- Gary Cooper, Devil and Deep, 1931. Hearing of Paramount’s “new Cooper,” soon had Cooper forgetting about quitting movies. He ran home from his Euro- vacation and took on this role that had been set for Grant... while Cary pimped for (ex-Cooper lover) Marlene Dietrich’s Blonde Venus. Gary ignored Cary in a long feud, Coop hating Cary’s mannerisms - “always got on my nerves.”
- Randolph Scott, Hot Saturday, 1931. Both Gary Cooper and Fredric March refused Romer, feeling Bill was more likable. But that role was set for Grant until being promoted to Romer. Then, Bill went to the six-year-older Randy... Cary’s future and longtime lover, “the Damon and Pythias of Tinseltown.”
- John Barrymore, A Bill of Divorcement, 1931. Katharine Hepburn’s movie debut (the credits spelt her name wrong). Who could she play opposite? Well, not Cary, said director George Cukor. “I could never get weak-kneed at the idea of Cary Grant.” Kate did. They made three beauties: Sylvia Scarlett, Bringing Up Baby, The Philadelphia Story. And a momentarily dried-out Barrymore in a five-star hammy performance that still managed to be extremely touching.
- Franchot Tone, Mutiny on the Bounty, 1935.
MGM’s house genius, Irving Thalberg, wanted Cary as Midshipman Roger Byam, a possible star-making role (Tone won an Oscar nod). Paramount’s Adolph Zukor refused a loan-out deal, feeling Grant was too close to completing his contract to be made a big star... who might get away. Cary never forgave Zukor and once Grant’s five-year contract was up, he refused to sign a new one with Paramount or any other studio in 1937, becoming Hollywood’s first autonomous actor for hire... for the next 30 years. He also quit the Academy - it, in turn, never forgave him (two nominations only from 72 films!) until Gregory Peck’s idea of a (rare) honorary Oscar for, said presenter Frank Sinatra, “the sheer brilliance of his acting that makes it all look easy,” on April 7, 1970.
- Randolph Scott, Village Tale, 1934. Not often Scott won a role away from from his, er, friend. As a result, Grant’s chosen co-star, Evelyn Venable, became Helen Broderick in the RKO soap. Eugene O’Neill loved it but not a Welsh IMDB critic, F Gwynplaine MacIntyre: “boring, sententious.”
- Franchot Tone, The Lives of a Bengal Lancer, 1935. Cary inherited a lot of Gary Cooper’s roles when signed by Paramount as a second-string Coop (they only appeared in one together, The Devil and The Deep, 1932). “The young lad from England,” as Ed Sullivan called him,” was on his way to topping the box-office for an amazing 34 years as, in US critic Pauline Kael’s perfect phrase: The man from dream city.
- Errol Flynn, Captain Blood, 1935. Robert Donat had begun the film but his asthma forced him to quit. Warner’s first thought was loaning Cary from Paramount. Although it hardly sounded part of his vocabulary, the always histrionic director Michael Curtiz protested that Grant was “too effete.” Errol was in like Flynn and became an overnight star.
- John Howard, Border Flight, 1936. Back from his one and only UK film (The The Amazing Quest of Ernest Bliss, 1936), Grant refused his studio’s programmer. He wanted a raise and script approval He got more money and was let off the movie. John Howard (Hollywood’s Bulldog Drummond) was Katharine Hepburn’s fiance in her third film with Grant, The Philadelphia Story, 1940.
- Maurice Chevalier, The Beloved Vagabond, 1936. Once Grant rejected the re-make, the French star grabbed it in another fruitless attempt to recapture the magic of his work with director Ernst Lubitsch. Brit newcomer Margaret Lockwood replaced Bette Davis, busy being sued by Jack Warner.
- George Raft, Spawn of the North, 1937. Raft-Henry Fonda were safer box-office bet than the “marriage” of Grant-Randolph Scott.
- Fredric March, Trade Winds, 1937. Grant was director Tay Garnett’s first choice for the skirt-chasing detective Sam Wye - having a shipboard romance with murder suspect Joan Bennett. New York Times critic Frank S Nugent hesitated to call it a romantic comedy, “beginning as it does with a suicide, adding a murder and ending with a third body on the floor.” And a fourth in 1951… when one year after marrying Bennetter, the fim’s producer, Walter Wanger shot her agent, Jennings Lang, in the groin when having more than his 10% with Bennett and was jailed for attempted murder. Time well spent. When he came out, after four months, he made… Riot In Cell Block 11).
- Edward G Robinson, The Amazing Dr Clitterhouse, 1938. Edward G's gangster image was all wrong for a shrink joining a gang - simply to study the criminal psyche. Suggested replacements went from Cary to... Bette Davis.
- Douglas Fairbanks, Jr, Gunga Din, 1938. In pipeline for three years. director Howard Hawks tried make it with Clark Gable-Spencer Tracy or Tracy-Ronald Colman or Robert Donat-Ray Milland or Franchot Tone or... As George Stevens took over and started his long shoot (June 27-October l9, 1938), Grant had swopped roles at last minute with Fairbanks, to become Sergeant Cutter. The ex-Archibald Leach renamed him Archibald Cutter.
- Melvyn Douglas, Ninotchka, 1938. “Garbo Laughs!” Grant was MGM’s first choice for Leon. In fact, shooting began without Garbo having found a leading man. Two years later, Douglas was also second choice for her trite finale, Two-Faced Woman, 1940. (Her laughter was dubbed by another actress revealed the Hollywood Reporter in 1980).
- David Niven, Raffles, 1939. Producer Sam Goldwyn had ten writers modernising the Edwardian gentleman thief for Cary. He liked it enough to lower his normal fee. Then, faced with mutiny by contractee David Niven, Goldwyn used the project as bait to keep Niven down on the farm... to the extent of making Niven nervous by constantly seeing new pactee Dana Andrews wandering around the lot in an obvious Raffles costume!
- Rosalind Russell, His Girl Friday, 1939. Howard Hawks originally planned Grant as the reporter Hlldy Johnson - and Mr Staccato of the Airwavs, newspaper and radio gossip columnist Walter Winchell, as the editor Walter Burns.Then, scripter Charles Lederer suggested Hildy and Walterbe ex-spouses.
- Ray Milland, The Doctor Takes A Wife, 1940. Written for Cary-Irene Dunne, played by Milland-Loretta Young. “There are actors in this town,” commented Louis Jourdan, “who made important careers for a long, long period just by taking the parts that Cary Grant turned down.”
