Cary Grant

Houseboat

Cary Grant and Sophia Loren look just swell together in Houseboat, and why shouldn't they? Grant was still at his best, Loren was bewitching Hollywood as an exotic new ingénue, and offscreen they had had a torrid affair a couple of years earlier, during the shooting of The Pride and the Passion. The two tanned stars are the main attraction in this romantic comedy, which installs single dad Cary and his three children on a dilapidated houseboat on the Potomac River. Sophia is the maid, except she's not really a maid but the cultured daughter of a famous musician. Yes, this is one of those situation comedies in which every problem could be cleared up if only one character told the truth about the situation. If that sort of thing drives you crazy, best skip this one. It's no classic, but those two icons are awfully appealing. --Robert Horton

Father Goose

Cary Grant's penultimate feature before retirement was this cheerful 1964 effort to overturn his career-long image of urbane sophistication. As the unshaven, messy misanthrope Walter Eckland, a World War II-era beach bum who monitors Japanese air activity for the Australian navy in exchange for booze, Grant makes a convincingly hard-bitten, hard-drinking antihero. Until, that is, a pretty French schoolmistress (Leslie Caron) and her seven little charges (all girls) survive a nearby plane crash and invade Eckland's raunchy isolation. Directed by 1960s hit-maker Ralph Nelson (The Lilies of the Field, Charly), Father Goose is a glossy comedy that also does justice to its more suspenseful scenes (a deadly snakebite suffered by Caron's character is especially memorable) and leaves plenty of room for Grant to indulge in some entertaining if atypical screen behavior. All in all, this is a minor treat in the actor's magnificent filmography. --Tom Keogh

Operation Petticoat

Blake Edwards's delightful 1959 comedy stars Cary Grant as a World War II submarine captain whose preference for a by-the-book command reluctantly yields to certain realities. Chief among those is that Grant's first officer (Tony Curtis, who impersonated Grant that same year in Billy Wilder's Some Like It Hot), a shameless hustler, is better than the navy at delivering whatever supplies the ship and crew need to keep going. But when Curtis sneaks a handful of Philippine refugees and several gorgeous nurses onto the all-male sub, the skipper not only has to cool down his crew but deal with an unexpected feminine influence on ship protocol. The film is a great deal of fun, sprinkled with the director's trademark sight gags (including one of Edwards's best, involving a torpedo and jeep), and graced with his unmistakable lilt. Grant is in great form, his comic brilliance almost impossibly effortless. --Tom Keogh

Arsenic and Old Lace

Frank Capra made this film in 1941 before he went off to make films for America's war effort, but it wasn't released until 1944. Adapted from the hit play by Joseph Kesselring, this frantic black comedy shows Capra at his best as a master of mood and timing. Actresses Josephine Hull and Jean Adair reprise their Broadway performances as two gentle old ladies who poison men with elderberry wine to put them out of their misery. Cary Grant plays one nephew, a normal guy who just gets wind of their little hobby and tries to get them to stop, while Raymond Massey plays another, a villain just escaped from jail. Capra encourages the cast, especially Grant, to give a somewhat more outsized performance than one might expect. But made during the war years as it was, this overstated comic approach to killing was probably cathartic. --Tom Keogh

You'll die laughing! Frank Capra directs Cary Grant, Raymond Massey, Peter Lorre and stellar cast in the hit Broadway farce about a nutcase family with well-intentioned homicidal tendencies.

The Philadelphia Story

Re-creating the role she originated in Philip Barry's wickedly witty Broadway play, Katharine Hepburn stars as the spoiled and snobby socialite Tracy Lord in this sparkling 1940 screen adaptation of The Philadelphia Story, one of the great romantic comedies from the golden age of MGM studios. Applying her impossibly high ideals to everyone but herself, Tracy is about to marry a stuffy executive when her congenial ex-husband (Cary Grant), arrives to protect his former father-in-law from a potentially scandalous tabloid exposé. In an Oscar-winning role, James Stewart is the scandal reporter who falls for Tracy as her wedding day arrives, throwing her into a dizzying state of premarital jitters. Who will join Tracy at the altar? Snappy dialogue flows like sparkling wine under the sophisticated direction of George Cukor in this film that turned the tide of Hepburn's career from "box-office poison" to glamorous Hollywood star. --Jeff Shannon

Katharine Hepburn reprises her triumphant Broadway role as a spoiled heir on the verge of marrying a snoot...but not if her ex-hubby (Cary Grant) and smitten reporter (James Stewart) can help it!

