scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
ibl
Grace Kelly
- Thread starter oanadobre
- Start date
ibl
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
korpa
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
From the Grace Exhibit
ibl
ibl
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
From the exhibit
gamma
gamma
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Publishers Weekly
ONCE UPON A TIME: Behind the Fairy Tale of Princess Grace and Prince Rainier J. RANDY TARABORRELLI. Warner, $25.95 (498p) ISBN 0-446-53164-2
The "happily ever after" marriage of Grace Kelly to Prince Rainier III of Monaco is explored and demythologized in this fascinating, compelling and well-researched royal biography. After failed romances with married co-stars (Ray Milland and William Holden) and turning down a marriage proposal from Oleg Cassini, Kelly met Rainier, the prince of a popular Mediterranean resort town who was searching for a princess he hoped would become "the manifestation of all that we hope for and dream about in Monaco." Nine months after what was called "the wedding of the century" (watched by 30 million TV viewers) in 1956, Grace gave birth to the first of their three children. Never planning to stop making films, she bowed to her husband's wishes and soon her loneliness and boredom were replaced by severe depression. The prince encouraged her to accept Alfred Hitchcock's offer of the lead in Mamie. But the subjects of Monaco objected and forced her to withdraw. Before
her tragic car accident death in 1982, Grace found contentment in the life she chose. As he demonstrated in his 2002 bestseller, Jackie, Ethel, Joan: Women of Camelot, Taraborrelli is adept at illuminating political intrigue and complex family dynamics. He smoothly weaves together hundreds of exclusive interviews (in fast-paced, short chapters) to create vivid, full-blooded portraits. This is the definitive book on a marriage that started as an arrangement but ended as a love story. 16 pages of b&w photos. Agent, Jonathan Hahn. (Apr.)
ONCE UPON A TIME: Behind the Fairy Tale of Princess Grace and Prince Rainier J. RANDY TARABORRELLI. Warner, $25.95 (498p) ISBN 0-446-53164-2
The "happily ever after" marriage of Grace Kelly to Prince Rainier III of Monaco is explored and demythologized in this fascinating, compelling and well-researched royal biography. After failed romances with married co-stars (Ray Milland and William Holden) and turning down a marriage proposal from Oleg Cassini, Kelly met Rainier, the prince of a popular Mediterranean resort town who was searching for a princess he hoped would become "the manifestation of all that we hope for and dream about in Monaco." Nine months after what was called "the wedding of the century" (watched by 30 million TV viewers) in 1956, Grace gave birth to the first of their three children. Never planning to stop making films, she bowed to her husband's wishes and soon her loneliness and boredom were replaced by severe depression. The prince encouraged her to accept Alfred Hitchcock's offer of the lead in Mamie. But the subjects of Monaco objected and forced her to withdraw. Before
her tragic car accident death in 1982, Grace found contentment in the life she chose. As he demonstrated in his 2002 bestseller, Jackie, Ethel, Joan: Women of Camelot, Taraborrelli is adept at illuminating political intrigue and complex family dynamics. He smoothly weaves together hundreds of exclusive interviews (in fast-paced, short chapters) to create vivid, full-blooded portraits. This is the definitive book on a marriage that started as an arrangement but ended as a love story. 16 pages of b&w photos. Agent, Jonathan Hahn. (Apr.)
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Factiva
Treasures of a Princess
Twenty-five years after her death, Sotheby's offers a rare glimpse of Grace Kelly's fashions, photos and never-before-seen mementos
Grace Kelly was known as many things: the star of such film classics as High Society and Rear Window, a style muse for designers including Oleg Cassini and Hermès, and a real-life princess after her 1956 wedding to Prince Rainier of Monaco. What fans may not know is that "Grace was a pack rat; she saved all sorts of stuff," says her cousin John Lehman, chairman of the Princess Grace Foundation-USA. And so from Oct. 15 to 26, to commemorate the 25th anniversary of Princess Grace's death in a car crash at age 52, Sotheby's is exhibiting some of the princess's most cherished personal memorabilia, including a childhood scrapbook and home movies taken in the 1940s. The New York City auction house is also selling off two of her dresses to raise money for the foundation, which was established after her death to continue her patronage of the arts. Says Lehman: "We hope Grace can continue to be an inspiring example for people."