- Gary Cooper, North West Mounted Police, 1940. Cecil B DeMille’s first Technicolor film was without a hero during six months of pre-production. First choices, Joel McCrea, Fredric March, were lost to other movies. Cary never liked the script. And so, picking up Grant's leavings for once, Coop was the Texas Ranger working with the Mounties.
- Joel McCrea, Foreign Correspondent, 1940.
Cary was the sole Hollywood US actor Hitchcock wanted to meet when producer David Selznick imported him from London. At a private party at New York’s 21 club, star and artist hit it off in seconds. They were like brothers, each idolising the other: the ugly one for the other’s beauty, the narcissistic star for the fat man’s creativity. Cary and Hitch - inside each man was the other. Hitch craved him for his US second film but Cary was into Only Angels Have Wings. Rejected by Gary Cooper and Clark Gable, Hitch made do with McCrea while famously moaning: “I always end up with the next best.” And it happened again with Cary. Three more times.
- Robert Montgomery, Here Comes Mr Jordan, 1940. Columbia bought Harry Segall’s play for Grant. And then made it with Montgomery, loaned from MGM. Warren Beatty offered Grant any fee to join him in his 1977 re-make, using one of the alternate 1940 titles, Heaven Can Wait.
- Tyrone Power, Blood and Sand, 1940. Eight years earlier, Paramount planned a re-make of Rudolph Valentino’s 1921 silent classic, with Grant as the poor matador caught in the web of what would have been a camp vamp from Tallulah Bankhead. Quelle corrida!
- Melvyn Douglas, Our Wife, 1940. Columbia bought the play in 1937 for a 1938 production starring Grant and Jean Arthur (or Rita Hayworth, Loretta Young). Two years on, they became Douglas and, on loan from MGM, Ruth Hussey. Not the same lightness, at all.
- Fredric March, Bedtime Story, 1941. It was March who had immediately warned his pal Gary Cooper - on a year long vacation - of this new guy, being groomed take over Cooper’s top-spot at Paramount... after Cary, in his third film only, had easily stolen Merrily We Go To Hell, from March in 1932, They shared The Eagle and The Hawk, 1933.
- Ray Milland, The Major and the Minor, 1941. When you write your Hollywood directing debut for him and you can’t land him, how do you replace Cary Grant? While driving home from Paramount, Billy Wilder stopped at the traffic lights - right next to Ray Milland in his car. “I’m doing a picture. Would you like to be in it?” “Sure.” Wilder sent him the script, which Milland liked. Next time Wilder called Milland it was for a Lost Weekend - and a Best Actor Oscar on March 7, 1946.
- Monty Woolley, The Man Who Came To Dinner, 1941. When the comedy tickled director Howard Hawks’ fancy, he wanted Grant as the titular Sheridan Whiteside… Grant immediately offered his salary to the British relief fund. Orson Welles wanted to direct - and play the title role. John Barrymore could no longer remember his lines. Tests of Robert Benchley and Laird Cregar were respectively deemed “too mild-mannered” and “overblown and extravagant,” by producer Hal Wallis. (Probably why Charles Coburn refused to test at all). Director William Keighley also saw Charles Laughton and Fredric March. And Grant was still around. Bette Davis rejected him for his usual sins - “far too young and attractive,” said Wallis. He was switched to Arsenic and Old Lace while the Broadway play’s star reprised the titular Sheridan Whiteside.
- Robert Montgomery, Mr and Mrs Smith, 1941. When Alfred Hitchcock could not deliver Grant for Carole Lombard’s comedy, he looked at everyone from George Brent to Fredric March. Montgomery's salary was $110,000 for eight weeks. Hitch got $40,000 less for his 16 weeks.
- Paul Henreid, Joan of Paris, 1942. Another Cary rejection in May, 1941, leading to the Hollywood debut of not only Henreid but Michèle Morgan.
- Gary Cooper, The Pride of the Yankees, 1942. Producer Samuel Goldwyn won the battle to make a biopic of baseball great Lou Gehrig - who died at 40 of amyotrophic lateral sclerosis (aka Lou Gehrig’s Disease), after a moving farewell to his fans: “Today, I consider myself the luckiest man on the face of the earth.” His widow, Eleanor, wanted Cooper or Spencer Tracy to play Lou. They were not alone. Also on the mound before Cooper signed on were Grant, Eddie Albert, Brian Donlevy. Pus two other real sports heroes: ex-New York Yankee pitcher Waite Hoyt and middle-weight champion boxer Billy Soos. Gehrig appeared as himself in Rawhide, 1937, his film despite being listed by producer Sol Lesser to head his Tarzan series. Until seeing Lou’s legs. “More functional than decorative.”
- George Brent, Experiment Perilous, 1943. “Life is short,” said Hippocrates, “art is long, decision difficult, and experiment perilous.” So was the period thriller, although Jacques Tourneur fans adore it. When producer David Hempstead walked, so did Grant. Next: Gregory Peck. Next? George Brent?!!
- Robert Young, Claudia, 1943. Finding her husband was difficult but Claudia was always Dorothy McGuire. In the sequel too, Claudia and David, 1946.
- Franchot Tone, Five Graves To Cairo, 1942. As if he wasn’t having enough trouble casting Mouche (Ingrid Bergman, Simone Simon passed on the chambermaid), he couldn’t land Grant, either - for his hero, Corporal John J Bramble. Not for a location in Arizona at the height of summetr, thank you very much.
- Bob Hope, They Got Me Covered, 1943. Producer Sam Goldwyn asked Charles MacArthur to brush up the lame-brain spy for Cary. MacArthur refused, suggesting it better suited Hope. “He can get away with more inconsistencies than Grant...” It would be a further 13 years before Hope inherited another Grant vehicle.
- Joel McCrea, The More The Merrier, 1943. Director George Stevens was satisfied with McCrea-Jean Arthur. Joel wasn’t and suggested Cary take his place. No, Stevens wanted an all-American type. Grant re-made it as his final film, Walk Don't Run, 1966, in Charles Coburn's Oscared role.
- Joseph Cotten, Shadow Of Doubt, 1943. Even though he could not obtain his favourite leading man - and soul brother - to be the murderous Uncle Charlie, this always remained Alfred Hitchcock’s favourite Hitchcock movie.
