Let's add some first names... that would be Cary Grant, Deborah Kerr, Robert Mitchum and Jean Simmons. They were all great favorites of mine. They were favorites of one another as well. I absolutely loved many of each of their films and have highlighted quite a few in these pages. I was excited in 1960 when I read that all four had been signed to appear in director Stanley Donen's drawing room comedy about adultery, The Grass Is Greener.
I've mentioned before that I have always often gone to a movie because of who was in it rather than having a super interest in seeing the film itself. And if you think I got worked up over one person, imagine my thrill when two or more of my favorites appeared in the same film. The Grass Is Greener was even more exciting because there were eight prior films that starred some pairing of these actors.
Kerr had appeared in two prior films with all three of the other actors. Filming The Grass Is Greener certainly would have been a great reunion for her. Both she and Simmons had known one another in England (and they loved that they would be back filming there after so much time in California). They were even one-time love rivals in that Kerr and Stewart Granger had a long affair and he had wanted to marry her but ended up marrying Simmons. The actresses were even occasionally mentioned for the same role.
Both had made two prior films with Mitchum and both remained personal friends with the actor as well. Kerr was Mitchum's favorite leading lady, he said, and her generally ladylike demeanor somewhat tamed wild man Mitchum. Their other two films together were big hits. Mitchum and Simmons made one great film noir and one silly comedy. Simmons knew him first when both were under contract to RKO and Howard Hughes. She had already made her two films with him before he made the first one with Kerr. Simmons liked the wild Mitchum... she fancied being a little wild herself.
Likewise, Kerr and Grant made one forgettable romcom and then had an enormous hit seen by gazillions worldwide. You know it. C'mon.
The two men had never worked together before and barely knew one another but they already had enormous respect for one another. Grant, in fact, said Mitchum saved our little picture. Grant had also never worked with Simmons before but knew her socially because English expatriates all chummed around with each other in Hollywood. Grant also knew Stewart Granger as biblically as the ladies did.
Let's have a brief look at all of these films and in the order they were released.
Black Narcissus (1947)
A brooding, psychological drama stars Kerr as Clodagh, the Sister Superior of a cluster of nuns occupying a mountainside palace in the Himalayas (actual filming was done at Pinewood Studios in England but you'd never know it). Clodagh has much to deal with... setting up a school and hospital for locals, an Indian dancing girl (played seductively by Simmons), a troubled and jealous nun played with great panache by Kathleen Bryon and then there's David Farrar who awakens feelings in Clodagh that she thought were long buried.
From the moment of its initial release, Black Narcissus was acclaimed for its gorgeous, vibrant use of color, thanks largely to the stunning cinematography of the brilliant Jack Cardiff, who rightly won an Oscar for his astonishing work. Seen today it is every bit as electrifying. A well-deserved Oscar also went to Alfred Junge for his art direction and set decoration. Co-directors Michael Powell and Emeric Pressburger fashioned an erotic movie about the sexual fantasies of nuns that set tongues wagging at the time.
Angel Face (1952)
Young Bess (1953)
The only time Simmons was billed over Kerr was in this movie but then she played the title role of Elizabeth I. Kerr played Catherine Parr, the sixth and final wife of King Henry VIII. He is played once again by the scene-chewing Charles Laughton who won an Oscar for playing Henry way back in 1933. The film's entire storyline takes place before Elizabeth ascends the throne.
Stewart Granger plays Thomas Seymour, a baron and a former brother-in-law of Henry's, who romanced Elizabeth when she was around 14 and who would later marry Catherine Parr after Henry's death. Given Granger's romantic involvement with Kerr and marriage to Simmons, one is reminded that Hollywood and Merry Olde England have a lot in common.
I'm not clear how much fact is here and how much is MGM, but I'll bet on the latter. Of course, this is one of those dazzling, color extravaganzas that MGM did best. Simmons certainly got my attention in Angel Face but my life-long love affair with her was cemented by her feisty, glowing interpretation of the young Elizabeth.
Dream Wife (1953)
Here is some MGM cockamamie fluff that was far beneath the talents of its two leads. With that said, however, the movie honchos, the public and Grant and Kerr themselves knew that their pairing was a stroke of genius. Luckily, everyone was looking for something else for them to do and it would be realized in 1957 and 1960.
A business tycoon is set to wed a Middle Eastern princess (played charmingly by Betta St. John) but her customs require that for a spell they need to be chaperoned and that person turns out to be his former fiancee. Pretty improbable.
Kerr was glad she got a chance to play an American but when one considers her body of work in the 50's, someone needs to take some whiteout to this one. Grant was so undone that he announced his retirement, turning down Sabrina and A Star Is Born before returning to the screen in 1955's To Catch a Thief.
