The movies that sent Cary Grant into Hollywood exile
Cary Grant was one of the most iconic stars of Hollywood's 'Golden Age' but he grew so disenfranchised with his own work that he almost vanished for good.
(Credit: RKO publicity)
Film » Cutting Room Floor
Sat 15 February 2025 16:05, UK
As an actor who always projected nothing but the utmost confidence and self-belief both on-camera and off, itâs hard to believe that Cary Grant would ever find himself in the midst of an existential crisis that left him contemplating retirement.
After all, since first becoming a star in the late 1930s when he became the face of the screwball comedy through stone-cold classics like The Awful Truth, Bringing Up Baby, His Girl Friday, and The Philadelphia Story, Grantâs persona became an indelible part of Hollywoodâs âGolden Ageâ.
As cliched as it is to say, for the next two decades, he was almost the ideal embodiment of the A-lister men wanted to be like and women wanted to be with. He knew it, too, which eventually became a problem. Seeking to shake up his image, he mastered that too when his collaborations with Alfred Hitchcock and Academy Award-nominated turns in Penny Serenade and None but the Lonely Heart added new strings to his performative bow.
Grant could do drama, he could do comedy, he could play the romantic lead, and heâd even shown himself capable of injecting several shades of grey into his work by playing more complex and complicated characters. And yet, he felt he went off the boil to such an extent that he was fully prepared to walk away from the business.
To put things into context, the only year between his screen debut in 1932 and 1953 that he didnât appear in at least one picture was 1945, and Grant averaged well over one per year during that time. However, as the 1950s dawned and a new breed of actor began to emerge, he started to feel like a man out of time.
âIn the early â50s, my films were dull,â he admitted in Conversations with Classic Movie Stars. âCrisis, People Will Talk, Dream Wife: I just gave up for a while. Nobody wanted me. It was all method actors, and I didnât look right in a torn T-shirt. They asked that wonderful actor, Basil Rathbone, why he wasnât working anymore, and he said, âI blame it all on that Marlon Brandoâ. And thatâs the way I felt, too.â
After shooting Room for One More, Monkey Business, and Dream Wife in quick succession, Grant took his longest-ever sabbatical from the silver screen. It would have been even longer if an old friend hadnât reached out with an offer he couldnât refuse.
âThen Hitch phones and offers me To Catch a Thief with Grace Kelly,â he said. âAnd things started looking up.â Re-energised by his reunion with the âMaster of Suspenseâ, Grant quickly consigned his misery to the back of his mind. To Catch a Thief was his first theatrical release in 26 months, and after another 23-month stretch between Hitchcockâs thriller and 1957âs An Affair to Remember, he made up for lost time by appearing in five films in the next two years.
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Cary Grant