1954 Look Back: Grace Kelly's Fight for Independence

David looks back on the biggest cinematic year of one of cinema's most glamorous stars...

The thrill of this moment keeps me from saying what I really feel. I can only say thank you with all my heart to all who made this possible for me. Thank you. 

Grace Kelly’s surprise Oscar win on 30 March, 1955, was the belated cherry on top of an incredible year by any actress’ standards, and certainly the busiest and most successful of Kelly’s ultimately brief Hollywood career. The basic narrative is now one of legend: the young, popular new star caught the attentions of the Academy over the established older performer; in this case, despite only being seven years older, Judy Garland. Hollywood gossip columnist Hedda Hopper said it was a matter of just 6 votes. If you believe her, than it's probably the closest Best Actress race ever, outside of the 1968 Hepburn-Streisand tie.

History has decided that Grace Kelly didn’t deserve it. History may be right.

But at the time, there seemed to be no more fitting capper to Kelly’s incredible year than this reward, one received in such gracious form. In 1954, she starred in 5 films – almost half of her entire cinematic catalogue and a ubiquity comparable to the likes of Julia Roberts in 1990, or Jennifer Lawrence in 2012. While Princess Grace has been mythologised like few other Hollywood stars, the real story is a far more complex one than the romantic image allows. But that, of course, is the Hollywood machine for you. [More...]

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Life Magazine Best Actress Covers, 1954

Researching 1954 for other posts, I came upon the realization that Life Magazine had featured not one, not two but three of the eventual Best Actress nominees on their covers that year in April (Grace Kelly who had a lot of films out that year including The Country Girl), September (Judy Garland for A Star is Born) and November (Dorothy Dandridge as "Hollywood's Fiery Carmen Jones"). It was "Hollywood's Brightest and Busiest New Star" vs. the World's Greatest Entertainer for the golden statue that year. The tag line to the Judy article was "Judy Garland Takes Off After Oscar" but it was not to be and Grace Kelly cemented the Princess effect with Oscar just a year after that had already helped Audrey Hepburn to her Roman Holiday win. (With Oscar, it rarely turns out that well for the older women, as you know)

This particular Best Actress race will haunt actressexuals forever as Judy Garland's A Star is Born performance is one of the greatest ever committed to celluloid. Audrey Hepburn (Sabrina) and Jane Wyman (Magnificent Obsession) were also nominated that year but did not get a Life cover. That's weird in Audrey's case as she was a regular cover girl. 

Finally while everyone knows that Dorothy Dandridge was a trailblazer this cover represents a twofer: She was not only the first African American nominated for a Leading Role at the Oscars (previous nominations had only happened in Supporting Actress) she was also the very first black woman to appear on the cover of Life Magazine!

Have you ever seen Carmen Jones? We've talked about it before.

Cannes Diary Day 2: Or, How I'm Still Grappling With 'Grace of Monaco'

Diana Drumm is reporting for The Film Experience from Cannes

As you should know by now, thanks to mid-screening tweets, prompt reviews and Nathaniel being awesome as always, Grace of Monaco is bad. So bad that Cannes critics are being divided into indifference, dislike and rollicking hate. I, for one, fall into a fourth category, that of the now-jaded hopeful still grappling with how it all could have gone so horribly wrong. It’s from the director behind La Vie En Rose and... NICOLE KIDMAN. And I do mean grappling, I’ve barely eaten since that lovely sandwich or slept since nodding off on the Nice-Cannes commuter and my attempts at writing an actual review have gone the way of nonsensical jibberish with many ‘rather’s, ‘while’s and ‘thereby’s. Plus I’ve missed multiple opportunities to stow-away on champagne and celebrity-laden yachts. (Well, maybe not, but you get the gist – me, bedraggled by disappointment.) It could be the jet lag typing, but I wish I could go back to the before time, before I knew for certain that Grace of Monaco was a bad film. 

For weeks, I’ve been hushing naysayers, lah-lah-lahing the latest Weinstein cut rumors and ignoring the strawberry blonde Nicole Kidman as Grace press photos. With its synopsis reading like My Week with Marilyn meeting Evita for cucumber sandwiches to discuss an upcoming charity event and swap stories about who was handsier, Ari Onassis or Alfred Hitchcock, I kept telling myself that whether Grace was good or bad, it would be nice to see Grace Kelly’s story onscreen. I was wrong, so wrong. This isn’t to say that the film’s downright awful, or even amongst Cannes’ worst (Splitting Heirs, anyone?), but as someone with only love in her heart would say, it’s not that I’m angry, it’s that I’m hurt and disappointed. 

Princess Grace and Old Hollywood fairy tales after the jump...

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"In years to come, they will continue to whisper your name NICOL... I mean GRACE"

The teaser for Grace of Monaco has finally arrived and it is one money shot of Goddess and/or Opulence and/or FYC Advertisement after another, all to further iconize Grace Kelly through another film icon Nicole Kidman.

It's an actressexual oroborus and I be gobbling it up.

Gobbling it up whilst fretting about the reviews and response to come. I'm not so secretly dreading the onslaught of negativity about 'how dare Kidman play Princess Grace' when discerning cinephiles or anyone who has actually watched their respective filmographies will surely understand that Kidman > Kelly. And anyone who can look past glamour iconography will surely understand that Grace Kelly was only 25 years old for 12 months of her life... that just happened to be the year of her life when the bulk of movies she's remembered for appeared (Rear Window, The Country Girl, Dial M For Murder) and looked different later on after leaving Hollywood. (Different being older).

Long after The House of Grimaldi has fallen, the world is going to remember your name, your highness. You are the fairy tale, the serenity to which we all aspire. And peace will come when you embrace the roles you have been destined to play.  For no matter where you are in the years to come they  will continue to whisper your name, the Princess Grace.  

The teaser's monologue is set to a lovely piece o' opera familiar to all little boys who obsessed over A Room With a View's original motion picture soundtrack in their bedroom in their parent's basement in Michigan. Hypothetical little boys from Michigan who now write film blogs in NYC which obsess over Nicole Kidman!

(Is that supposed to be Alfred Hitchcock in the first shot? Is a Costume Design nomination locked up for Gigi Lepage? Are you gagging over the beauty or just gagging? Tell us in the comments)

Team Top Ten: Most Memorable Performances in a Hitchcock Film

Amir here, with this month's edition of Team Top Ten. To celebrate Alfred Hitchcock's birthday next week (Aug 13th), we've decided to celebrate his career by looking at something that isn't discussed quite as often as it should be: the performances he directed.

Hitchcock has more auteur cred than any other director so its understandable that his presence behind the camera attracts the most attention in all discourse about his oeuvre. Yet, his films are undeniably filled with amazing performances, from archetypal blondes and influential villains to smaller, eccentric supporting turns from characters actors. The list we've compiled today is the Top Ten Most Memorable Performances from Alfred Hitchcock's Films.

Make of "memorable" what you will! Our voters each certainly had their own thinking process. Some of us - myself included - took the word literally and voted for what had stuck with us the most, irrespective of size and quality of the performance. Some went for the best performances, some for the best marriage of actor and role and some for a mix of all of those things. Naturally, the final list veers towards the consensus, but as always, I've included bits and pieces of our individual ballots that stood out after the list.

Without further ado...

10. Grace Kelly as Lisa Fremont (Rear Window)
There's memorable, and there's iconic. And then there's Grace Kelly in Edith Head. A performance all at once decadent and demure, Hitchcock's crown jewel struts and strolls glowingly in Rear Window, lithely giving off the allure to which she's come to recognize is her signature (and she worries, her sole) appeal. It's only as the mystery of the picture begins to unravel that the shades are lifted (literally) and the flinty little girl we thought we knew positions herself to be the real knight in shining armor. The famed icy Hitchcock blonde archetype manages that most remarkable and memorable of transformations in this, his best film; thanks to and because of Ms. Kelly, the sculpture discovers itself and its purpose. It's a beautiful thing when an actor can make a director forget himself and his tendencies. Something New Happens.
- Beau McCoy

9 more iconic turns after the jump

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