when he becomes symptomatic from AIDS. Depite some acclaim, the film was criticized for lacking the strong character development, mischief and sense of the unexpected that characterized Demme's best work." (movies.yahoo.com)

He directed many more films after this. One was called "Beloved" that starred Oprah Winfrey. He directed a remake of the 1962 thriller "The Manchurian Candidate" in 2004. In 2008, he directed the family drama "Rachel Getting Married" which starred Debra Winger and Anne Hathaway.

Bibliography: (IMDB) http://www.imdb.com/name/nm0001129/bio

(movies,yahoo.com) http://movies.yahoo.com/movie/contributor/1800018279/bio

Phialadelphia movie production

2011-06-17T11:51:00.000-07:00

Philadelphia

Philadelphia is a 1993 American drama film that was one of the first mainstream Hollywood films to acknowledge HIV/AIDS, homosexuality and homophobia.

It was written by Ron Nyswaner and directed by Jonathan Demme.

The film stars Tom Hanks and Denzel Washington.

It was inspired in part by the story of Geoffrey Bowers, an attorney who in 1987 sued the law firm Baker & McKenzie for unfair dismissal in one of the first AIDS discrimination cases.

The film won Academy Awards for Best Actor in a Leading Role (Tom Hanks), and Best Original Song ("Streets of Philadelphia").

It was also nominated for another Best Original Song award for "Philadelphia", as well as Best Makeup, and Best Original Screenplay (Ron Nyswaner).

This film's protagonist, Andrew Beckett, is listed at #49 among the heroes on the American Film Institute's list of the Top 100 Heroes and Villains.

The film was ranked #20 on American Film Institute’s 100 Years... 100 Cheers: America's Most Inspiring Movies

The film was the first Hollywood big-budget, big-star film to tackle the issue of AIDS in the U.S. and signaled a shift in Hollywood films toward more realistic depictions of homosexuals and lesbians. According to a Tom Hanks interview for the 1996 documentary The Celluloid Closet, scenes showing more affection between him and Antonio Banderas were cut, including one with him and Banderas in bed together. The DVD edition, produced by Automat Pictures, includes this scene.

The family of Geoffrey Bowers sued the writers and producers. A year after Bowers's death, producer Scott Rudin interviewed the Bowers family and their lawyers and, according to the family, promised compensation for the use of Bowers's story as a basis for the film. Family members asserted that 54 scenes in the movie are so similar to events in Bowers's life that some of them could only have come from their interviews. However, the defense said that Rudin abandoned the project after hiring a writer and did not share any information the family had provided. The lawsuit was settled after five days of testimony. Although terms of the agreement were not released, the defendants did admit that "the film 'was inspired in part'" by Bowers's story.

The location is chosen in Philadelphia is because Philadelphia is called “The City of Brotherly Love”.

In the prologue of the movie, there is a store on the street named “condom nation”, if we put that together, we can read it as condemnation. It shows the peoples attitude toward homosexuality and HIV at that time.

Sources:

http://www.imdb.com/title/tt0107818/

http://movies.nytimes.com/movie/review?res=9F0CE1DC163CF931A15751C1A965958260

Dissemblance

2011-06-17T07:40:00.000-07:00

The main issue finally of the Wheeler’s firing of Andy was his dissembling (in their view), that he wasn’t who he purported to be, that he pretended to be one of them when he wasn’t. Once he was exposed, they scramble to assert their difference from Andy, which suggest they fear the lack of difference there really is between them. Visibly, we watch the firm interact in all-male enclaves of the top floor offices, boardrooms, and bath house, which look remarkably similar to contexts some might imagine Andy. All the more reason for their quick action to distance themselves from him once he’s discovered.

Andy’s testimony that Charles Wheeler (Jason Robards) was the lawyer he thought he most wanted to be like, indicating it was actually Andy who was the one deceived, that Charles let him down when Wheeler revealed his truly small, vicious, and essentially unlawful (a true cut by another lawyer) nature. The final ignominy is the firm’s contention that they saw nothing of Andy’s illness and so couldn’t have been discriminating against him on that basis. Their lead (Mary Steenbergen) puts a mirror up to Andy and forces him to admit the lesions he asserted they saw weren’t really all that detectable; Joe Miller (Denzel Washington) asks Andy to take off his shirt to reveal what all know. Many (except Andy's family and, signficantly, Joe) look away, especially those former fellow lawyers in the firm, refusing to acknowledge, to see, the apparently Medusa-like sight of Andy’s lesions and ravaged body, which the film audience only sees reflected in the mirror Joe holds up for Andy.

Brief bio on Tom Hanks

2011-06-16T11:42:00.000-07:00

Tom Hanks was born in concord CA. on July 9, 1956 at 11:17 AM. He grew up moving around a lot with step families. When his parents divorced, the details of it made them pioneers in that state in marriage dissolution. He remained with his father moving around a lot and was not able to form lasting relationships. He suffered no abuse just a confused childhood. Hanks attended Skyline high school in Hayward CA. where he pursued his interests in basketball, soccer and the track team. He became the loud one, a trick he learned to get attention in the numerous schools he attended (IMBD).He attended Chabot College and California State University in Sacramento. He married Samantha Lewes in 1978 and divorced in 1987, he has two children with her. She died of cancer fourteen years after their divorce. He married his current wife Rita Wilson in 1988 who he met on the set of Bosom Buddies and has two children with her.
Although he was successful in drama at Skyline he was unable to get cast in college. He auditioned for a community play and was asked by the director to go to Cleveland and this is when his acting career started. His first acting job was as Gremio in Taming of the Shrew for $210 a week. Hanks never returned to college but chose instead to learn about theatre at the civic theatre in Sacramento. He returned to Cleveland in 78 and 79 making a name for him. In 1980 he landed his role in Bosom Buddies which lasted two years. Ron Howard called hanks to audition for a secondary role in Splash but got the lead role because he was so good. This launched his film career and kept him busy throughout the eighties. Every Time We Say Goodbye earned Hanks his first million dollar pay check.