She Couldn't Say No (1954)
I guess if Grant & Kerr can make a dull comedy, then Simmons and Mitchum can do the same. This film is actually the pair's first film together but it wasn't released until after Angel Face. It is the story of a wealthy woman who returns to her hometown to repay its citizens for their kindnesses in her childhood. Mitchum plays her love interest, an exceedingly boring doctor. It is a romantic-comedy that failed in both categories.
The behind-the-scenes stuff is juicier. Both actors were ordered by their boss, Howard Hughes, to do the flick despite their protests. Mitchum decided to simply phone in his part and hope that he was so bad the film would never be released. Simmons cut off her hair that enraged Hughes but delighted her female fans who apparently went in for the same shearing.
Heaven Knows, Mr. Allison (1957)
Mitchum had just finished making Fire Down Below in Tobago and was returning for this film and he was not initially happy. He was also not happy that John Huston was directing or that Kerr would be his costar in an essentially two-person story. He was also not happy that he was the fifth actor considered for the role of Mr. Allison. Happily he recovered on all points.
The story concerns a marine and a nun stranded on a South Pacific island during WWII and hoping for a rescue. It may sound like not much but this director and these two actors turned it into a little gem of a movie. Most touching perhaps is that this he-man marine was as kind and sensitive toward the nun that he actually loves.
Mitchum would sing the praises of Kerr saying she was understanding and tolerant and a pure joy to work with. Huston called him the very best kind of actor there is, stating that he had a painter's eye for detail. Mitchum would go on to say it was his favorite of all his many movies.
An Affair to Remember (1957)
Who among us needs to know what this one is all about? Well, if you're one of the few, it concerns a couple who meets on a ship, falls in love and parts due to a horrible accident. The film's final scene in her Manhattan apartment is one of the great tear-jerkers of all time. And devoted fans recite a great deal of the dialogue from this scene as they sit on their sofas dabbing their eyes.
It had been done before with Charles Boyer and Irene Dunne called Love Affair but Boyer was no Grant. Interestingly, both versions were directed by the esteemed Leo McCarey. This version added color, affluence and comedy. This was certainly the property everyone was looking for to reteam Kerr and Grant. She thought he was the most masterful comedy actor she'd ever worked with.
For many this is their favorite movie or one of them. Some have said it's their favorite love story ever. Those who are critical of it cite the overloaded sentimentality but those of it who don't agree with that or refuse to view it as a distraction say.. oh shut up.
The Sundowners (1960)
They were thrilled to be working together again and in Australia, no less. Both Mitchum and Kerr had high hopes for the easy-going, meandering story and both were excited to be working for director Fred Zinnemann. Kerr was all keyed-up to play an unglamorous role and both actors were anxious to get on with their Aussie accents. Most critics have acclaimed Mitchum's as being on the bloody mark.
The rather plotless story concerns a nomadic family of sheep drovers in the Outback in the early 20th century. Mother and teenage son (Michael Anderson Jr... I always liked him) want to settle down and buy a station (farm) but the husband would rather continue their life of wanderlust. Colorful characters the family meets (Peter Ustinov, Glynis Johns, Dina Merrill), a sheep-shearing contest, a horse race and drinking and gambling all add to the delightfully lazy story.
Everybody reported that they had a fun time making the film despite the sometimes harshness of the weather. They all believed they'd made something rather special and were surprised when the public and even some critics didn't take to it. Over the years that has changed and it is regarded as being as special as the filmmakers thought it was.
The Grass is Greener (1960)
The film that brought them all together was not a huge success but it, too, has grown in stature considerably in the intervening years. While I liked it when I first saw it as a teenager, it was simply because of this quartet of stars. Seeing it over the years I have noticed a gift of language that I'd not caught onto before. It is a drawing room comedy, a former play, that has the subject of adultery at its core and is charming, terribly witty and just a little naughty.
A British earl (Grant) and his countess wife (Kerr) are a tad impoverished and are forced to have tours conducted of their castle to make ends meet. After they've sent their children off to camp and during one such tour, an American oil millionaire (Mitchum) steps into one of the private rooms and there is the countess. They exchange lively banter and soon it is apparent that they have fallen for one another at some level. She is polite and civilized while his sleepy eyes study her seductively. You are cool, elegant, at ease and very lovely, he coos.
In addition to the come-on, there is some amusing chatter about the differences between American and Brits. It seems all the standard contrasts are discussed with Mitchum and Kerr firing their respective barbs with irresistible assurance.