- Gregory Peck, Spellbound, 1944. For “just another manhunt wrapped up in pseudo-psychoanalysis,” Alfred Hitchcock lost Grant and was unhappy with Peck. “I couldn’t produce the facial expressions that Hitch wanted... I didn’t have that facility. He had a preconception of what the expression ought to be… He planned that as carefully as the camera angles. Hitchcock was an outside fellow, and I had the Stanislavski training from the Neighborhood Playhouse, which means you work from the inside.”
- Dennis Morgan, God Is My Co-Pilot, 1944. Warner’s first choice for the Robert Lee Scott Jr biopic was Gary Cooper. Then, Grant or Humphrey Bogart… or even Scott, himself. Colonel Scott was a WWII USAF fighter pilot hero - his dream, since the age of eight. (A 1989 episode of the Coming of Age series, was calld Todd Is My Co-Pilot).
- Rex Harrison, Blithe Spirit, 1944. Testier than audiences would ever realise during Arsenic and Old Lace (particularly over the cutting of his last line: “I’m a bastard!”), Cary made it clear. He would have preferred the Noel Coward piece.
- Robert Alda, Rhapsody In Blue, 1944. Clifford Odets started writing his George Gershwin biopic for Cary, one of the composer's friends. Director Irving Rapper, to his cost, felt Grant was, once again, not American enough. When, in fact, the film was not Gershwin enough! Cary later played Cole Porter in Night and Day, which was not Porter enough!
- Ray Milland, Lost Weekend, 1944. “I am not a drinker. I’m a drunk.” About the only time, director Billy Wilder did not want Grant. Wilder wanted José Ferrer. The studio wanted Grant - or someone close. Now who on earth was close to Cary Grant?! Without saying a word, Milland won the Oscar on March 7, 1946. The first Welsh actor to do so. Anthony Hopkins was the second, 46 years later.
- Gregory Peck, Spellbound, 1945. This was (alas) another of the films that Cary could not make for his partner-in-crime Alfred Hitchcock - Foreign Correspondent , Shadow of a Doubt and Rope.
- James Stewart, It's A Wonderful Life,1946.
- Gary Cooper, Saratoga Trunk, 1946. Cary talked with director Howard Hawks about being Edna Furber’s gambling man before Christmas 1941 (and his engagement to Woolworth heiress Barbara Hutton). Sam Wood made the turgid version, mismatching Cooper-Ingrid Bergman.
- Gregory Peck, Gentleman’s Agreement, 1947.
Moss Hart loses Grant, Round One... Specifically for Cary, his old New York pal had adapted Laura Z Hobson’s anti-racism best-seller about a journalist posing as a Jew to investigate American anti-Semitism. Impossible, said Grant, because he was Jewish, looked Jewish and no Jew could satisfactorily play the role. Hart understood; Clifford Odets did not, Grant had always told him he was not Jewish. Hollywood remained baffled by the claims. Cary gave money to Jewish causes, including $25,000 in 1947 to the new state of Israel in memory of his dead Jewish mother. His unknown father might have been Jewish, his official mother was not, though he could have been the illegitimate child of a Jewish woman friend of his presumed parents...
- Clark Gable, The Hucksters, 1947. Refused - on June 17, 1946, to be precise - and he suggested it to Gable.
- Ronald Colman, A Double Life, 1947. Nervous about tackling the Shakespearean scenes (he refused a voice coach). Plus his new agent, Lew Wasserman, fought to preserve Cary’s image by persuading him not to play a star who really strangles his Desdemona on-stage in Othello. Colman won an Oscar.
- David Niven, The Bishop's Wife, 1947. Having paid nearly $500,000 to Cary (his biggest salary to an actor; Lew Wasserman and MCA were working well), producer Sam Goldwyn called a halt to William Seiter’s slow direction after three weeks, had the script re-tooled and swopped the star roles. Grant wanted the role he had signed for and tried to quit. “Goldwyn told him that only Goldwyn could decide what Cary would play,” said the new director Henry Koster. “He was very upset. He thought the bishop was much better than the part of the angel - a straightforward, very self-assured man, while the bishop would be comically befuddled, one of Cary's specialities.” Koster was stuck with two miserable stars contractually forced into unwanted roles. Niven, still recovering from the death of his wife, was the bishop and Grant, reported dead in an air crash with Howard Hughes some months before, was a “rather conceited, impudent, high-handed magician” of an angel called Dudley - curiously re-christened Daniel in French-language dubbing. (Denzel Washington had no problem about which role to play in the 1996 re-make. Cary's)
- John Ireland, Red River, 1947. Howard Hawks lost his Cherry when his pal passed on “the charming and impudent” cowboy. Westerns weren’t Grant’s thing and Cherry Valance was third banana to John Wayne. And could Grant have survived the “Can I see it?... And you’d like to see mine!” routine of Ireland and Montgomery Clift.... about their, er, guns. Grant never did make a Western, although in his final years, Howard Hawks was planning one for him as a consumptive dentist - Doc Holiday meets Walter Brennan. (Grant kept the grizzled galoot idea for his penultimate movie, Father Goose).
- James Stewart, Rope, 1947. For his first colour movie, Alfred Hitchcock temptedfate by trying to convince Grant and Montgomery Clift to play (the implied) gay teacher andgay student in the murder mystery ruined byHitch being more keen on up to ten-minute takes than the story. (He was inspired by Dallas Bower’s BBCtv production, cirCA1939). The totally miscast Stewart disliked the film.
- Gene Kelly, The Pirate, 1947. Over the years, MGM aimed the Broadway drama at (a) Mrs Miniver and hubby, Garson and Walter Pidgeon; (b) Garson, Grant and Charles Laughton; (c) Myrna Loy; (d) the Notorious couple, Grant and Ingrid Bergman; (e) William Powell and Hedy Lamarr. No one saluted. So, it was churned into a musical - with (f) a prancing Gene Kelly and an imploding Garland. Metro lost $2m. Including for the first time in any Hollywood budget, paying a shrink. For Judy.
- Fred MacMurray, The Miracle of the Bells, 1947. After James Cagney passed on the Hollywood flack hero (he wanted to produce, as well), producer Jesse L Lasky chased Grant and Clark Gable. And settled for a MacMurray with “the air of an embalmer” (said the New York Times) in a truncated and limp version of Russell Janney’s novel.
- Robert Ryan, Berlin Express, 1947. Once Merle Oberon finished the film - and her affair with Ryan - she took the Queen Mary to New York. Grant, her fellow British secret agent (according to Charles Higham), was on the same boat - and while having tea with 15-year-old Liz Taylor he noticed an actress from a play he'd seen in London. He asked Oberon to introduced him to Betsy Drake - who became his third wife. (On another sea voyage, Betsy survived the sinking off Nantket of the SS Andrea Doria, July 25, 1956).