In 1993 Hanks was cast in Philadelphia and ended up receiving an Oscar for his portrayal of Andrew Beckett. In his acceptance speech he thanked his gay drama teacher and this was the basis for the film In & Out. The movie Philadelphia was the second movie to address the aids issue and signaled a shift in Hollywood that began to show gay men and lesbians in a more positive light. Even so more intimate scenes between him and Bandera’s were cut but are included in the DVD (TalkTalk).
Hanks remains a force in the film industry. His star has not dimmed, he won another Oscar in 1994 for Forest Gump making him the only man in 55 years to win back to back Oscars, the other being Spencer Tracy (IMBD). In 1994 he did Forest Gump, and as part of his salary accepted part of the box office, a very good move that brought him 70 million. In 95 he did the voice for Woody in Toy Story and Apollo 13. 1999 brought Saving Private Ryan and another chance to work with Steven Spielberg. Saving Private Ryan eventually gave way to the series Band of Brother. In 2005 he was once again on screen in The Da Vinci Code and reprised his role in Angels & Demons. It seems he is unstoppable. The shy confused child has been proclaimed a modern day Jimmy Stewart, being able to be funny, serious and emotional Tom Hanks has defined masculinity as a leading man in many different ways.
Some facts about Tom Hanks.
Dislocated his shoulder when he fell through a rotting floor in a building in Germany while scouting locations with Steven Spielberg for the HBO series "Band of Brothers" (2001) (1999).

Received American Film Institute's Life Achievement Award, presented by fellow Oscar winner Steven Spielberg, the youngest ever to receive that award (12 June 2002).

Is a member of the International Thespian Society (a group supporting theatre for high school students internationally).

Lost 30 lbs. for his role in Philadelphia (1993).

Has been referred to by many as "the modern James Stewart".

His heroic Oscar-winning gay character Andrew Beckett in the 1993 film Philadelphia (1993) was ranked #49 on the Amerian Film Institute's heroes list of the 100 years of The Greatest Screen Heroes and Villians.

Has been Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Actors Branch) since 2001.

Cited as America's Favorite Movie Star in Harris Polls conducted in 2002, 2004, 2005, a record number of times as the #1 favorite. Harrison Ford and Clint Eastwood are the only other actors to have achieved that feat.

Sold popcorn and peanuts as a teenager at the Oakland Coliseum.

Sources.
http://www.talktalk.co.uk/entertainment/film/biography/artist/tom-hanks/biography/125
http://www.imdb.com/name/nm0000158/bio

Bridges of Madison County: Meryl Streep

2011-06-15T07:12:00.000-07:00

Meryl Streep

She was born Mary Louise Streep in 1949 in Summit, New Jersey. She is considered by many reviewers to be the greatest living film actress. She has been nominated for the Academy Award and astonishing 16 times, and has won the award twice. She first set out with ambitions to become an opera singer. Her first role was in the film Julia where she gave an outstanding performance. The year after she was nominated for her first Oscar for her role in The Deer Hunter. She won the Academy Award for her role in Kramer vs. Kramer in 1979, and for Sophie's Choice in 1982. She is known as a perfectionist in her craft and when to numerous lengths to prepare for her roles. She stared and received praise for her roles in the films; Silkwood (1983); Out of Africa (1985); Ironweed (19870); and A Cry in the Dark (198

8). Just as her career seemed to be fading away in the 1990's, but she quickly regained her star status in 1995 with the hit, The Bridges of Madison County,

which earned her Nominations for best Actress at The Academy Awards, The Golden Globes, and The Screen Actors Guild Awards. A year later she stared as the daughter in Marvin's Room. She is a realist that is credited for saying; "...no matter what happens, my work will stand..."

Meryl Streep on working

with Clint Eastwood:

http://www.youtube.com/watch?v=05BfJ8LA9jU

Eastwood on working with Streep:

http://www.youtube.com/watch?v=8wOAGGaxaXE

Meryl Facts:

She learned to play the Violin for the role in Music of the Heart, a role that she would replace Madonna in. She has a fear of helicopters. She was educated at Yale University where she studied drama. Graduated from Vassar College in 1971. Before she made it big she started out at The Hotel Somerset in Somerville, New Jersey as a waitress. In high school she was a cheerleader and also the homecoming queen. She originally wanted to go to Law School but when she overslept the day of her interview she saw that as a sign that she was meant to do other things. Meryl also has a deviated septum, which she refuses to get fixed.

What has she done lately?

The Devil Wears Prada (2006)

Lions for Lambs (2007)

Mamma Mia! (2008)

Doubt (2008)

Julie & Julia (2009)

Fantastic Mr. Fox (2009)

It's Complicated (2009)

Sources:

www.IMBD.com

www.simplystreep.com

Courage and Masculinity

2011-06-14T07:35:00.000-07:00

The pairing is a traditional one, but one that bears examination and discussion, in part because courage can take so many different forms that have nothing to do with its traditional physical expression.

We had discussion during our session on Mississippi Masala on Demetrius’ flight rather than fight in his relationship with Mina. This could be interpreted in different ways, depending on how one understands his actions. The implication seemed to be perhaps he was giving in to social pressure to easily. I see his actions a bit differently, but regardless of how we interpret his actions here, we see how courage doesn’t always require physical action. Further, even seemingly courageous acts, something again aligned with a traditionally “masculine” act, such as political resistance, might be viewed in some contexts as the opposite. For example, Okelo accuses Jay (Mina’s father) of cowardice for openly criticizing Idi Amin because he’s really just afraid to leave

Uganda

and actually ignoring the danger he’s creating for his family with his outspoken views. This latter view brings in the complications fatherhood and family introduces to the traditional definition.

