Ashcottmanor
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I'll always still love her with blond hair, she looked so fresh and young.
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Watch Live & Comment... The 2025 Golden Globe Awards!
Grace Kelly
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scriptgirl
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trf
scriptgirl
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You are so welcome.
ebay
ebay
scriptgirl
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mptv
scriptgirl
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Grace's pressed flowers from the exhibit
big australia
big australia
scriptgirl
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From the exhibit
east news
east news
scriptgirl
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charity and philanthropy blogspot
Wednesday, 12 December 2007
The Princess Grace Foundation USA
The Princess Grace Foundation USA, a public charity formed after the death of Princess Grace in 1982, awards scholarships, apprenticeships and fellowships to assist emerging theater, dance and film artists. Some past Award winners include Stephen Hillenburg, creator of Nickelodeon’s SpongeBob SquarePants; Tony Kushner, Pulitzer Prizewinning playwright; Gillian Murphy, principal dancer of American Ballet Theatre; and Eric Simonson, Academy Award winner.
THE PRINCESS GRACE AWARDS AND 2007 RECIPIENTS
The first Princess Grace Awards winners were announced in 1984. To date, PGFUSA has awarded more than $5 million to support and continue excellence in the arts. The recipients are selected by a panel of experts in their respective fields – theater, dance, and film – and the prizes awarded are in the form of scholarships, apprenticeships and fellowships. In 2007, the Princess Grace Awards were bestowed upon 22 artists (see listing below) and gave away more than $600,000.
Honorary Chairs for the 25th Anniversary Princess Grace Awards Gala were Celeste Holm, Nancy Reagan, Mrs. Frank Sinatra (Barbara) and Lynn Wyatt. The Gala Chair is Anne Hearst and the Gala CoChairs are Hon. Maguy Maccario Doyle, Consulate General of Monaco and Pamela Fiori, Town&Country.
Wednesday, 12 December 2007
The Princess Grace Foundation USA
The Princess Grace Foundation USA, a public charity formed after the death of Princess Grace in 1982, awards scholarships, apprenticeships and fellowships to assist emerging theater, dance and film artists. Some past Award winners include Stephen Hillenburg, creator of Nickelodeon’s SpongeBob SquarePants; Tony Kushner, Pulitzer Prizewinning playwright; Gillian Murphy, principal dancer of American Ballet Theatre; and Eric Simonson, Academy Award winner.
THE PRINCESS GRACE AWARDS AND 2007 RECIPIENTS
The first Princess Grace Awards winners were announced in 1984. To date, PGFUSA has awarded more than $5 million to support and continue excellence in the arts. The recipients are selected by a panel of experts in their respective fields – theater, dance, and film – and the prizes awarded are in the form of scholarships, apprenticeships and fellowships. In 2007, the Princess Grace Awards were bestowed upon 22 artists (see listing below) and gave away more than $600,000.
Honorary Chairs for the 25th Anniversary Princess Grace Awards Gala were Celeste Holm, Nancy Reagan, Mrs. Frank Sinatra (Barbara) and Lynn Wyatt. The Gala Chair is Anne Hearst and the Gala CoChairs are Hon. Maguy Maccario Doyle, Consulate General of Monaco and Pamela Fiori, Town&Country.
scriptgirl
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wowowow blogspot
Editor’s Note: Sunday marks the 26th anniversary of the death of Princess Grace Kelly, the Princess of Monaco. wowOwow’s Mary Wells shares her personal memories of the princess as she knew her in Monte Carlo.
Grace. I’m sitting here tonight thinking about how disappointed she was. She looked so serene, so smoothly above the disappointments. I didn’t know her in Hollywood. I met her in Monte Carlo when we bought the house, La Fiorentina. Lynn Wyatt and I were the only other blonde Americans in the neighborhood.
Lynn was closer to her than I was – I was working all over the world those days – but she and I understood each other well enough for her to complain. She may have been a royal Princess but she had the problems a lot of women have. Her husband was depressed and although he had a curiously charming personality that would come out and surprise you, he was not a happy man. As most of the world suspects they weren’t made for each other. She had solid support from friends in California – they came and lived around her but she was a responsible woman in Monte Carlo, she understood her job.
She would come as a guest when I had clients at the villa and she knew what they wanted her to be like and she was that dream for them. La Fiorentina in summer had magic in every view and there was a sea wall around the property you could sit on with a full moon to light you. Princess Grace would sit there given a halo by the moon saying mildly suggestive things like, “Let’s skinny dip tonight in the full moon,” and my guests thought there was always the possibility that she was serious. But I knew she was giving me a gift — The Princess Came to Dinner — for my clients.
When we went shopping at the bridge in San Remo for copies of handbags or we just did nothing and talked she had so many ideas of how she would become happy one day, what she would do, where she would live. She kept saying the day would come when she would do what she wanted to do. My husband and I had dinner with her and her family in a local restaurant a week before she died. Stephanie had a concussion, she told us, and couldn’t drive, so she had piled the family into an old car that could go unnoticed up and down the coast. She announced to me in my ear that she was about to have her own time, a life in which she did what made her happy. She was joyous that evening. She was making plans. She was going to work in art seriously. Her time had come. She was very beautiful. She had always been beautiful but there was a new light, a young joy.