- Robert Montgomery, The Saxon Charm, 1947. Grant was sought for the selfish Broadway producer (think Jed Harris) when he and the rôle and the film were called The Charming Matt Saxon.
- John Lund, A Foreign Affair, 1948. “Lund,” explained writer-director Billy Wilder, “was the guy you got after you wrote the part for Cary Grant and Grant wasn’t available.” Lund was the meat in the Marlene Dietrich-Jean Arthur sandwhich. Dietrich was also unimpressed with "that piece of petrified wood." And the suits never even noticed when, for fun, Wilder replaced Lund with Ray Milland in a take. “Maybe they thought it was Lost Weekend II.”
- Lamberto Maggiorani, Ladri di biciclette (UK/US: Bicycle Thieves), Italy, 1948.
Hard to imagine that legendary producer David O Selznick could be such an oaf! He suggested Cary for the luckless, Italian father looking for a job. “Now I think Cary Grant is a marvelous actor,” director Vittorio De Sica told Guy Flatley in the New York Times in 1973, “I just couldn’t see him as an Italian working man. So I had to reject the offer."
(Anyway, he preferred Henry Fonda).. DOS quit and it ws another two years before De Sica raised a budget and made the timeless neo-realism classic his way. With amateurs. “There was much excitement about him, and Billy Wilder wanted to star him in an American movie. But after Wilder interviewed Maggiorani, he realized that this man was no actor at all. I had made him seem an actor, because I myself am an actor and I know immediately how to get the things I want.”
- Joseph Cotten, The Third Man, 1948. Cotten, Orson Welles, director Carol Reed, Anton Karas’ zither score - they’re fixed in the collective imagination, as vividly as the classic post-war thriller. David O Selznick, however, is forgotten as the producer, a parody of his former Gone With The Wind glory, full of fatuous notions like Noel Coward for the titular Harry Lime (based on author Graham Greene’s superior in the UK Secret Intelligence Service: the infamous double agent Kim Philby). The Selznick version would have been forgotten in a week, said US critic Roger Ebert, of his favourite film. Of course it is - as flawless as the very best of Hitchcock. Cotten insisted that the original name, Rollo Martins, be changed. The too gay Rollo became Holly. D’oh?
- Montgomery Clift, The Heiress, 1949. A firm fan of director William Wyler, Cary told the media that he wanted to be the heartless seducer from Henry James’ 1881 novel, Washington Square. Wiley Willy Wyler would not consider it. Clift was 29. Grant was 44, only two years younger than Ralph Richardson, playing the father of the Olivia de Havilland's heiress.
- Van Johnson, Battleground, 1949. Dore Schary was running RKO without much help from an increasingly bizarre Howard Hughes, forever trysting his starlets at Grant’s Beverly Grove Drive home. Hughes rejected war films, despite Schary wanting Cary - it wound up at MGM. So, did Schary. LB Mayer did not want it, either. Schary proved him wrong and soon had LB’s job.
- James Stewart, Harvey, 1949. Playwright Mary Chase had final approval of the movie Elwood P Dowd, an alcoholic who sees and relates to an invisible giant rabbit called Harvey. Stewart and Joe E Brown were the only contenders who had played the role on-stage (Jim never stopped reviving the play in the UK and US). Other potential Elwoods were: Grant, Jack Benny, James Cagney, Gary Cooper, Bing Crosby, Jack Haley (The Tin Man in The Wizard of Oz), even crooner Rudy Vallee.
- Dennis Morgan, Pretty Baby, 1949. Head brother Jack Warner tried to sweet-talk Grant into the project on July 29. No, he’d had enough of screwball comedies. Not even the notion of co-starring with his lover Betsy Drake sweetened the pill. Grant passed. Drake stayed. Morgan took over. Grant and Drake eloped. Everyone was happy. Except Jack Warner.
- John Wayne, Jet Pilot, 1950.
“Starring John Wayne, Janet Leigh and the United States Air Force…” Shooting began in October 1949 (when Grant was too busy to be Colonel Jim Shannon) and Howard Hughes tinkered with it for so long - close to eight years - that the innovative jets he filmed were obsolete when the film was released in October 1957. But co-star Janet Leigh got to meet Grant... “My God, he was good-looking and suave and he really does talk that way. Quite a man! Fortunately, John Wayne could fit the film into his crowded schedule. Another hunk of man. And he really talked that way and walked that way... the consummate model of virility.”
Dennis Morgan, Pretty Baby, 1949. Head brother Jack Warner tried to sweet-talk Grant into the project on July 29. No, he’d had enough of screwball comedies. Not even the notion of co-starring with his lover Betsy Drake sweetened the pill. Grant passed. Drake stayed. Morgan took over. Grant and Drake eloped. Everyone was happy. Except Jack Warner.
Richard Basehart, Fourteen Hours, 1950. Howard Hawks was always looking out for a Grant vehicle. Cinderella was one possibility (Cary as her mother, James Stewart and Danny Kaye for the ugly sisters!).Plus Fox’s man-on-a-ledge thriller if Hawks could do it his way. “Cary’s inbed with a very good-looking girl and her husband comes home and Cary crawls out on the ledge and pretends he’s going tocommit suicide.”No, said head Fox Darryl F Zanuck. After the opening, he wished he’d done it that way.
- Stewart Granger, The Light Touch, 1951. Grant wanted to make Richard Brooks; second film after arranging and enjoying his debut, Crisis, together the year before. But he was too fully booked. “MGM said, well, we have another fella here,” said Brooks. “But the one thing the other fella didn’t have was... a light touch.” But he did have a wife. And nine years later, Brooks later married her. Jean Simmons.
- John Derek, Scandal Sheet, 1951. Or The Dark Page when Sam Fuller wrote his first novel and Howard Hawks paid $15,000 for it... After completing Red River, 1946, The Grey Fox planned the Fuller thriller (reporter investigates his editor’s crime!) for Cary and Bogie!!! Or Cary and Edward G Robinson. They were never available at the same time.Hawks dropped it. Phil Karlson picked it up to reunite the 1949 stars of All The King’s Men, Derek and Broderick Crawford
- Dirk Bogarde, Penny Princess, 1952. Eleven years earlier, Cary had Penny Serenade with Irene Dunne. There is no Grant comment on record about this UK comedy. Doubtless he would have agreed with Bogarde’s summation: “As funny as a baby’s coffin.”
