The Five Best Cary Grant Performances

One of the most beloved classic film actors, Cary Grant charmed audiences for four decades, co-starred with brilliant actresses like Katharine Hepburn, Ingrid Bergman, and Deborah Kerr, and worked for directors Alfred Hitchcock, Howard Hawks, and George Cukor. Is it even possible to sift through his impressive filmography and select his five best performances? Well, yes, it is--because we have done so! As with all of our "Five Best" lists, we look forward to reading your dissenting opinions.

1. The Bishop's Wife.  While this film--required Christmas viewing in our house--has its share of magical moments (e.g., the angel Dudley’s visit with the professor, the ice skating scene, etc.), its greatest asset is Cary Grant’s performance. For once, despite his looks and charm, he doesn't get the girl! Furthermore, his angel Dudley becomes jealous and, in one scene, perhaps a little petty. In the hands of a less gifted actor, this portrayal of an often human-like angel could have posed a problem. But Grant provides all the required character shading and still keeps Dudley immensely likable. That was one of his greatest gifts as a performer.

2. Bringing Up Baby.  One of the highlights of this delirious screwball comedy is watching uptight paleontologist Dr. David Huxley (Grant) slip deeper and deeper into increasingly madcap situations--until he just accepts them. While Cary Grant has played his share of free-spirited characters (e.g., Holiday), he's content in Baby to play off Katharine Hepburn's wacky character. He proves to be the perfect yin to her yang. It's a shame they made only four movies together and just this one true farce.

3. Notorious.  If I listed my favorite Cary Grant movies, then North By Northwest would get this slot. However, this is a list of Cary's best performances and so Alfred Hitchcock's Notorious gets the nod. As espionage agent T.R. Devlin, Grant comes mighty close to playing an unlikable character. In the name of patriotism, he recruits a confused young woman (Ingrid Bergman), falls in love with her, convinces her to spy on a Nazi leader, and then allows her to marry the bad guy. In the end, Devlin does the right thing--but the only reason we "forgive" him is because Grant convinces us that his tainted hero is also a pawn in a global game against evil.

4. An Affair to Remember. Leo McCarey's remake of his earlier Love Affair (1939) is too often dismissed as a first-rate romance with soap opera overtones. In fact, it's an extremely well-acted character study of two people who unexpectedly find true love aboard a cruise ship. The clever screenplay, co-written by Delmer Daves, plays with stereotypes--especially Cary Grant as wealthy playboy Nickie Ferrante. Grant peels back his character's public persona gradually, revealing Nickie's warmth, sincerity, and insecurities. The film also provides Grant with one of his finest acting scenes--when Nickie concludes that Terry (Deborah Kerr) has rejected him by not appearing for their Empire State Building rendezvous.

5. North By Northwest. Cary Grant excelled at playing unflappable characters, with the finest example being this classic Hitchcock picture about an innocent man mistaken for a spy and later framed for murder. Thrust into an espionage plot, Grant's advertising executive never seems out of his depth--even when being pursued by a crop duster. When examined on its own, the plot stretches credibility, but that never crosses my mind when watching North By Northwest thanks to Hitchcock's direction and the strong cast--in particular, Eva Marie Saint, James Mason, and, of course, Cary Grant.

Honorable Mentions:  People Will Talk; Arsenic and Old Lace; His Girl Friday; Holiday; Gunga Din; Charade; and The Awful Truth.

Dial H for Hitchcock: Hitch and Cary

By 1941 Alfred Hitchcock had achieved startling success in the U.S. with his first two American films, Rebecca and Foreign Correspondent. Both were box office hits and both were nominated for Best Picture/1940, with Rebecca taking the award.

In 1941, Cary Grant was a relatively newly minted top star. He had broken through in 1937 with The Awful Truth, but had much more recently starred in George Cukor's sensational The Philadelphia Story as well as the George Stevens hit Penny Serenade, a film that brought him his first Best Actor nomination.

The director and actor came together for the first time that year on Suspicion. It was the first film that Hitchcock produced as well as directed and, though flawed, it has some brilliant touches. One neat trick was the casting of Cary Grant in an ambiguous role, one of the first in which he portrayed a character with shadowy, menacing facets. The plot concerns a charming rogue who marries a plain-jane heiress. Throughout the film the storyline strongly insinuates that this dapper man is much worse than unreliable and, by the end, may be plotting to kill his wife.