In a slightly different fashion, Clint Eastwood’s Dave Garber in Misty is constrained by social convention in retaliating too strongly against Evelyn, especially in public situations. Evelyn is ingenious in using the masculine against itself to give her the edge. Notice the look of helpless rage as Evelyn invades his interview with a prospective employer.

The helplessness comes through even more dire when he realizes the depth of Evelyn’s madness, something he doesn’t have anyway to retaliate or even defend himself against—a distinctly “unmanly” position to extent (though one might also note it is partly derived from his sympathy for her condition, a gentlemanly noblesse oblige). Evelyn of course depends on it to keep him near.

The look on his face in an extended dissolve reflects his situation and illustrates a reversal of the usually imposing Eastwood (and by implication “masculine”) gaze. Suddenly he appears a not so vulnerable, but equally suffering version of the Jefferson Smith imploring look.

Brief Bio of Clint Eastwood

2011-06-13T10:33:00.000-07:00

Clint Eastwood is a very famous, and iconic Actor/Director. He was born in San Fransisco on May 31 1930. His father was a steel worker, and his mother worked in a factory. (IMBD) Eastwood began his lustrous film career in 1955, and has since stared in more than 40 movies. He has acted in movies, Directed numerous movies, and also acted and directed a number of films. Play misty for me was his first film he directed. He was also the lead role in this film. He also directed such films as bridges over Madison county, million dollar baby.(ebsco) Clint Eastwood is said to have a very unique style, and it is very evident in many of the roles he has stared in. He often portrays a cold, and somewhat silent type character that personifies masculinity, and what can be seen as a heroic figure. It is said that in April 1986 Eastwood fought and won the position of mayor of Carmel California, a city that he was a resident of for 15 years.(ebsco) To me this signifies the type of man Eastwood really is. As mentioned before he is often viewed, and cast in roles that portray a strong authority figure. Eastwood is also very well known for many of his catchy, yet somewhat comedic quotes in his films. Quotes from dirty harry, the good the bad and the ugly, as well as numerous other films can be heard all the time. Clint Eastwood is one of our eras most world renowned actors, as well as directors. He not only has a very amazing sense of creativity in his films, but many of the characters he has played portray a concrete yet dramatic sense of masculinity, and he at the same time some how seems to be able to sticks to his old school style of values.

(ebsco) Clint Eastwood: Small-Town Mayor; By: Roessing, Walter. Saturday Evening Post, Sep87, Vol. 259 Issue 6, p42-45, 4p; Database: Academic Search Premier

(Ebsco)Clint Eastwood; Columbia Electronic Encyclopedia, 6th Edition, 7/1/2010, p1-1, 1p

(IMBD) Clint Eastwood; http://www.imdb.com/name/nm0000142/bio

Play Misty for Me & Eastwood Questions

2011-06-08T06:06:00.000-07:00

The Movie Rating System Implementation?

The system was instituted in November 1968 and is voluntary; however, most movie theater chains will not show unrated domestic films and most major studios have agreed to submit all titles for rating prior to theatrical release. The Production Code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States.

Where was it filmed?
The setting for Play Misty For Me was Carmel, California. Eastwood was very firmiliar with this location because he lived there during this time and eventually was Moyor of the city from 1986 to 1988.

Carmel-by-the-Sea; Background: Often called simply Carmel, is a small city in Monterey County, California. It was founded in 1902 and incorporated in 1916. Situated on the Monterey Peninsula, the town is known for its natural scenery and rich artistic history. In 1906, the San Francisco Call, which was a newspaper in San Francisco, devoted a full page to the "artists, poets and writers of Carmel-by-the-Sea", and in 1910 it reported that 60 percent of Carmel's houses were built by citizens who were "devoting their lives to work connected to the aesthetic arts." Early City Councils were dominated by artists, and the town has had several mayors who were poets or actors.

Who is Jessica Walter?

-Born Januruary 31, 1941-

A graduate of New York's High School of the Performing Arts and the Neighborhood Playhouse School of the Theatre, Walter's extensive theater credits include productions both on and off Broadway. On Broadway, she has appeared in Peter Ustinov's "Photo Finish" (which earned her the Clarence Derwent Award as Most Promising Newcomer), "A Severed Head", "Advise and Consent", "Night Life" and Neil Simon's "Rumors". Her off-Broadway credits include roles at Playwrights Horizons and in Tartuffe, opposite Ron Leibman, at the Los Angeles Theater Center. Walter's feature films include Play Misty for Me (1971), which earned her a Golden Globe nomination, and the comedy Slums of Beverly Hills (1998). She has also appeared in The Group (1966), The Flamingo Kid (1984), Grand Prix (1966), Tapeheads (1988) and PCU (1994), among other films. Walter received an Emmy Award for Best Dramatic Actress in the television series "Amy Prentiss" (1974). She also earned Emmy nominations for her guest-starring roles in episodes of "Trapper John, M.D." (1979) and "The Streets of San Francisco" (1972). Walter has starred in several series, miniseries and television movies.

Sources:
http://www.imdb.com/name/nm0910055/
http://www.mpaa.org/
http://ci.carmel.ca.us/carmel/index.cfm

Midterm Summary

2011-06-07T10:53:00.000-07:00

The range of masculine personae in the first half of the course show a perhaps unexpected range—from traditional extreme of Bogart to much more vulnerable masculine, expressive persona of Stewart before the war.