- Montgomery Clift, I Confess, 1952. Alfred Hitchcock had first been intrigued by Paul Anthelme’s 1902 play, Nos deux consciences/Our Two Conscience), in the 30s. Mrs Hitch, Alma Reville, got him interested in the project again in 1948, when they worked on the script and offered Van Johnson the lead - a Roman Catholic priest suspected of murder. Next? His future regulars: Grant and James Stewart. Which is probably why Clift drank too much; Hitch got co-star Karl Malden to warn him off the sauce.
- Gregory Peck, Roman Holiday, 1953. Director Frank Capra had Cary and Liz Taylor interested. Paramount said no - then yes, once Capra had sold his rights to another top helmer, William Wyler. “It’s my pet yarn but you can have it. And if you like that one, come back, and I’ll give you Friendly Persuasion.” Capra quit when realising he could not make the film for the Paramount ceiling of $1.5m. William Wyler made it for $2,092,487 – all in Rome. Eager for comedy, Peck felt that “every romantic comedy script I get to read has Cary Grant’s fingerprints all over it.” And those off blacklisted writer Dalton Trumbo was posthumously awarded the 1943 Oscar given to his “front,” Ian McLellan Hunter, in 1993.
- Ray Milland, Dial M For Murder, 1953. OK, said Hitchcock, no gay professor – so how about a man planning his wife’s murder? And in 3D? At the time she was Olivia De Havilland (or Deborah Kerr), not Grace Kelly. The Warner suits would not hear of it. Total mis-casting! And for once, they were right. Anyway, Grant had officially retired in February because of the rise of Method-ists and the way Hollywood had treated Chaplin. Even with 3D, Hitch shot the film in 36 days: August 5-September 25 1953. And then coaxed Grant back for his next suspenser: To Catch A Thief.
- James Mason, A Star Is Born, 1953.
- Dick Powell, Susan Slept Here, 1953. Grant was asked to succeed Dan Dailey and Robert Mitchum… until Hollywood scripter Mark Christopher became Powell’s 58th and final movie role before TV producing and film directing. Debbie Reynolds was Susan and the US Catholic Legion of Decency (!) was aghast by the title…but not by George Washington Slept Here in 1942.
- Humphrey Bogart, Sabrina (UK: Sabrina Fair), 1954. One story insisted that Grant did not wish to be seen… carrying an umbrella!! In fact and just like Bogie, Cary felt too old to be chasing Audrey Hepburn - 25 years his junior. Besides, in all his films, he never chased women: they chased him... exactly as Audrey would do nine years later in Charade, “OK,” said director Billy Wilder, “somebody that’s older than William Holden and not so pretty.” Bogart did not like that, nor being second choice, and called Wilder a Nazi, Holden quite untalented and the film “a crock of shit.” Billy threatened to let Holden win the girl (as he had off-set). But Bogie had to win because “Bogart gets $300,000, Holden $125,000.” (Poor Audrey got a mere $15,000) Same reasoning in 1995 only Harrison Ford won $15million. On his deathbed, Bogie apologised to Wilder. As for Audrey, Bogie never changed his mind: “All right as long as you like to do 36 takes.”
- Van Johnson, The Last Time I Saw Paris, 1954. Alias F Scott Fitzgerald’s 1931 short story Babylon Revisited. Producer Lester Cowan had tried to set it up as Cosmopolitan in 1940 with Shirley Temple as Cary's daughter - the real star of the show. This rewrite by Casablanca’s Epstein twins (Julius J and Philip G), shifted focus to the mother (Elizabeth Taylor) with little time for room for young Sandy Descher as Vicki.
- Danny Kaye, White Christmas, 1954. Cary almost turned down To Catch A Thief because of his interest in joining Vera-Ellen in this musical. Bing Crosby needed a partner as Fred Astaire did not like the script and Donald O'Connor's back was out.
- Charlton Heston, The Private War of Major Benson, 1955. Developed at Universal for Cary, ruined by Chuck. Who envied and immensely admired Grant’s films “where you stand around in beautiful clothes, saying beautiful things to a beautiful woman. Of course, the trick is being able to do it the way Grant did.” Exactly!
- Jack Palance, The Big Knife, 1955. Playwright Clifford Odets told critic-turned-director Peter Bogdanovich - who directed a scene from the play in his Stella Adler drama class and the 1959 off-Broadway revival - that the lead role of the much troubled, indeed doomed movie star, Charles Castle, had been conceived with Cary in mind.Anyway, to paraphrase Hamlet: The best is Palance.
- Marlon Brando, Guys and Dolls, 1955.
As proved by such flights of insane fancy about Cary (Bing Crosby, Gene Kelly, Kirk Douglas, Clark Gable, Burt Lancaster, Robert Mitchum, even Dean Martin & Jerry Lewis!), producer Sam Goldwyn had bought a hit musical that he didn’t know what to do with. Cary did. He called Brando - his one-time lover - with the magic words: “Frank Sinatra desperately wants the role... I heard you don’t like Sinatra. Take the role just to piss him off.” “OK,” said Brando, “It’s a deal!”
- Akim Tamiroff, Don Quixote, 1955. Years before Orson Welles started his version,Howard Hawks wanted to make the Cervantes tragedy with Cary Grant and Cantinflas as Sancho Panza.Someone told Hawks that he couldn’t make a comedy out of a tragedy. “Oh no?” said Hawks,. “Tell me the story of Don Quixote.” He did so and then Hawks told him: “You’ve just told me the story of three of Chaplin’s best pictures.”
- David Niven, Around The World in 80 Days, 1955. Phileas Fogg was Niven’s favourite role. Yet he only won it because producer Mike Todd had to give up on his dream Fogg - after six months of wooing Grant into topping his planned cast of 48 stars. Grant felt Todd was more keen on shooting locations around the world, than depth of character. Still refused when Todd virtually offered him half the profits. Only half? Cary usually got 75%!
- Bob Hope, The Iron Petticoat, 1956. Rejected out of hand by Grant - making the writer Ben Hecht turn to Hope. He soon wished he had not. Hope arrived with all his writers and in Hecht's word “fractured” the picture and “blowtorched” Katharine Hepburn out of “her magnificent comic performance.”
- Tyrone Power, The Edddy Duchin Story, 1956. Cary chased the role of the debonair piano star. Duchin’s also piano-playing son, Peter, said Power’s “dark looks and boyish charm seemed perfect.” Besides, he was nine years younger...