Charade

No Description Available
No Track Information Available
Media Type: DVD
Artist: GRANT/HEPBURN
Title: CHARADE
Street Release Date: 06/05/2001
Domestic
Genre: DRAMA

Audrey Hepburn plays a Parisienne whose husband is murdered and who finds she is being followed by four men seeking the fortune her late spouse had hidden away. Cary Grant is the stranger who comes to her aid, but his real motives aren't entirely clear--could he even be the killer? The 1963 film is directed by Stanley Donen, but it has been called "Hitchcockian" for good reason: the possible duplicities between lovers, the unspoken agendas between a man and woman sharing secrets. Charade is nowhere as significant as a Hitchcock film, but suspense-wise it holds its own; and Donen's glossy production lends itself to the welcome experience of stargazing. One wants Cary Grant to be Cary Grant and Audrey Hepburn to be no one but Audrey Hepburn in a Hollywood product such as this, and they certainly don't let us down. --Tom Keogh

The Bishop's Wife

Romantic comedy where Grant stars as an angel who appears in answer to a frustrated bishop's prayers. When Grant comes into the bishop's home, his neglected wife becomes infatuated with the angel.
Genre: Feature Film-Drama
Rating: NR
Release Date: 30-JUL-2002
Media Type: DVD

Perhaps if The Bishop's Wife had lapsed on its copyright and fallen into the public domain like It's a Wonderful Life, it would be as much a Christmas staple as that classic. It certainly deserves to be. Dudley (Cary Grant) is an angel sent down by the prayers of a new bishop (David Niven). The bishop is trying to build a new cathedral, and he's so entrenched in his fundraising that he's watching his own marriage crumble around him. Loretta Young is devoted, moist-eyed, and basically a great date for the tempted Dudley. They drink in the afternoon, go skating at night, and make impulse buys. The skating sequence beats mightily on one's suspension of disbelief, but the rest of the film is an absolute joy. Grant is suave, worldly, and enchanting. A wonderful present for anyone who has not seen it. --Keith Simanton

That Touch of Mink

A wholesome young woman gets swept into the world of the rich and famous when a romantic business tycoon falls in love with her simple country ways.

Mr. Blandings Builds His Dream House

Cary Grant stars as an advertising executive who dreams of getting out of the city and building a perfect home in the country, only to find the transition fraught with problems. (See the 1980s Tom Hanks comedy The Money Pit for an updated version of the same idea.) The big appeal here are the two leads, Grant and Myrna Loy, who were each in their early 40s and at the peak of their careers. Together with solid support from Melvyn Douglas and a screenplay that might have been tailor-made for their polished brand of comedy, the stars dominate this simple project. --Tom Keogh

Cary Grant is hilarious as a successful New York advertising executive who wants to escape the confines of his family's tiny midtown apartment. So he designs his dream home in the suburbs and discovers the project wasn't as easy as it seemed. The house gets larger. The bills get bigger. The problems just won't go away. Eventually, the whole affair becomes a nightmare-a very funny nightmare-that left audiences laughing in 1948 and will have you in stitches, too. This is the comedic masterpiece that inspired the popular 1987 movie "The Money Pit." It's an adventure in homeowning that strikes a familiar chord with everyone who's ever bought a house. Year: 1948 Director: H.C. Potter Starring: Cary Grant, Myrna Loy, Melvyn Douglas

Classic Comedies Collection (Bringing Up Baby / The Philadelphia Story Two-Disc Special Edition / Dinner at Eight / Libeled Lady / Stage Door / To Be or Not to Be)

"The love impulse in man," says a psychiatrist in Bringing Up Baby, "frequently reveals itself in terms of conflict." That's for sure. For a primer on the rules and regulations of the classic screwball comedy, which throws love and conflict into close proximity, look no further. A straight-laced paleontologist (Cary Grant) loses a dinosaur bone to a dog belonging to free-spirited heiress Katharine Hepburn. In trying to retrieve said bone, Grant is drawn into the vortex surrounding the delicious Hepburn, which becomes a flirtatious pas de deux that will transform both of them. Director Howard Hawks plays the complications as a breathless escalation of their "love impulse," yet the movie is nonetheless romantic for all its speed. (Hawks's His Girl Friday, also with Grant, goes even faster.) Grant and Hepburn are a match made in movie heaven, in sync with each other throughout. Not a great box-office success when first released, Bringing Up Baby has since taken its place as a high-water mark of the screwball form, and it was used as a model for Peter Bogdanovich's What's Up, Doc?