In a 1963 interview, Hitchcock complained to Peter Bogdanovich about Suspicion, blaming the studio for making him change the ending, "...you see, Cary Grant couldn't be a murderer." Years later New York Times critic Elvis Mitchell observed that the ending destroyed the film "...by negating what has come up until that point." Regardless, the film was a success, garnering Oscar nominations and a Best Actress award for Joan Fontaine.

Five years and World War II came and went before the two men worked together again. In the intervening years Grant had made half a dozen pictures and gotten another Best Actor nod. During that period Hitchcock had also made a half-dozen films and earned two Best Director nominations.

Their second film was Notorious (1946), one of the most acclaimed of Hitchcock's films and one of Cary Grant's most complex performances. A true masterpiece, Notorious is another perfect showcase of the director's technical genius, includes a textbook example of the "MacGuffin" plot device and contains some of the best performances in any of his films; Grant and his co-stars Ingrid Bergman, Claude Rains, Louis Calhern and Leopoldine Konstantin all stand out. Critic James Agee shrewdly perceived the "cultivated, clipped puzzled-idealist brutality" in Grant's characterization of agent Devlin. Notorious was a huge box office success, Rains earned a Best Supporting Actor Oscar nomination and Ben Hecht's screenplay was also nominated.

Nearly a decade would pass until Hitchcock and Grant collaborated again. The year was 1955, and Grant had been moving away from the sort of roles that were his trademark. Among the parts he'd been playing were the harried suburban husband in Mr. Blanding Builds His Dream House (1948) and the quirky middle-aged chemist in Monkey Business (1952). Hitchcock's career had suffered a decline following Notorious but he rebounded forcefully with Strangers on a Train (1951) and most recently enjoyed the enormous box-office success of Rear Window (1954).

With Hitchcock's To Catch a Thief (1955), Cary Grant returned to type as 'John Robie the Cat' and remained there for most of the rest of his career.

Alfred Hitchcock often referred to To Catch a Thief as "champagne," and it was a bubbly, stimulating confection. The Riviera and Grace Kelly were never more beautiful than in this VistaVision/Technicolor fantasy, and Hitchcock's fine, frothy tale of suspense, romance and double-entendres became a smash hit that was nominated for three Oscars, with Robert Burks taking one home for Best Cinematography.

The final pairing of Hitchcock and Grant was North by Northwest (1959), a spectacular ultimate-Hitchcock thrill-ride leavened with clever comic moments and a tricky romance. Grant stars as a very sophisticated innocent man on the run. It is the most popular of the films Hitchcock and Grant made together and was the one, Grant said, that fans mentioned to him more than any other. Besides being a blockbuster, North by Northwest was Oscar-nominated for film editing, art direction and Ernest Lehman's screenplay.

Hitchcock was approaching the twilight of his career at this point, though he still had one of his very best films, Psycho (1960), ahead of him. Grant was also winding down but his biggest box office hit, Operation Petticoat (1959), would be his next project, and the "most popular Hitchcock film Hitchcock never made," Stanley Donen's Charade (1963), was yet to come. Grant would retire in 1966 and, though Hitchcock reportedly wanted him for Torn Curtain (1965), the actor made Walk Don't Run (1966), his final film, instead.

By the time they worked on their last collaboration Cary Grant, not an especially trusting man, completely trusted Alfred Hitchcock and would follow whatever advice the director gave him because, as Grant put it, "he was always right."

For Hitchcock's part he, who was not so very fond of actors, would look back and call Cary Grant "...the only actor I ever loved..."

Though neither of these two film giants ever won a competitive Academy Award, Hitchcock was honored with the Irving Thalberg Award in 1968 and Grant received a Lifetime Achievement Award in 1970.

This Week's Poll: Who's Your Mommie Dearest?

This week we're taking a look at monstrous moms. While most of my blogs have featured good mothers - Emma Newton in Shadow of a Doubt, Anna Smith in Meet Me in St. Louis, Martha Hanson in I Remember Mama - it's time now to shine the spotlight on some of the nastier moms on film (with a nod to the great actresses who portrayed them). Which of these lethal ladies would you least like to tuck you in at night?

Mrs. Henry Vale (Gladys Cooper) in Now, Voyager (1942)

Tyrannical Mrs. Vale is matriarch of "the Boston Vales," an extremely wealthy, well-established WASP family. The granite-jawed dowager has her daughter, ugly-duckling Charlotte, firmly in her iron grip - treating her, by turns, as child or servant. Autocratic and manipulative, Mrs. Vale has all but devoured the young woman. Enter Dr. Jaquith, eminent psychiatrist, who meets with Charlotte and declares, "My dear Mrs. Vale, if you had deliberately and maliciously planned to destroy your daughter's life, you couldn't have done it more completely." Unruffled, she imperiously snaps back, "How, by having exercised a mother's rights?"

Later in the game, Mrs. Vale is not above faking a tumble down the stairs in a determined last-ditch effort to regain her hold over her daughter.

Madame Sebastian (Leopoldine Konstantin) in Notorious (1946)

Madame Sebastian and her son, Alex, are part of a post-war Nazi enclave in Brazil involved in a vague but fiendish plot. Thanks to the Madame, Alex is something of a movie anomaly - a Nazi mama's boy. Ice-cold and demeaning, Madame Sebastian verbally bludgeons Alex whenever he seems to be straying from her steely domination. When he asks that she at least smile occasionally at the woman he will marry, his mother retorts, "Wouldn't it be a little too much if we both grinned at her like idiots?"

Alex later discovers his new wife is a spy and tells his mother. She grimly lights a cigarette, inhales and takes charge: "Let me arrange this one." And she plots to slowly poison her daughter-in-law to death, something we suspect she's wanted to do all along.

Violet Venable (Katharine Hepburn) in Suddenly, Last Summer (1959)

A mother written by Tennessee Williams is bound to be a piece of work, and Mrs. Venable is surely that. A wealthy New Orleans widow, she has recently lost her son Sebastian. He met his death while abroad with his cousin Cathy. Mrs. Venable is now seeking a lobotomy for Cathy who is talking too much about Sebastian and how he died. Though it becomes clear that Sebastian was gay, his mother seems to have been oblivious...she recalls a conversation with him when she was his travelling companion: "...what a lovely summer it's been. Sebastian and Violet. Violet and Sebastian. Just the two of us. Just the way it's always going to be. Oh, we are lucky, my darling, to have one another and need no one else ever." It's not surprising that Mrs. Venable has a Venus Flytrap in her garden.

Mrs. John Iselin (Angela Lansbury) in The Manchurian Candidate (1962)

Mrs. Iselin, the brains behind her dim, rabble-rousing U.S. Senator husband, is also the mother of 'war hero'/assassin Raymond Shaw. A skilled demagogue, she easily controls others. But she inspires little love, as evidenced by her son's words: "My mother...is a terrible, terrible woman...You know... it's a terrible thing to hate your mother. But I didn't always hate her. When I was a child I only kind of disliked her." Mrs. Iselin's manipulations are part of a larger plan; she's out for world domination and has sacrificed Raymond's soul as well as the lives of his wife and others in her quest. She has stage-managed everything, from the sentence that will cue an assassination, to its desired aftermath. All she has schemed for is about to become hers...but Mrs. Iselin may have overplayed her hand at Solitaire...

Mrs. Robinson (Anne Bancroft) in The Graduate (1967)

Mrs. Robinson suffers from a bad case of Affluenza; her life is comfortable but unsatisfying. Though she and her husband are living the good life and their daughter is away at college, the marriage is dead and she's an alcoholic who habitually seduces young men - including Benjamin, son of her husband's law partner. While Mrs. Robinson's attitude toward Benjamin and their liaison has been cavalier, she comes unhinged when he succumbs to family pressure and takes her daughter, Elaine, on a date. Mrs. R instantly transforms into a vengeful virago and, when Ben and Elaine hit it off, she begins a vicious campaign to derail their romance, bring her daughter back in line and eviscerate Ben in doing so...coo coo ca-choo, Mrs. Robinson...

Cast your vote for one of these five nefarious nominees at the sidebar to the right...