- Alec Guinness, The Bridge on the River Kwai, 1956. Looking for his Colonel Nicholson, producer Sam Spiegel also contacted: Ronald Colman, Noel Coward, Charles Laughton, James Mason, Ray Milland, Laurence Olivier, Eric Portman, Anthony Quayle, Ralph Richardson - and Spencer Tracy, who bluntly told Spiegel that the Colonel had to be an Englishman. Cary was more taken with Shears - which went to…
- William Holden, The Bridge on the River Kwai, 1956. Grant tried to talk Holden out of it when both accepted the same role. Producer Sam Spiegel told David Lean: “I was in a most embarrassing position.” Sam voted for Holden as the public rarely liked a serious Grant, such as in Crisis, 1950) Cary “was absolutely broken-hearted. He cried actual tears when notified.” For the role, Holden’s agent engineered a then unique tax-payment deal: $250,000 plus 10% of “whatever the profits: were, to be paid at no more than $50,000 per year.” By 1975, the cut had totaled $2.8m. (Columbia and Spiegel shared the annual $100,000 interest made from Holden’s funds!) Lean asked both men to appear in his (aborted) project: Gandhi. Grant as a British cop in the Indian police force and Holden as a US doctor. (Neither role was in the 1981 Richard Attenborough version).
- Jack Hawkins, The Bridge on the River Kwai, 1956. Grant’s 1949 flop in his serious Crisis film troubled Sam Spiegel. But “because of Cary’s hurt feelings,” the producer offered him Major Warden - already given to Hawkins! No surprise… In the 50s/60s, to “Spiegel” was LA slang meaning: to cajole, manipulate or downright con. That’s how producer Spiegel won most of his deals, casts and women.
- John Rait, The Pajama Game, 1956. Frederick Brisson, Robert E Griffith and Hal Prince bought the 7 Cents novelfor a stage musical about a pajama factory strike. They immediately started courting Grant, Gene Kelly and Van Johnson - surely one would agree to Broadway and Hollywood! No ? OK, they’ll discover a new star. And did. A non A-Star, though.
- Alan Ladd, Boy On A Dolphin, 1957. No to Gina Lollobrigida, yes to Sophia Loren. On fourth day of shooting, Cary quit to fly home where his wife, Betsy Drake, was among the survivors of the SS Andrea Doria sinking off Nantucket on July 25, 1956. Director Jean Negulesco requested the Front Office to send him someone to “look right opposite theItalian Venus - abig, tall, strong, romantic box-office star.”Head Fox Spyros Skouras sent him little Ladd.“Negulesco fell in love with (Loren), so she got all the good close-ups - all you ever saw of me in most scenes was the back of my neck.I got fed up of it.” Not as much as the mayor of Hydra, bemoaning his poor virgin island, unscathed in two world wars, was suddenly "criss-crossed by trenches so that your beautiful Sophia could walk at the same level as her lover.”
- Gary Cooper, Love in the Afternoon, 1957.
Director Billy Wilder aimed high again: Grant and Audrey Hepburn. “The day I signed Cooper, he got too old! I always wanted Grant for anything, it was a disappointment that he never said yes... Nothing personal. Intuitive. He had very strong ideas about what parts he wanted to play. Tony Curtis impersonating Grant in Some Like It Hot was as close as I got to having Cary Grant in one of my pictures.” Coop looked far too ancient for seducing Audrey Hepburn - still six years away from her Charade with Cary.
- Clark Gable, Run Silent, Run Deep, 1957. Two years earlier, both the Hollywood Reporter and Los Angeles Times said Delmar Daves would direct Grant. But they’d long completed their submarine service in Destination Tokyo, 1943.
- James Stewart, Bell, Book and Candle, 1958. Cary wanted it for him and his third wife, Betsy Drake. But MCA had already grabbed the play for Stewart - described as Lew Wasserman’s favourite client. (Neither news delighted Cary, who quit Wassermanby 1960 for suggesting a Grant TV series- produced by MCA, of course).Stewart’s worst casting since Rope (when he also stood in for Cary), was the price Columbia’s hated boss, Harry Cohn, paid for allowing Kim Novak join Jim in Vertigo. And that is exactly where Stewart wanted to be, back withHitch.But he blamed Stewart looking took old for Vertigo flopping and didn’t want him around when moving North By Northwest. So Cary travelled (for about $750,000 and 10%)) while Stewart candled
- David Niven, Bonjour Tristesse, 1958. This time, Audrey Hepburn was supposed to be...hisdaughter! Director Otto Preminger flew to the Spanish locations of The Pride And The Passion, 1957, to sweet-talk Cary into becoming the reprobate father of Françoise Sagan’s first heroine. Five years later, Audrey was chasing Cary around Parisin Charade.
- Clark Gable, Teacher’s Pet, 1958. Not keen onaquickly re-tuned frolic as tough newsman joining Deborah Kerr’sjournalism class. For Gable, she was Doris Day - given ThatTouch of Mink by Cary in 1962.
- Ray Walston, Damn Yankees!, 1958. To go the beauty route, Warners wanted Cyd Charisse and Cary Grant, but chose to go cheaper with the Broadway showstopper Gwen Verdon opposite Walston as Mr Applegate, aka The Devil.
- Dean Martin, Rio Bravo, 1958.
- Gregory Peck, Beloved Infidel, 1959. All the talk of Grant playing F Scott Fitzgerald came to naught. As he was proneto exclaim: “Plenty of room up front!”
- Alec Guinness, The Scapegoat, 1959. MGM wanted Cary. Everyone did - except Daphne Du Maurier. For the filmof her novel, sheinsisted upon Guinness - not quite the same charisma. However, Alec saved (or, at least, completed)the film by directing when Robert Hamer (maker of Guinness’ Ealing Studios classic breakthrough, Kind Hearts and Coronets, 1949) was in his cups.
- Geoffrey Horne, Giuseppe venduto dai fratelli/The Story of Joseph and His Brethern, Italy-Yugoslavia, 1959.
Bizarre idea: Cary Grant in a Biblcal epic. It was the dream wish of Columbia czar Harry “King” Cohn - despised by the industry as much as Joseph was by his siblings. Playwright Clifford Odets had meetings with Grant and noted his “evasive, non-committal, commitment... strange flirting...”Cary was more interested in another Odets project (unmade) about a man with 18 aliases, rather than a saint with eleven brothers, including thefuturespaghetti cowboy Terence Hill.