HER OSCAR GOWN "This is not the most spectacular dress that's ever gone to the Oscars," says fashion historian Bronwyn Cosgrave. "But it's the most emulated dress. Hollywood's A-list blondes are still copying this look more than 50 years later. It's a classic."
MOVIE GLAM Kelly so loved this Helen Rose gown from 1956's High Society, "it was given to her as part of her bridal trousseau," says Cosgrave. "She wore it again on her honeymoon."
ROYAL CHIC
As Princess of Monaco, Grace "wore French designers," says Cosgrave, as with this Givenchy suit. "Great couture functioned for her like a uniform."
CHILDHOOD MEMORIES The future star saved ticket stubs, scripts from her earliest plays (at just 12 years old) and an invitation to the field hockey team banquet. "She was a very good athlete," says Lehman. And later, a killer foosball player. "She used to kick everybody's butt."
ON THE SET ...
OF REAR WINDOW After years of "audition after audition and more rejection notices than she could keep in a box," says Lehman, Kelly clicked with an important director: Alfred Hitchcock, who directed her in three films (Rear Window, Dial M for Murder and To Catch a Thief). Kelly was popular on the Rear Window set, making friends with costar James Stewart (left, horsing around with a Great Dane), with whom she stayed in touch even after she retired from acting. "They were very good friends," says Lehman. "He used to be at the palace all the time. She loved witty conversation and good jokes."
Treasures of a Princess
Twenty-five years after her death, Sotheby's offers a rare glimpse of Grace Kelly's fashions, photos and never-before-seen mementos
Grace Kelly was known as many things: the star of such film classics as High Society and Rear Window, a style muse for designers including Oleg Cassini and Hermès, and a real-life princess after her 1956 wedding to Prince Rainier of Monaco. What fans may not know is that "Grace was a pack rat; she saved all sorts of stuff," says her cousin John Lehman, chairman of the Princess Grace Foundation-USA. And so from Oct. 15 to 26, to commemorate the 25th anniversary of Princess Grace's death in a car crash at age 52, Sotheby's is exhibiting some of the princess's most cherished personal memorabilia, including a childhood scrapbook and home movies taken in the 1940s. The New York City auction house is also selling off two of her dresses to raise money for the foundation, which was established after her death to continue her patronage of the arts. Says Lehman: "We hope Grace can continue to be an inspiring example for people."
HER OSCAR GOWN "This is not the most spectacular dress that's ever gone to the Oscars," says fashion historian Bronwyn Cosgrave. "But it's the most emulated dress. Hollywood's A-list blondes are still copying this look more than 50 years later. It's a classic."
MOVIE GLAM Kelly so loved this Helen Rose gown from 1956's High Society, "it was given to her as part of her bridal trousseau," says Cosgrave. "She wore it again on her honeymoon."
ROYAL CHIC
As Princess of Monaco, Grace "wore French designers," says Cosgrave, as with this Givenchy suit. "Great couture functioned for her like a uniform."
CHILDHOOD MEMORIES The future star saved ticket stubs, scripts from her earliest plays (at just 12 years old) and an invitation to the field hockey team banquet. "She was a very good athlete," says Lehman. And later, a killer foosball player. "She used to kick everybody's butt."
ON THE SET ...
OF REAR WINDOW After years of "audition after audition and more rejection notices than she could keep in a box," says Lehman, Kelly clicked with an important director: Alfred Hitchcock, who directed her in three films (Rear Window, Dial M for Murder and To Catch a Thief). Kelly was popular on the Rear Window set, making friends with costar James Stewart (left, horsing around with a Great Dane), with whom she stayed in touch even after she retired from acting. "They were very good friends," says Lehman. "He used to be at the palace all the time. She loved witty conversation and good jokes."
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Augusta Chronicle
THE SWAN (1956
MGM celebrated the engagement of Grace Kelly to Monaco's Prince Rainier by resurrecting an old script about a young princess in love for the soon-to-be-royal actress to star in. This is neither Ms. Kelly's finest role nor film, but given the historical perspective that surrounds it, it's a lot of fun.