Mitchum is on the floor looking up and taking his umpteenth photo of Kerr when Grant walks into the room and figures it all out within moments. He doesn't, however, confront them and instead delivers for most of the film the most hilarious, if not stinging, remarks, many of which are double entrendes.
Grant is even more suspicious when Kerr tells him she is going into London to have her hair done and to chat with her friend, Simmons, who, when all were single, had a brief affair with Grant. (The funny thing here, of course, having read it above, is that it more or less happened in real life except the women change places and Simmons' husband, Stewart Granger was the man.)
While Kerr and Mitchum are enjoying their romp (he wants her to leave Grant and marry him), Simmons shows up at the castle to commiserate with Grant and to hear his side of things. Grant complains to her about the lack of honor on Kerr's part and Simmons replies that there is no honor where there's sex. The lady loves her sauce and is a woman-about-town. Their banter is one of the highlights of the whole movie.
Finally Grant decides to invite Mitchum back to the castle for the weekend where the former plans to lure the latter into a duel. He tells Mitchum to look up Kerr (she's listening in) and bring her back home. I don't trust him when he's being genial, Kerr exclaims. Simmons is beside herself with glee; she obviously thinks adultery can be such fun. I suppose you're staying for the weekend. Did you bring a bag, Grant says? Please, Darling, when you're referring to me, use the term suitcase, purrs Simmons.
In the film's second half, the four actors are together along with a trusty butler, Sellers (played by Moray Watson, the only actor from the play) and again there is some wonderfully witty dialogue in various groupings, although only Kerr and Simmons are being up front. Mitchum at one point says we all know that we all know and he's ready to take Kerr away and be done with it.
The ladies and Mitchum freak out when they realize Grant is serious about a duel. Grant says it's about honor. Actually it's not. He has arranged for Sellers to secretly shoot him in the arm and once Kerr sees that he is injured in fighting for her, she will elect to stay with him. Please, we knew she would. Grant and Kerr have a most thoughtful dialogue that probably would be of some interest to a lot of couples. The film ends with Mitchum leaving with Simmons. Is he simply taking her home or will there be more? We do not find out.
Not everything was perfect. There is no backstory on Kerr's apparent restlessness in her marriage which seemed quite fine. And why was she swept up in it all in what must have been about half an hour? I thought the butler shooting Grant was odd. I don't recall any dialogue about why Grant wasn't concerned about Mitchum shooting him. There were a couple more of those but I didn't care and the sum of them didn't ruin anything for me. It's a comedy not a documentary.
Critics complained about its talkiness but it was from a play, folks, and that means a lot of talking. Besides, I laughed through the whole thing.
Both actors partially accepted this film for the opportunity to work with these actresses and friends. Grant, however, never particularly secure that his throne couldn't be toppled, was somewhat wary of Mitchum and thought he might steal the picture from him. And it was an unusual part for the barrel-chested one... hair combed, tux on, tons of smiles, lots of romance. It was strange hearing him call Kerr Darling. Mitchum found Grant to be an uncomfortable actor.
Mitchum saw his part as decidedly second-place while Grant got to handle all the great lines. In a way he's right, too, but I will always regard this film as one of Mitchum's most fun roles.
Grant and Kerr almost didn't get to do the film. Husband and wife Rex Harrison and Kay Kendall were to have played the roles but her death prevented that. Kerr then stepped in but it was thought Harrison would still come aboard, but it didn't happen. Critics of the film have long said that Grant was the worst thing about it. I couldn't disagree more.
If one studies him well in this part, along with the disguised humor is a man who is rather prickly if not downright bitter. And I'm not talking the character but the actor. I've seen it in most of his roles. It's amazing that for a man who looks to perform so effortlessly that he actually suffered from an acute insecurity. Likely, that is also what Mitchum saw.
The Grass Is Greener has never stood out as one of Kerr's best or most treasured films since she made so damned many good if not great films in the 50's. Nonetheless, she sparkled in the company of her buddies and was a most amusing adulteress.
Grant had wanted Simmons to play his wife but she was so much more right for the other part and thankfully director Stanley Donen had seen that. Despite being primarily a dramatic actress, she had a wonderful flare for comedy. Simmons, in fact, was having the best year of her career with her role as Kirk Douglas' wife in Spartacus and her fabulous performance as evangelist Sister Sharon in Elmer Gantry.
I think in theme the movie might have been ahead of its time. As drawing room comedies go, a Grant specialty, they were coming to an end which may be why the actor would make just four more movies and then permanently retire. And though there is enough witty dialogue to last through several movies, far and away this film is honored because of its glorious cast.
Next posting:
A guilty pleasure
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