- Louis Jourdan, Can-Can, 1959. Spurned Frank Sinatra’s offer in irritable fashion during the friction-fraught Houseboat when Grantwas being spurned by Sophia Loren - marrying Carlo Ponti by proxy in Mexico!Cary was also still seething at the way Sinatra stalked out of The Pride and The Passion locations.
- Robert Mitchum, The Grass Is Greener, 1959. As it was a Grandon (Grant-Stanley Donen) production, obviously Cary would be one of the leads.His original casting was Rex Harrison and his wife, Kay Kendall, as Lord andLady Rhyall with himself as US businessman Charles Delacro. Kay’s death from leukaemia meant her husband withdrew, Grant took his place opposite Deborah Kerr. And Bob Mitchum became Delacro.
- Yves Montand, Let's Make Love, 1960. All Hollywood leading men rejected Marilyn. Nice guys! Well, they knew she’d steal it. Without even trying.
- Gregory Peck, The Guns of Navaronne, 1960. Obvious thinking from Carl Foreman - after Grant’s assured handling of the cannon in The Pride and The Passion. Oh, and with Brando in the Anthony Quinn role. Wow! Now that is really thinking BIG!
- Steve McQueen, The Honeymoon Machine, 1961. Cary avoidedthe US Navy lieutenant busting a casino roulette table with his ship’s computer when the comedy was called The Golden Fleece. He wuz right. “I’ll take full creditfor that one,” said McQueen’s agent Hillard Elkins.“It was a dumb move for both Steve and me. We were looking the other way and we should’ve passed.”
- Michael Redgrave, The Innocents, 1961. Searching for the innocent kids’ debonair uncle, British director Jack Clayton spied Cary in the studio restaurant..“I had the nerve to offer him - the biggest star at the time - this tiny part.He was so charming. Didn’t find it an insult.He said he’d do it if I could bring back the uncle at the end of the film. I was torn... Having Cary would’ve meant a lot but seeing him at the end would’ve been impossible. I’m probably the only director who ever said no to Cary Grant.” (Far from it!).
- Gregory Peck, The Guns of Navaronne, 1961. Obvious thinking from Carl Foreman - after Grant’s assured handling of the cannon in The Pride and The Passion.Oh and with Brando in the Anthony Quinn role!
- Peter O’Toole, Lawrence of Arabia, 1961.
- Jack Hawkins, Lawrence of Arabia, 1961.
- Jason Robards, Tender Is The Night, 1962. Producer David Selznick first tried to make it at RKO in 1951 with his lover Jennifer Jones.Cary remained loyal to the discarded Irene Selznick (a friendsince his New York stage days). He was also against the dramatics of Dick Diver, the shrink falling for his patient. And he was right. Again! The fiasco (Henry King directing Jones) did not save Fox sinking below Cleopatra’s Plimsoll line.
- James Mason, Lolita, 1962.
Degenerate, he called it. “I have too much respect for the movie industry to do a picture like that!” He had no need of it. Time magazine insisted that Cary was rich enough to join NATO. (When he died, he was worth about $60m).
- Robert Preston, The Music Man, 1962. Jack Warner begged but Cary felt only the Broadway show’s star could and should do it. Also refusing to steal Preston'sthunder:Milton Berle, Ray Bolger, Art Carney, Danny Kaye, Gene Kelly.
- Edward de Souza, The Phantom of the Opera, 1962. “Mr Carreras - there’s a Mr Grant to see you...” Everyone recognised the surprise visitor to Hammer House in London’s Film Row. Yet never understood why he was there. Well, old Cary wanted to make a horror film...! That much is true. That Hammer immediately asked him to play The Phantom is not. Producer Anthony Hinds offered the rubbishy romantic lead. (At 58). And that explains why Cary Grant never made a Hammer horror film.
- Rex Harrison, Cleopatra, 1962.
- Sean Connery, From Russia With Love, 1963.
- Rock Hudson, Man’s Favourite Sport, 1963. Or The Girl Who Almost Got Away when Howard Hawks first figured on reuniting his Bringing Up Baby team of Grant and Katie Hepburn...By the time he was59, Grant was worried about romancing Paula Prentiss, 24. “He doesn’t wanna be surrounded by all those young women,” said Hawks. As director Peter Bogdanovich, explained: “Grant was fearful of looking like a dirty old man.” That didn’t stop stop him calling Stanley Donen back after having first passed on Charade -opposite Audrey Hepburn, aged... 32.“I read Howard's script last night,” said Grant.“Is your script still available?”
- Rex Harrison, My Fair Lady, 1964.
To protect the $5.2m he paid for the rights, Jack Warner wanted star power - like Audrey Hepburn and Cary instead of Broadway’s original Eliza Doolittle and Professor Higgins: Julie Andrews and Rex Harrison. “At that time, I was considered more commercial than Rex Harrison,” Grant told Guy Flatley in the New York Times, 1973. “The thing that stopped me was… I’d seen the show on stage three times and didn’t think anyone could do it better than Rex. Warner kept pushing, though, so finally I said to him, 'Look, Rex does it; use him.’ Actually, I always thought the movie should have been done with Julie Andrews, too, although I adore Audrey Hepburn and had a great time with her in Charade. I just think that once something has been done to perfection, why interfere with success? ” Warner did not give up easily. Refusing $1.5m, Grant declared: “Not only will I not play it, but if you don't put Rex in it, I won't go to see it!”
- Dick Van Dyke, Mary Poppins, 1963. OK, chimney sweep Bert had to sing and dance it up. But he also had to be at home with a Cockney accent. Only a few US stars could manage that. Sadly, Van Dyke was not among them. Nor were Cary, Fred Astaire or Danny Kaye. Eithdefr of the two Brits in the loop, Jim Dale and Ron Moody, would have been less execrable. Van Dyke then blamed the worst Cockney accent in movie history on his accent coach, J Pat O’Malley, a regular voice in Disney toons. “His British accent was even worse,” complained Van Dyke. Yet he still booked O’Malley as his father in a 1964 chapter of The Dick Van Dyke Show. Before the UK reviews exploded?
- David Niven, Bedtime Story, 1964. Universal’s original idea: Grant-Rock Hudson in King of the Mountain. That could have set tongues wagging.OKthen, Tony Curtis... Either duo would have been more dynamic than Niven-Brando in, as per New York critic Judith Crist, “a vulgar soporific forthe little-brained ones.”