THE SWAN (1956
MGM celebrated the engagement of Grace Kelly to Monaco's Prince Rainier by resurrecting an old script about a young princess in love for the soon-to-be-royal actress to star in. This is neither Ms. Kelly's finest role nor film, but given the historical perspective that surrounds it, it's a lot of fun.scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Review of the documentary, "Hollywood Princess"
race Kelly was a blonde, vivacious, all-American movie star who flourished during the death throes of the Hollywood studio system, as well as a real life princess after she married Prince Rainier of Monaco. That she also inspired Hollywood Babylon-level lurid stories about her private appetites is just icing on the cake. A&E pretty much ignores the tawdry rumors (plenty of other Kelly bio-vids air this stuff) and sticks to the unimpeachable public story of the trials of Grace from her Philadelphia Main Line days to Hollywood to Monaco. Of course in telling Princess Grace's story, one is sort of obligated to mention the rather racy bits about her children, so Princess Stephanie and siblings glitter up the proceedings, too. All-in-all this is a tidy fifty-minute thumbnail sketch of Grace Kelly, her life and times, and why people cared about her. The Kennedys may be de facto American royalty, but Grace Kelly was both Hollywood royalty and the real article,
and her story remains a vital part of our pop cultural heritage. Recommended. Aud: H, P. (M. Tribby)
Hollywood Reporter
race Kelly was a blonde, vivacious, all-American movie star who flourished during the death throes of the Hollywood studio system, as well as a real life princess after she married Prince Rainier of Monaco. That she also inspired Hollywood Babylon-level lurid stories about her private appetites is just icing on the cake. A&E pretty much ignores the tawdry rumors (plenty of other Kelly bio-vids air this stuff) and sticks to the unimpeachable public story of the trials of Grace from her Philadelphia Main Line days to Hollywood to Monaco. Of course in telling Princess Grace's story, one is sort of obligated to mention the rather racy bits about her children, so Princess Stephanie and siblings glitter up the proceedings, too. All-in-all this is a tidy fifty-minute thumbnail sketch of Grace Kelly, her life and times, and why people cared about her. The Kennedys may be de facto American royalty, but Grace Kelly was both Hollywood royalty and the real article,
and her story remains a vital part of our pop cultural heritage. Recommended. Aud: H, P. (M. Tribby)
Hollywood Reporter
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Review of new book on Hitchcock-Grace is featured prominently in it
pellbound by Beauty: Alfred Hitchcock
and his Leading Ladies
TD
by Donald Spoto
229pp, Hutchinson, pounds 20
T pounds 18 (plus pounds 1.25 p&p) 0870 428 4112
'The Birds is coming!'' joked the posters for Alfred Hitchcock's movie, and come the birds did - right at Hitchcock's leading lady, a glassily demure former model called Tippi Hedren. For a full working week, Hedren was locked in a wire cage while technicians threw squawking gulls at her, "one after another, again and again, take after take'', her co-star Rod Taylor remembered. By noon on the first day, says Jessica Tandy (who played Taylor's mother in the movie), Hedren was "just covered in bird ****''. By the Friday, she had been so nipped and pecked and knocked about that she was sent home for 10 days' rest. When Hitchcock said he needed Hedren back on set by Monday morning, the doctor told him he was crazy: "Are you trying to kill her?''
Likely it felt that way to Hedren, who has always maintained that Hitchcock lied to her about how the scene would be shot. We're going to use mechanical birds, he told her - there was no way he would let live birds loose on his movie's most precious asset.
But he would have said that, wouldn't he? Because, as Donald Spoto unconsciously makes plain in this unctuous, moralistic account of Hitchcock's relations with his starrier players, his essential technique as a director was to shock actors out of their comfort zones - the better to shock the audience out of theirs.
Do you believe that when, seconds before the lights/camera/action moment on one of Marnie's more frigidly tortured scenes, Hitchcock whispered "Touch me'' to Hedren, he really wanted her to cop a feel? And even if you do, do you believe that's all he wanted? Hedren had, remember, no training as an actress. Yet she was completely convincing in a role most women would have found impossible - the ice maiden who freezes entirely solid whenever Sean Connery is in the same room.