After the war the range becomes more narrow, we see more emphasis on the more traditional male persona—even in Stewart, where it becomes almost pathological
We're moving now into the latter part of the twentieth century. By sixties and seventies shifting gender roles were recognized, though we could say it had been happening since WWII (as woman cabbie in Big Sleep suggests). Post-seventies masculine personae are famously supposed to be more sensitive, yet in many ways Eastwood persona even more extreme than our previous extreme in Bogart. He’s certainly much less communicative in general.
At least Bogart is willing to talk—as Sam Spade says in the MF
When Gutman, the fatman, asks him:
"You're a close-mouthed man?"
"No, I like to talk."

"Better and better. I distrust a close-mouthed man. He generally picks the wrong time to talk and says the wrong things. Talking's something you can't do judiciously unless you keep in practice. Now, sir. We'll talk, if you like. I'll tell you right out. I'm a man who likes talking to a man who likes to talk."

Somewhat unexpectedly, however, Dave Garber in Misty isn’t exactly uncommunicative when he needs to be, but it doesn’t solve his problem.

Sad News

2011-06-05T04:03:00.000-07:00

I have some sad news to relay: one of our class won’t be joining us when we reconvene this week. I’m not clear on the details, but unfortunately Jorge Carrillo died suddenly last week. I didn’t know Jorge well, but I recall his smile (as I suspect others do as well). In fact, I distinctly remember him smiling the last time I saw him last Thursday. Please keep Jorge’s family and friends in your thoughts.

pivotal scene in Vertigo

2011-06-04T12:16:00.000-07:00

I didn't get a chance to ask after the film last Tuesday, but I presume the scene that Prof. Kaufmann alluded to (the one Hitchcock and his advisors weren't sure whether or not to include) was the the one where Judy writes a note for Scottie, describing what really happened in the tower.
I'm curious what everyone thinks about this. Was it a cop out to use this device to explain the plot instead of letting it unfold naturally? Did it re-engage audiences that might have been losing interest because of the slow pace? Had those of you watching the film for the first time figured out what was going on, or was this a revelation for you?

Capra's Trilogy

2011-06-02T13:35:00.000-07:00

Frank Capra, one of the greatest directors in American film history was the creator of a quasi-trilogy in the late 1930s and early 40s with his films Mr. Deeds Goes to Town (1936), Mr. Smith Goes to Washington (1939), and Meet John Doe (1941).

In the making of these films, the director, Frank Capra, strove to create a character who was an exceptional American. In doing this he created his own version of the American dream which film critics have since labeled “Capracorn.” Capra’s creation of this American dream really began with Mr. Deeds Goes to Town and was reinforced with his following two films. While these films aren’t officially a trilogy, it very well could have been. In Mr. Deeds Goes to Town the lead man, Longfellow Deeds, was played by actor Gary Cooper. When Capra became the director of the project his intention was to have Cooper be the lead in his next film as well, which was originally going to be titled Mr. Deeds Goes to Washington, but Cooper was not available at the time. Capra then borrowed Jimmy Stewart from MGM to be the leading man in this second movie and changed the title to Mr. Smith Goes to Washington. However, the leading actress remains the same in both films with Jean Arthur playing the roles of a hot-shot reporter and a senator’s aid (Edgerton).

All three of these Capra films represent the dreams of the common man. The plots of these films each have the leading actor being granted an opportunity that what the masses of common man would love to be given. Mr. Deeds goes to town has Longfellow Deeds being given the opportunity of wealth when he inherits $20,000,000. In Mr. Smith Goes to Washington we find Jefferson Smith, played by Jimmy Stewart, suddenly granted the opportunity of status and position. Likewise, Meet John Doe gives John Willoughby "John Doe", played by Gary Cooper, a sudden chance at fame. In each case the hero is able to make his way past the temptation of selfishness that comes along with wealth, status, and fame because he accepts his role as the conveyor of the beliefs and concerns of the American masses (Gallagher).

Additionally, this trilogy of films provides an "acquisition of awareness" within the leading actors. Deeds, Smith, and Doe all appear in the beginning of their respective films as thirty something year old men who have apparently never had any social pressures or any type of attention from women. As the plot develops the hero discovers himself by discovering that he has happened to be chosen as the spokesperson for the needs of the common man and true American ideals, such as decency, fair play, and equality. Lastly, each of these films focuses on a certain act of speech in order to confirm the hero's discovery of their true purpose. Deeds' speech comes in a courtroom, Smith's on a Senate floor, and Doe's in an attempt to prove that he is not a forgery (Gallagher).

Works Cited

Edgerton, Gary. "Capra and Altman: Mythmaker and Mythologist." Literature Film Quarterly (1983): 28-35.

Gallagher, Brian. "Speech, Identity, and Ideology in "Mr. Smith Goes to Washington"." Film Criticism (1981): 12-22.

Hitch & fine art

2011-06-01T17:00:00.000-07:00

Fine art often served as inspiration for Hitchcock. He incorporated it masterfully in many of his films. The scene created by Salvador Dali for Spellbound is extraordinary. To read further on this subject, check out hitchandalma.tripod.com/art.htm

Stewart's Gaze

2011-06-01T07:59:00.000-07:00

A reiteration of the different extremes of the male gaze. In the first we have the open, naive "tourist" gaze of Mr. Smith taking in his first sight of Washington; in the second we have the intense, acquisitive stare of obsession.

The first is usually associated with feminine or youthful countenance's--both outside the conventionally masculine definition (even if the youth is a boy); the second presents a more typically traditional image of the masculine gaze.

The two gazes also display the youthful, naive prewar and tortured (and sometimes torturing) postwar Stewart personas.