- Oskar Werner, Ship of Fools, 1965. Stanley Kramer started workingon Grant for the alcoholic doctor while making The Pride and The Passion, 1956. Could have been an Oscar in it .
- Peter O'Toole, What's New Pussycat, 1965. The oh-so-dated 60s farce grew out of Czech writer Ladislaus Bus-Fekete's comedy about apriapic Don Juan,Lot's Wife- bought expressly for Cary by agent-turned producer Charles K Feldman. But he never approved any versions of the script(by Billy Wilder’s co-writer, IAL Diamond,among others). Feldman’s next target, Warren Beatty, said much the same about Woody Allen's treatment.Warren providedthe title - his telephone chit-chat opening to his legion ofladies.
- Michael Caine, Gambit, 1966. Shirley MacLaine arranged Caine’s Hollywood debut - in an update of aBryanForbes script which had been bespoke tailored for Cary in the early 60s.But (a) he felt too old for the part, (b), he’d played it before in Hitchcock’s far superior To Catch A Thief and (c) hadn’t they heard, he was retiring...
- Gregory Peck, Arabesque, 1966. The role, the film, hey the casting of La Loren - it was all for Cary.He still backed off. Peck had trouble with his comedy timing and would apologise to Stanley Donen. “Remember, I’m no Cary Grant.”No one needed reminding.
- Richard Burton, Who’s Afraid of Virginia Wolf? 1966. Among the many possible Georges: Henry Fonda, Jack Lemmon, James Mason, Peter O’Toole and Broadway’s George, Arthur Hill. Plus Grant, presumably opposite an early idea for the harridan wife, his Notorious and Indiscreet co-star: Ingrid Bergman. He was way too smooth for such in-couple brawling. His public would hardly have enjoyed this sight (or side) of him... presumably known only to his five wives (Virginia Cherrill, Barbara Hutton, Betsy Drake, Dyan Cannon, Barbara Harris) and the one that got away, Sophia Loren.
- Christopher Plummer, Triple Cross, 1966. Director Terence Young never managed to have Cary as James Bond - nor, another spy, the real-life burglar turned WWII double-agent. Eddie Chapman. Smooth, all right, just not suave.
- Marlon Brando, A Countess From Hong Kong, 1966. First designed 30 years earlier (!) for Paulette Goddard and Cary Cooper, played by Sophia Loren and Brando - bitterly disappointed by the genius directing, Charles Chaplin - the nasty, sadistic asshole from Hell. “And I’m being kind.”
- Dick Van Dyke, Fitzwilly, 1967.
As the epitome of English butlers,aidinghis penniless employer by organising a crime syndicate, Van Dyke tried hard to match the maestro. But as Grant said, himself: “Everybody wants to be Cary Grant. I want to be Cary Grant!”
- Peter O'Toole, Goodbye Mr. Chips, 1969. Hollywood was determined to get him into a musical!The plan (again!) was Cary-Audrey Hepburn. When Grant passed, Vincente Minnelli turned to Rex Harrison-Samantha Eggar, Burton-Julie Andrews... then Burton-Lee Remick, then Burton-Petula Clark before O'Toole moved in - opposite Pet.
- Laurence Olivier, Sleuth, 1972. “I decided it would be too much work. I mean, I’ve done all that - almost 70 times -and it’s a tiresome and very strenuous business.” Great idea from director Joseph Mankiewicz. Except Cary had retired... to watch his daughter grow up. Jennifer was born in 1966 to Cary and his fourth wife, Dyan Cannon.
- Topol, Follow Me! 1972. To co-star with Julie Andrews.That was the 1965 hook for the film of Peter Shaffer’sThe Public Eye play.
- Laurence Harvey, Night Watch, 1973. He’d won his Oscar, lost his mother and movies just didn’t matter anymore. Not even a scary thriller opposite Elizabeth Taylor - produced by his Faberge boss and friend, George Barrie.
- George Segal, A Touch of Class, 1973. Perfect title for Cary, found and offered to him (and Sophia Loren) by George Barrie again. “I’d havedoneifI were50 years younger.”
- Art Carney, Harry and Tonto, 1974. “I’m re-tir-ed!” Paul Mazursky wrote it for Jimmy Cagney to be the widower of 72, on an odyssey across the US after being evicted with his cat, Tonto. Also refusing: Cary, Danny Kaye, Laurence Olivier and Frank Sinatra. Carney got the job - and the Oscar.
- Peter Finch, Network, 1976. After tenuous thoughts about real TV News anchors (John Chancellor and the venerable Walter Cronkite), the film’s Oscar-winning writer Paddy Chayefsky suggested Cary Grant, Paul Newman, even old pals Henry Fonda and Jimmy Stewart for his “mad prophet of the airwaves,” Howard Beale - (“I’m mad as hell and I’m not going to take this anymore”). Finchey won the first posthumous acting Oscar. (Ironically, the second was also for an Aussie, Heath Ledger, for The Dark Knight... 33 years later).
- Gregory Peck, MacArthur, 1977. On producer Frank McCarthy's (very) short list. As already explained to Mazursky (and others), retired really meant retired. But nobody believed him.
- James Mason, Heaven Can Wait, 1978.
Producer, star, co-director Warren Beatty (who refused almost as many films, as Grant; including Charade, 1963) offered Cary any fee to play Mr Jordan - God to his pals. "Not a very good part! All those long speeches and none of the jokes. Claude [Rains] pulledit off in the original - he was good, but it's not really a very good part," he told Peter Bogdanovich, when Beatty asked him to direct.
- Robert Wagner, Hart To Hart, TV, 1979-1996. As if Cary needed TV! When Sidney Sheldon's Double Twist couplewere both spies, the obviousinitial choice for the role of Jonathan Hart was Cary. However, he75 years old andhad long retired. Wagner (like Sean Connery) was among the fewHollywoodianswho looked at homein black tie as much as Grant did.
- Paul Newman, The Verdict, 1982. Among many considered for the drunk lawyer. Cary was hardly likely to comeback and ruin his impeccable image.Peter Bogdanovich spoke for us all: "I always wished he hadn’t stopped."
Peter Bogdanovich spoke for us all: "I always wished he hadn’t stopped."
Burt Reynolds also loved him. “Nobody understood what the hell that accent was. I don’t think he did, but it was wonderful.”
Charton Heston immensely admired Grant and longed to work with him. “Because he always did those films where you stand around in beautiful clothes, saying beautiful things to a beautiful woman. It’s always seemed like a fine way to make a living. Of course, the trick is being able to do it the way Grant did.” Exactly!