In other words, for all his dismissal of Montgomery Clift's Actor's Studio angst on the set of I Confess, Hitchcock was a Method director. He didn't want his actors to fake the feelings a scene required of them. He wanted them to feel those feelings.
Working with a tenderfoot Joan Fontaine on Rebecca, Hitchcock was forever telling her that her on-screen husband, Laurence Olivier, thought her performance was a disaster. And maybe he did - but who is to say that Larry came off best in that picture? His Maxim de Winter is, after all, a melodramatic cliché, a moustachioed patriarch who spends the whole movie preening and posturing to the back row of some imaginary amphitheatre. Fontaine, on the other hand, cowed by those thespian fireworks, hunches in on herself and becomes one of the movies' greatest casualties of doomed love.
Doomed love was Hitchcock's great theme, but it is too easy to say that the obsession arose because his infatuations - with Ingrid Bergman, with Grace Kelly, Vera Miles, Tippi Hedren - were fated to remain fantasies. His problems went deeper than the fact that what Spoto calls his "morbid obesity'' "isolated him, making any kind of intimacy impossible''. Only a fool would deny that Hitchcock was never going to loom large in the looker stakes, but his real problem with women was his inability to accept that they existed independently of him. As Jay Presson Allen (who was brought in to rework the Marnie script when Evan Hunter refused to give a r*pe scene what Hitchcock deemed the necessary impact) tells Spoto: "Tippi wanted her own life... so she couldn't help making him unhappy.''
A kind of inverse Pygmalion, Hitchcock didn't carve figures so beautiful they came to life. He took real-life stunners and turned them into Platonic essences of the statuesque blonde he idealised. If Vertigo is his best picture, it is because it faces up to this lifelong need to create and coerce. The James Stewart character in that movie isn't in love with a real woman but an ethereal icon he convinces himself has been spirited into his life from times past. When the poor girl (numbly played by Kim Novak) comes clean and tells him he's been had, he throws her over - literally, and from a great height.
The problem is that for every Vertigo or Marnie, Hitchcock turned out many more clunkers - lifeless, ham-fisted embarrassments in which stars with rather more range than Novak or Hedren (Carole Lombard, Doris Day, Henry Fonda, Charles Laughton - the list goes on) fell at the fence of his diktats. For Hitchcock wasn't joking when he said actors should be treated like cattle - hunks of meat to be prodded this way or that. Like his comic walk-ons, his bad-mouthing of his players was part of his strategy for convincing you that he and he alone was responsible for a picture.
Spoto, who talks a lot about "unassailable genius'' and whose third book on Hitchcock this is, is a sucker for such self-aggrandising claims. The rest of us long ago worked out that movies are nothing if not a communal art, and that great directors - like all great managers - are people who grant their staff the freedom to do things their own way. The fat controller had the Method all right - there just wasn't enough madness in it.
NS
London Times
pellbound by Beauty: Alfred Hitchcock
and his Leading Ladies
TD
by Donald Spoto
229pp, Hutchinson, pounds 20
T pounds 18 (plus pounds 1.25 p&p) 0870 428 4112
'The Birds is coming!'' joked the posters for Alfred Hitchcock's movie, and come the birds did - right at Hitchcock's leading lady, a glassily demure former model called Tippi Hedren. For a full working week, Hedren was locked in a wire cage while technicians threw squawking gulls at her, "one after another, again and again, take after take'', her co-star Rod Taylor remembered. By noon on the first day, says Jessica Tandy (who played Taylor's mother in the movie), Hedren was "just covered in bird ****''. By the Friday, she had been so nipped and pecked and knocked about that she was sent home for 10 days' rest. When Hitchcock said he needed Hedren back on set by Monday morning, the doctor told him he was crazy: "Are you trying to kill her?''
Likely it felt that way to Hedren, who has always maintained that Hitchcock lied to her about how the scene would be shot. We're going to use mechanical birds, he told her - there was no way he would let live birds loose on his movie's most precious asset.