Hitchcock and Possession

2011-06-01T07:38:00.000-07:00

Notice that Hitchcock uses art collecting as a means of underlining the masculine sense of ownership of the feminine in North by Northwest and in Vertigo. In Vertigo we see it in the Portrait of Carlotta, which preserves her as an object (and which her story presents); in North by Northwest we see it literally in the first image from auction scene of Van Damme's possessive grasp on Eve's neck:

Vertigo: Critical Reception

2011-05-31T21:33:00.000-07:00

There are many who consider Vertigo to be one of the best films ever made while others are left wondering what the big deal is (Snider). It’s release in 1958 wasn’t particularly remarkable because it was released after many other successful Hitchcock films (Snider). It won only two Oscar nominations and was a bit of a disappointment to most critics and viewers largely because people thought it was too slow (Miller, and Cady). But the film’s real fame came much later when it was being re-evaluated and it became number 61 on the American Film Institute’s 1997 list of the best movies of all time (Snider). Upon revisions, the film was moved up to number 9 on the 2008 list (Snider). A film that didn’t fair well in comparison to many of Hitchcock’s other successes is now the most studied and discussed of Hitchcock’s entire career (Miller, and Cady). In fact, it was voted the second greatest film in the most recent Sight and Sound survey next to Citizen Kane (Miller, and Cady).

Although the film has reached a very high level of acclaim in modern times, many critics of the time were not as impressed. Specifically, there is a prevalent theme among critics that the film is too slow. Variety pointed out the film’s major fault, that the “film’s first half is too slow and too long,” but regardless of this “defect” it looks like a boxoffice winner (“Variety”). The Los Angeles Times explained that Hitchcock has tried his hand at a new dimension but has “taken too long to unfold it” (Miller, and Stafford). Bosley Crowther, of the New York Times, asserted that “there is a big hole---a big question mark---at a critical point” but he encourages the viewer to not get too caught up in it and still enjoy the film. Some critics were much more harsh, such as John McCarten of The New Yorker who said Hitchcock has “never before indulged in such farfetched nonsense” and the Los Angeles Citizen- News declared that this was not Hitchcock’s best picture. There were some critics who appreciated the film, such as Jack Moffit of The Hollywood Reporter, who stated that “Vertigo is one of the most fascinating love stories ever filmed” but such positive remarks were in the minority in 1958 (Miller, and Stafford).

Due to the rise in popularity and high regard for Vertigo, many are left speculating why the film seems to fair so much better with modern audiences. As with any film, there are no clear cut answers due to the variety of interpretations that exist in the viewers. Some people credit this film’s success to the notion that it is a very personal film for Hitchcock because it demonstrates his dedication throughout his career to “remaking blondes into his own vision of the perfect woman” (Miller, and Cady). Ebert further explains that Vertigo is the most confessional of Hitchcock’s films because it deals with “themes that controlled his art” (Ebert). Ebert asserts that the film is truly about how Hitchcock tried to control women and Scottie is really a representation of Hitchcock himself (Ebert). Looking at the film from Ebert’s perspective, as personal film for Hitchcock, it is more easily understood that this film is considered such a great work because it perhaps allows the viewer to peer inside the mind of an infamous filmmaker.

Other critics have focused on the darker elements of the film as the reason for it’s modern appeal. Kenneth Turan, of The A List: The National Society of Film Critics’ 100 Essential Films, asserts that the way the film resonates with modern audiences may be due to it’s themes of “sadism, masochism, fetishism, necrophilia, and more garden variety neuroses” (Miller, and Stafford). Danny Pear, of the Guide for the Film Fanatic, further explains that Hitchcock was attracted to the film project because Scottie essentially indulges in necrophilia by “resurrecting a dead woman and making love to her” (Miller, and Stafford). Seeing Scottie’s dedication to have Madeleine as the focus of the film has caused some critics to believe that Scottie is crazy, twisted, and a necrophiliac because he is “adamantly rejecting reality in favor of his morbid ideal” (Poznar 56-65)

Poznar, in his article Orpheus Descending: Love in Vertigo, argues that necrophilia and acrophobia are not the central themes of the film. Scottie’s determination to have Madeleine is the center of the film as Judy tries to remain Judy but she continually allows Scottie to remake her in the image of Madeleine. Poznar interprets Scottie in a much more positive light, rather than being obsessed and deranged, he simply sees the potential in Judy to become Madeleine and believes in her ability to fully realize her beautiful self, which is essentially Madeleine. Basically, Scottie is not simply crazy and pestering, rather, he is hopeful and helpful. Poznar goes on to compare Scottie to Orpheus going into the depths to Hades to revive Eurydice, but Poznar explains that Hitchcock has inverted the story because Judy chooses to not come back to life, she looks back which leads to her death. She chose death.

Another factor that has lead to the Vertigo’s development into an iconic film is the lack of accessibility to it for a period of time. Hitchcock owned Vertigo and due to disappointing initial reception, he removed it from distribution in 1973 (Snider). A decade later it was re-released and it attracted many viewers, partly because it was unavailable for some time and there is a tendency to want what we cannot have (Snider). Many critics had already began talking this film up since it had been removed from circulation which increased the anticipation of it’s rerelease.

Vertigo stands out from Hitchcock’s many other films because of it’s subtlety. David Ansen of Newseek asserted that other Hitchcock movies were more “on-the-surface fun” while Vertigo required time for the audience to “rise to its darkly rapturous level” (Ansen). Essentially, this film was deeper, less obvious, and took time for the viewers to full grasp it. As Snider said, “Vertigo is the type of movie whose quality increases after you consider its less obvious merits” (Snider). The power of the film is in it’s subtleties and intricate complexities that are mastered only by Hitchcock himself. Basically, Vertigo reveals Hitchcock’s artistry as a filmmaker and potentially the greatest reason for this film’s appeal is that it is the most reflective of Hitchcock’s style (Snider).

Evidently, Vertigo is a film that was not highly regarded in it’s time but has become an iconic film that is continually being interpreted and re-interpreted. Despite a slow start, dark themes have resonated with the viewers such as acrophobia and necrophilia or perhaps the confessional nature of the film as it reveals Hitchcock’s directorial control over women. Reviews are still somewhat mixed and there are no clear cut answers to clarify every intended meaning of the film. But upon careful consideration, many have found this film to be one of the greatest films of all time that is well worth watching many times over to continually interpret it’s complex themes and to better understand the artistic and highly visual film mastery of Hitchcock.

References

Ansen, David. “Hitchcock’s Greatest Reborn.” Newseek 21 October 1996: n. pag. Web. 29 May 2011. reborn.html>

Crowther, Bosley. “Vertigo,‘Hitchcock’s Latest; Melodrama Arrives at the Capitol.” New York Times 29 May 1958: n. pag. Web. 29 May 2011. B3668383649EDE>.

Ebert, Roger. “Vertigo (1958).” Rogerebert.com. Chicago Sun Times. Web. 29 May 2011. /REVIEWS08/401010371/1023>.

Miller, John M., and Brian Cady. “Why Vertigo Is Essential.” TCM Turner Classic Movies. Time Warner, Web. 29 May 2011. /94742/Vertigo/articles.html>

Miller, John, and Jeff Stafford. “The Critics Corner on Vertigo.” TCM Turner Classic Movies. Time Warner, n.d. Web. 29 May 2011. http://www.tcm.com/this- month/article/89392%7C0/The-Critics-Corner-6-18-12-2-.html.

Poznar, Walter. “Orhpeus Descending: Love in Vertigo.” Saint Leo College. 59-65. Print.

Snider, Eric. “What’s the Big Deal?: Vertigo (1958).” Film.com. 27 April 2010. Web. 29 May 2011. http://www.film.com/movies/whats-the-big-deal-vertigo- 1958#fbid=1MbMEeWrmLG

“Vertigo.” Variety 14 May 1958: n. pag. Web. 29 May 2011. http://www.variety.com /review/VE1117796098

Mr Smith/North by Northwest Parallels (B. Kraegel)

2011-05-31T13:01:00.001-07:00

In "Mr. Smith" and "North by Northwest", there are parallel story lines. Both Jefferson Smith and Roger Thornhill, as the movies open, live quiet, almost idyllic lives with their mothers playing prominent roles in their lives. Both men are then thrust into situations not of their own choosing where others mistakenly ascribe character traits to both men. When both men turn to their mothers for help, their mothers can't fix their boys' troubles. Confused and disoriented, both men initially fumble the ball. But, at pivotal points, Jeff's second visit to see Mr. Lincoln, along with Saunder's encouragement, and Roger's visit to the plaza and his meeting with Eve Kendall on the train, both men take hold and assert their masculinity to control their situations. Both men not only win control and a happy ending for themselves but, also get the girl. Moral of the story-you've got to leave mommy's apron strings, face the cold cruel world by yourself, and then you get the girl of your dreams, and a real life in the world of men.

Jimmy Stewart Biography--B. Kraegel

2011-05-31T13:00:00.000-07:00

Although Jimmy Stewart, born James Maitland Stewart in 1908 in Indiana, Pennsylvania, reached the pinnacle of Hollywood fame and leading man status, he never left his Midwestern roots. As the oldest and only son of three siblings, Stewart’s father expected that one day Jimmy would take over the family hardware store. In fact, for years, Jimmy’s only competitive Oscar sat in the window of the family store. When Stewart’s father insisted Jimmy attend Princeton instead of Jim’s choice of the Naval Academy, his future was altered forever. While attending Princeton, he found and developed his life long interest in acting. About this time, Stewart also discovered the University Players and made the acquaintance of Henry Fonda and Margaret Sullavan, also members. As a result, Fonda and Stewart became lifelong friends. When Stewart finally came to Hollywood, Margaret took Jimmy under her wing, rehearsing with him and encouraging him to embrace his unique charm. He would later star with Sullavan in The Shop Around The Corner. However, although Stewart received critical acclaim and box office success in “You Can’t Take It With You and Mr. Smith Goes To Washington, his family still insisted he return home and leave Hollywood’s sinful ways. Shortly before his eightieth birthday, he was asked how he would like to be remembered. He said, “As someone who believed in hard work, and love of country, love of family, and love of community. (www.wikipedia.org)
With the advent of World War II, and his family’s military heritage, Stewart enlisted. He was the first major star to don a uniform. Being an accomplished private pilot, he soon found his way into the Army Air Corps. When he was sent overseas, he flew numerous missions into the heart of Nazi occupied Europe. Although at his request, only twenty missions were officially recorded. Stewart however played an integral part in the war and was awarded many medals and citations. He continued his service in the United States Air Force Reserve, and after 27 years, he retired and was promoted to Major General by President Reagan.
After returning from World War II, Stewart was no longer under contract to MGM and signed with an MCA talent agency, which allowed Stewart to be one of the first independently contracted actors. (www.wikipedia.org).
When many other actors such as Katherine Hepburn and Bette Davis chaffed at the studio system, Stewart was quoted as saying, “You hear so much about the old movie moguls. The moguls you know weren’t anywhere near as bad as they’ve been painted. They knew film, they learned about making movies. In those days, you learned a lot about movies, not by reading, not by going to lectures, but by doing the job.” (Pickard, p. 178) Even though his acting career contained critical and commercial disappointments, Stewart was successful in all of the film genres making nearly 80 films and is now associated with such classics as Mr. Smith Goes To Washington, You Can’t Take It With You, It’s A Wonderful Life, Harvey, The Man Who Knew To Much, and Rear Window just to name a few. As of 2007, ten of his films have been inducted into the United States National Film Registry. Although he won many acting awards and is considered one of the finest actors of the Golden Age of Hollywood and was also named the third greatest star of all time by the American Film Institute, he won only one competitive Oscar in 1941 for Best Actor in The Philadelphia Story. (www.wikipedia.org) Stewart thought his performance was “entertaining, slick, and smooth” but lacking the “guts” of Mr. Smith. He went on to receive an Oscar for his lifetime achievements in 1985 presented by his friend, Cary Grant. (www.wikipedia.org) There are so many memorable moments in Stewart’s films: praying and near tears as he sits at a bar and contemplates suicide in “It’s A Wonderful Life; waltzing, intoxicated around a swimming pool with Katherine Hepburn in The Philadelphia Story; Stewart grabbing nervously for the flashbulbs to photograph and temporarily blind the lumbering killer, Raymond Burr in Rear Window. Always, he (Stewart) has been an American, but always he has been vulnerable. Idealistic but stubborn. Awkward but graceful. (Pickard p. 182) As Kim Novak, his co-star in Vertigo so graciously stated, “Heading my list of leading men is most definitely James Stewart. For me, he encompassed all the things I appreciated in a man: He always has been and always will be my ideal. Setting him apart is his endearing shyness, or innocence that I found irresistible. He was the sexiest man who played opposite me in thirty years.” (Eliot, p. 298)
While Jimmy Stewart dated many Hollywood legends such as Norma Shearer, Marlene Dietrich, and Ginger Rogers and acted opposite many great actresses such as Grace Kelly, his favorite co-star, Jean Arthur, June Allison and Katherine Hepburn, he was happily married to Gloria Hatrich McLean from 1949 till her death in 1994. Jimmy told friends, “For me, it had been love at first sight. She was the kind of girl I had always dreamed of. The kind you associate with open country, cooking stew and not fainting because it was made of cut-up squirrels.” (Eliot, p. 233) While Stewart adopted Gloria’s two sons, Ronald and Michael, he and Gloria had twin daughters, Judy and Kelly. Although a fulfilling and lasting marriage in Hollywood is quite a feat, the Stewarts’ managed to have a productive and stable partnership for 45 years. Concentrating on the core values, they never let fame or fortune destroy their relationship.
In looking at Jimmy Stewart’s life, it is clear his strong Scottish, Presbyterian upbringing, his conservative values, his sense of patriotism and love of country defined the man. It never occurred to him to be ungrateful or self absorbed. He told an interviewer, “It’s been a wonderful life.” (Pickard, p. 180) He instinctively knew this “star” business could be fickle, and he never allowed it to turn him into a “has been” or a one-dimensional idol. He was a fully formed man who not only left behind a body of film classics but a private life to be admired. His obituary from The New York Times stated, “His early screen image, like his personal life, epitomized a middle American ideal in a confusing sophisticated world.” (Eliot, p. 411) He never was too important to sign an autograph or too famous to answer his country’s call or champion an important cause. Stewart summed up his movie career with the quote, “And that’s the thing, that’s the great thing
about movies. If you’re good, and God helps you and your lucky enough to have a personality that comes across, you’re giving people little, little tiny bits of time—pieces of time they never forget.” And there are so many of these moments in all of Stewart’s films (Perkins, p. 180)

Works Cited
“James Stewart.” Wikipedia: The Free Encyclopedia. 15 May 2011.
http://en.wikipedia.org/wiki/JamesStewart
Lemire, Christy, “Wedding Films Offer Wit, Heart.” Associated Press, the Journal Gazette 16 May, 2011, Fort Wayne, IN
Elliot, Marc. Jimmy Stewart: A Biography. Harmony Books, Crown Publishing Group, Random House, New York, 2006.
Pickard, Roy. Jimmy Stewart: A Life In Film, St Martin’s Press, New York, 1992
The Philadelphia Story, MGM, 1940

Midterm Readings--

2011-05-31T10:27:00.000-07:00

For the midterm, be sure to have read Heroes, Antiheroes . . . Chapters 1-8 (until the end of the fifties). Also, read the link for the Introduction on the homepage. There will be a few questions on the text in the Identification section of the midterm

The Identification section will be available on Blackboard on Thursday and Friday. We'll do the scene analysis in person in Science Bldg. 185, on the IPFW campus.

See the map below if you're unsure of the location. Room 185 is just off the lounge on the quadrangle side of the building.

View IPFW--Science Bldg. in a larger map

Production of NBNW

2011-05-28T20:28:00.000-07:00

The film was made in Paramount Vistavision and it was one of the few widescreen film that was made at MGM. The technology was capable of being screened at an aspect ratio of up to 2:00:1 and was also flexible enough to be printed on standard 35mm film.

The production of NbyNW were shot over 5 month period.

The production shot in Culver City, LA; Chicago, IL; New York, NY; and Keystone, SD. At the time the United Nation had strict rules and regulations around filming in the area.

The house at the end of the film was not real. The set was built in MGM's studios.

The gray suit worn by Cary Grant throughout almost the entire film was considered the "best suit in film history, and most influential on men's style," according GQ magazine in 2006. As well as stating that it has since been copied for Tom Cruise in Collateral and Ben Affleck's in Paycheck.

Eva Marie Saint's wardrobe for the film was originally entirely chosen by MGM. Yet, Hitchcock disliked MGM's selections and the actress and director went to Bergdorf Goodman in New York to select what she would wear in the film.

During the post-production, one of Eva Marie Saint's lines in the dining car scene was redubbed. She originally said "I never make love on an empty stomach," were changed to "I never discuss love on an empty stomach."

MGM wanted North by Northwest cut by 15 minutes so the film's length would run under two hours. Hitchcock had his agent check his contract, learned that he had absolute control over the final cut, and refused because he felt that 15 minutes are valuable information that he does not want his audience to miss.

Hitchcock used innovative camera viewpoints and movements, elaborate editing techniques, and effective soundtrack music to build and maintain suspense. A master at relating the setting of his films to their themes and at presenting a totally "closed" world on the screen

He shot most of his films in the studio, where he could have complete control. His suspense films were generally set either in a single, interior place or multiple interior and exterior places. When we can't shoot in the actual setting, I'm for taking research photographs of everything.

For the scriptwriting, Ernest Lehman won an Edgar Allan Poe Award for Best Motion Picture and the picture itself earned Golden Laurel Award

Cary Grant

2011-05-26T22:14:00.000-07:00

Cary Grant was born Archibald Alexander Leach in Bristol, England, on January 18, 1904. His father, Elias, worked in a garment factory providing a lower middle class way of life which Grant’s mother, Elsie, resented (Flatow, par. 4). Their miserable marriage, with Elise’s criticism and Elias’s excess drinking was the backdrop of Grant’s childhood. One thing they did have in common was a love of movies, which they shared with Grant. His mother would take him to see romantic movies and his father would take him to see westerns and thrillers (Flatow, par. 5).

Everything changed for Grant, when at the age of 9 he came home to find his mother gone. His father told him that she was resting at a resort but she never came back. It wasn’t until 20 years later that Grant would find out that his mother had actually been committed to a mental institution. At that point, he reconnected with her and continued the relationship the rest of her life.

At the age of 14, he began performing with a troupe of acrobats, where he learned tumbling, pantomime, and to use stilts (Beer, par. 4). The skills he learned at this time contributed to his talent for graceful physical comedy, which he utilized later in his movie career. Grant came with the troupe on a U.S. tour. When the tour was over, he decided to stay in the U.S.

He supported him self with jobs on Broadway and touring with Vaudeville acts. When he was 25, he had a screen test with Paramount. They told him his neck was too thick and he was too bowlegged (Flatow, par. 10). This, however, did not discourage him, and a few years later he was given another screen test at Paramount. This time they gave him a five-year contract.

At this point, Archie Leach became Cary Grant. He picked the name Cary as a nod to a character he had played. The name Grant was chosen from a list provided by the studio. It is rumored that the initials CG were a nod to Gary Cooper and Clark Gable.

Prior to his contact with Paramount, Grant had worked hard to lose his working class accent. He developed a distinctive way of speaking, “vaguely British and vaguely American but not quite either” (Flatow, par. 9). The result was a delightful tone that many tried to emulate but few could pull off.

No detail was too small for the studio to scrutinize: Grant was naturally left-handed but had to be right-handed for his movies, no leading man at that time was left-handed (Smith, par. 9). Grant’s transformation to leading man was complete after the part in his hair was changed from left to right also (Beer, par. 5).

Grant did many films during his contract with Paramount but with a few exceptions the movies were unremarkable. When his contract was up, he decided to continue his career as an independent actor. This was a savvy business move that was almost unprecedented at the time. Grant signed contracts with RKO and Columbia that allowed him to choose the projects that he wanted and to work with other studios if he desired (Flatow, par. 14).

Grant’s career really took off in 1937 when he made the movies Topper and The Awful Truth. The Grant persona, the sophisticated, elegant, charmer first appeared in The Awful Truth (Gehring, par. 7). That persona is what Grant was best at playing. He was once quoted as saying, “I pretended to be somebody I wanted to be and I finally became that person. Or he became me” (qtd. in Flatow, par. 26).

Grant’s career could be separated into two parts. During the pre-war part of his career a lot of the movies he made were screwball comedies, like Bringing Up Baby and His Girl Friday. As the U.S. became involved in the war, audiences’ tastes shifted away from the zany plots that marked the screwball comedies (Beer, par. 8). Beginning in this period, the movies that Grant made had a very different tone. He made more thrillers, including four with Alfred Hitchcock. His comedies became romantic comedies, focusing on romance more then over-the-top storylines and physical comedy.

Grant retired at 62. His primary reason was so he could focus on raising his only child, Jennifer. He also began to feel that there was no place in Hollywood any longer for actors like him.

Grant’s personal life was chaotic. He was married three times. His first marriage only last 13 months. Before and after this marriage, he shared a house with actor, Randolph Scott. Rumors surrounded the nature of their relationship, with many people believing they were lovers.

His second marriage was to Barbara Hutton, the Woolworth heiress. Many people believed that he had married her for her money, dubbing them Cash and Cary. This outraged Grant who refused to take any of her money (Flatow, par. 15).

During his third marriage, Grant had a passionate affair with Sophia Loren. Grant, reportedly, continued to pursue Loren even after she made it clear that she was in love with another man.

Grant’s fourth marriage, which produced his daughter, ended in a bitter and public divorce and custody battle.

At the age of 77, Grant entered into his fifth marriage with a woman 46 years younger then himself. This marriage seemed to be the most stable and happy relationship of his life. The couple was married only five years when Grant died of a stroke at the age of 82.

Works Cited and Consulted

Beer, Tom. “Cary Grant.” Biography. Jul. 2003. 104.

Flatow, Sheryl. “Archie Leach’s Greatest Role: Cary Grant.” Biography. Jan. 1999: 98.

Gehring, Wes D. “Bringing Up Cary.” USA Today Magazine. Mar. 2004: 69.

Gehring, Wes D. “The Wonderful ‘Truth.’” USA Today Magazine. May 2007: 71.

O’Connor, Dale. “Biography of Cary Grant.” imdb.com. May 23, 2011. http://www.imdb.com/name/nm0000026/bio.

Smith, Ian. “Queer Eye for the Straight Guy.” New Statesman. Jul. 2004: 38-40.