Re-creating the role she originated in Philip Barry's wickedly witty Broadway play, Katharine Hepburn stars as the spoiled and snobby socialite Tracy Lord in The Philadelphia Story, one of the great romantic comedies from the golden age of MGM studios. Applying her impossibly high ideals to everyone but herself, Tracy is about to marry a stuffy executive when her congenial ex-husband (Cary Grant), arrives to protect his former father-in-law from a potentially scandalous tabloid exposé. In an Oscar-winning role, James Stewart is the scandal reporter who falls for Tracy as her wedding day arrives, throwing her into a dizzying state of premarital jitters. Who will join Tracy at the altar? Snappy dialogue flows like sparkling wine under the sophisticated direction of George Cukor in this film that turned the tide of Hepburn's career from "box-office poison" to glamorous Hollywood star.

MGM originally promoted Dinner at Eight by touting the "all-star cast," but this is no run-of-the-mill omnibus picture. On the contrary, rather than cramming as many big names as possible into a lumbering vehicle, the movie's impeccably crafted script (by Edna Ferber and Herman J. Mankiewicz) and direction (by George Cukor) gave some immortal screen luminaries a chance to shine. For sheer bravery, John Barrymore's achingly poignant performance as Larry Renault, a washed-up matinee idol who has "outlived everything but his vanity," is unmatched. Barrymore's brother, Lionel, is equally touching as shipping magnate Oliver Jordan. Oliver vainly tries to save his family's century-old firm, at the same time hiding his financial and health troubles from his wife, Millicent, played to hysterical perfection by Billie Burke. The Great Depression is presented in microcosm as Millicent frets about throwing the ultimate society dinner, oblivious to the world tumbling down around her. She is forced to invite to her precious party such undesirables as crass financier Dan Packard ("He smells Oklahoma!"). Even worse in Millicent's eyes than Packard (Wallace Beery, doing an impressive steamroller imitation) is his social-climbing wife, Kitty (Jean Harlow, never funnier). Be sure to watch for Harlow's brief encounter with Marie Dressler, who brings an extraordinary winking wisdom to the role of aging star Carlotta Vance. As the two enter the dining room in the film's final scene, Harlow makes an offhand remark that elicits from Dressler one of the great screen double takes of all time. Like so much of Dinner at Eight, the moment is priceless.

Newspaper comedy doesn't seem like an MGM genre--ink-stained wretches don't go with Adrian gowns and white deco furniture--but Jack Conway, the designated bull in the Metro china shop (Boom Town, Too Hot to Handle) does what he can to bring some dash and flair to Libeled Lady's wildly complicated script. Spencer Tracy is the tough city editor who goes to some spectacular extremes when socialite Myrna Loy files a $5 million libel suit against his paper for calling her a notorious home-wrecker; he hires celebrated ladies' man William Powell to seduce Loy and asks his long-suffering fiancée, Jean Harlow, to marry Powell temporarily so she can play the wronged wife when Loy and Powell are discovered together. The couples crisscross, with frenetic and not entirely unpredictable results, but much of the pleasure here lies in seeing these iconic stars being so thoroughly themselves. The dialogue strains for champagne wit, but the movie's most memorable moment is pure, rotgut slapstick--Powell's bout with an unruly fly-fishing rod.

This one's all about the ladies. In Stage Door, an absolutely terrific 1937 gem, a Manhattan boardinghouse for aspiring actresses houses an amazing roster of golden-era performers--some of whom, like their characters, were just breaking in. It's hard to say who's in best form here: Katharine Hepburn in blueblood mode, Ginger Rogers streetwise, Andrea Leeds suffering, Lucille Ball and Ann Miller impossibly young, and Eve Arden being, well, splendidly Eve Ardenish. The sassy comedy and sober life lessons are wonderfully mixed by the underrated director Gregory La Cava (My Man Godfrey), who captures the brashness of '30s female chatter in a much pleasanter way than the more famous The Women. Hepburn's sublime attempts to wrestle with the line about calla lilies being in bloom will make you smile long after the movie's over.