But he would have said that, wouldn't he? Because, as Donald Spoto unconsciously makes plain in this unctuous, moralistic account of Hitchcock's relations with his starrier players, his essential technique as a director was to shock actors out of their comfort zones - the better to shock the audience out of theirs.
Do you believe that when, seconds before the lights/camera/action moment on one of Marnie's more frigidly tortured scenes, Hitchcock whispered "Touch me'' to Hedren, he really wanted her to cop a feel? And even if you do, do you believe that's all he wanted? Hedren had, remember, no training as an actress. Yet she was completely convincing in a role most women would have found impossible - the ice maiden who freezes entirely solid whenever Sean Connery is in the same room.
In other words, for all his dismissal of Montgomery Clift's Actor's Studio angst on the set of I Confess, Hitchcock was a Method director. He didn't want his actors to fake the feelings a scene required of them. He wanted them to feel those feelings.
Working with a tenderfoot Joan Fontaine on Rebecca, Hitchcock was forever telling her that her on-screen husband, Laurence Olivier, thought her performance was a disaster. And maybe he did - but who is to say that Larry came off best in that picture? His Maxim de Winter is, after all, a melodramatic cliché, a moustachioed patriarch who spends the whole movie preening and posturing to the back row of some imaginary amphitheatre. Fontaine, on the other hand, cowed by those thespian fireworks, hunches in on herself and becomes one of the movies' greatest casualties of doomed love.
Doomed love was Hitchcock's great theme, but it is too easy to say that the obsession arose because his infatuations - with Ingrid Bergman, with Grace Kelly, Vera Miles, Tippi Hedren - were fated to remain fantasies. His problems went deeper than the fact that what Spoto calls his "morbid obesity'' "isolated him, making any kind of intimacy impossible''. Only a fool would deny that Hitchcock was never going to loom large in the looker stakes, but his real problem with women was his inability to accept that they existed independently of him. As Jay Presson Allen (who was brought in to rework the Marnie script when Evan Hunter refused to give a r*pe scene what Hitchcock deemed the necessary impact) tells Spoto: "Tippi wanted her own life... so she couldn't help making him unhappy.''
A kind of inverse Pygmalion, Hitchcock didn't carve figures so beautiful they came to life. He took real-life stunners and turned them into Platonic essences of the statuesque blonde he idealised. If Vertigo is his best picture, it is because it faces up to this lifelong need to create and coerce. The James Stewart character in that movie isn't in love with a real woman but an ethereal icon he convinces himself has been spirited into his life from times past. When the poor girl (numbly played by Kim Novak) comes clean and tells him he's been had, he throws her over - literally, and from a great height.
The problem is that for every Vertigo or Marnie, Hitchcock turned out many more clunkers - lifeless, ham-fisted embarrassments in which stars with rather more range than Novak or Hedren (Carole Lombard, Doris Day, Henry Fonda, Charles Laughton - the list goes on) fell at the fence of his diktats. For Hitchcock wasn't joking when he said actors should be treated like cattle - hunks of meat to be prodded this way or that. Like his comic walk-ons, his bad-mouthing of his players was part of his strategy for convincing you that he and he alone was responsible for a picture.
Spoto, who talks a lot about "unassailable genius'' and whose third book on Hitchcock this is, is a sucker for such self-aggrandising claims. The rest of us long ago worked out that movies are nothing if not a communal art, and that great directors - like all great managers - are people who grant their staff the freedom to do things their own way. The fat controller had the Method all right - there just wasn't enough madness in it.
NS
London Times
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Time & Life
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
Time & Life
Last edited by a moderator:
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
la presse
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
wr
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
No Problem! It means a lot to me that you notice!
ebay
ebay
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,232
- Reaction score
- 5
iespana
caroline was such a beautiful baby#3245 so cute
and Grace looked incredible! Cant believe she had just given birth to Caroline only about a month before that picture was taken
Here was the caption that went along with the picture: "Two princesses meet in the palace nursery as Grace plays with her daughter, held up in a chair by her Swiss nurse, Margaret Stahl. Caroline is both nursed and bottle-fed, sleeps solidly from 9:30 pm to 6 o'clock every morning, is a friendly baby and loves her bath. She receives about 100 fan letters every day"
Last edited by a moderator:
