Posts Tagged ‘Cary Grant’

20 Shots: Hot Saturday (1932)

April 9, 2009

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“It wasn’t until his twenty-first movie, in 1935… that Grant gave a truly solid and distinctive performance; until then he had been simply a very good-looking though fairly bland leading man.” – Peter Bogdanovich, Who The Hell’s In It.

Maybe that quote attests to the obscurity of Hot Saturday from 1932 (just released as part of Universal’s Pre-Code Hollywood Collection), because if the voracious movie-viewer Bogdanovich had been aware of it, he would have acknowleged that in this early Grant film (his seventh, according to IMDb), the Cary Grant character is already in full flower. He’s the sophistcated cad (“Romer”) who spoils the reputation of the small town’s most sought after ingenue (Nancy Carroll, who holds her own quite nicely) in a love quadrangle. It’s not a classic, but at an hour and ten minutes Hot Saturday moves along at a good clip, and in a rare move even in pre-code movies, the “bad girl” heroine ends up OK.

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20 (More) Actors

January 30, 2009

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I didn’t forget these blokes! There had to be twenty more because I left these guys off the first list.

Cary Grant, James Stewart, Toshiro Mifune, Edward G. Robinson, Buster Keaton, Humphrey Bogart, Clint Eastwood, Charles Chaplin, John Wayne, Henry Fonda, Paul Newman, James Cagney, Gary Cooper, Marcello Mastroianni, Tatsuya Nakadai, Steve McQueen, Robert Ryan, Errol Flynn, Ian McShane, Marlon Brando.

Be sure to check out these other worthy recent film posts:

Allure’s brilliant take on the 20 actors theme.

Kim Morgan’s homage to Clint Eastwood.

The Self-Styled Siren on the 1932 Howard Hawks/Edward G. Robinson collaboration Tiger Shark.

The Art of Memory’s latest stunning gallery of trains in cinema (part 5!).

related: 20 Actresses, 20 (More) Actresses, 20 Actors (coda)

Ann Sheridan

February 18, 2008

At times, I Was A Male War Bride feels like it’s going to transcend its idiotic title and become a romantic charmer. Poor Cary Grant is saddled with a loutish character in a transparent effort to establish the type of conflict that works effortlessly in movies like It Happened One Night but seems painfully labored here: he doesn’t win our sympathy when he has to endure the protracted humiliation laid out for him. The look of discomfort on his face throughout the movie seems like it’s coming from Cary Grant and not the character he’s playing. The revelation of this movie is Ann Sheridan. She calmly takes Grant’s abuse and gives back better than she gets. She alone makes this movie worth watching. The directors of the day should have searched the earth for scripts worthy of her talent.