When I heard about the accident I had a terrible reaction. I wanted her to have that joy so much. So many people appear glamorous to us but have to work hard to be as lovely as they know we think they are. I think of her so often and pray that wherever she is, she is laughing.
Editor’s Note: Sunday marks the 26th anniversary of the death of Princess Grace Kelly, the Princess of Monaco. wowOwow’s Mary Wells shares her personal memories of the princess as she knew her in Monte Carlo.
Grace. I’m sitting here tonight thinking about how disappointed she was. She looked so serene, so smoothly above the disappointments. I didn’t know her in Hollywood. I met her in Monte Carlo when we bought the house, La Fiorentina. Lynn Wyatt and I were the only other blonde Americans in the neighborhood.
Lynn was closer to her than I was – I was working all over the world those days – but she and I understood each other well enough for her to complain. She may have been a royal Princess but she had the problems a lot of women have. Her husband was depressed and although he had a curiously charming personality that would come out and surprise you, he was not a happy man. As most of the world suspects they weren’t made for each other. She had solid support from friends in California – they came and lived around her but she was a responsible woman in Monte Carlo, she understood her job.
She would come as a guest when I had clients at the villa and she knew what they wanted her to be like and she was that dream for them. La Fiorentina in summer had magic in every view and there was a sea wall around the property you could sit on with a full moon to light you. Princess Grace would sit there given a halo by the moon saying mildly suggestive things like, “Let’s skinny dip tonight in the full moon,” and my guests thought there was always the possibility that she was serious. But I knew she was giving me a gift — The Princess Came to Dinner — for my clients.
When we went shopping at the bridge in San Remo for copies of handbags or we just did nothing and talked she had so many ideas of how she would become happy one day, what she would do, where she would live. She kept saying the day would come when she would do what she wanted to do. My husband and I had dinner with her and her family in a local restaurant a week before she died. Stephanie had a concussion, she told us, and couldn’t drive, so she had piled the family into an old car that could go unnoticed up and down the coast. She announced to me in my ear that she was about to have her own time, a life in which she did what made her happy. She was joyous that evening. She was making plans. She was going to work in art seriously. Her time had come. She was very beautiful. She had always been beautiful but there was a new light, a young joy.
When I heard about the accident I had a terrible reaction. I wanted her to have that joy so much. So many people appear glamorous to us but have to work hard to be as lovely as they know we think they are. I think of her so often and pray that wherever she is, she is laughing.
scriptgirl
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popsugar
Honestly, I didn't see what the big deal was about Grace Kelly when I first saw a picture of her. Then, I went through my Hitchcock phase and understood the film maker's fascination with icey blondes. But I still wasn't convinced. Just recently I've been seeing her face everywhere — last month was the 25th anniversary of Grace's death. I have seen the light: she is a great beauty.
Grace came from a wealthy Philadelphia family. The third of four children she knew early on in life she was beautiful and talented so she fled the East Coast to be an actress in Hollywood. Soon, this Scorpio was the talk of the town and she eventually won an Oscar for her role in The Country Girl in 1954. That is Grace Kelly Chapter One.
At the Cannes Film Festival in 1955 she met her Prince — Prince Rainier of Monaco. The attraction was immediate and he whisked her away to a life of luxury, family and foreign territory. Grace didn't act in Chapter Two, she fulfilled her duties as wife, mother and princess. The latter was a challenge; she was viewed as an outsider by the Monegasques. She tried her best to appease the people and from what I see, she did it with absolute grace.
Grace is a Fabcon because of her undeniable American elegance, her spirit and for the fact that Hermes named one of the world's most covetable handbags after her. If you have been entranced by this unique blonde such as I, be sure to check out her gallery below — my tribute to the late Princess.
Honestly, I didn't see what the big deal was about Grace Kelly when I first saw a picture of her. Then, I went through my Hitchcock phase and understood the film maker's fascination with icey blondes. But I still wasn't convinced. Just recently I've been seeing her face everywhere — last month was the 25th anniversary of Grace's death. I have seen the light: she is a great beauty.
Grace came from a wealthy Philadelphia family. The third of four children she knew early on in life she was beautiful and talented so she fled the East Coast to be an actress in Hollywood. Soon, this Scorpio was the talk of the town and she eventually won an Oscar for her role in The Country Girl in 1954. That is Grace Kelly Chapter One.
At the Cannes Film Festival in 1955 she met her Prince — Prince Rainier of Monaco. The attraction was immediate and he whisked her away to a life of luxury, family and foreign territory. Grace didn't act in Chapter Two, she fulfilled her duties as wife, mother and princess. The latter was a challenge; she was viewed as an outsider by the Monegasques. She tried her best to appease the people and from what I see, she did it with absolute grace.
Grace is a Fabcon because of her undeniable American elegance, her spirit and for the fact that Hermes named one of the world's most covetable handbags after her. If you have been entranced by this unique blonde such as I, be sure to check out her gallery below — my tribute to the late Princess.
scriptgirl
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People Magazine
For Princess Grace, the Press Is a Pain, Caroline's a Trial, but How Serene It All Is
It may momentarily have seemed to Grace Kelly that day in 1956 when her prince had come that cameras and critics were at long last behind her. The daughter of a Philadelphia bricklayer-turned-contractor had become Her Serene Highness of Monaco. How serene it was, or was it?
In fact, the paparazzi of the continent's penny-dreadful press have dogged her life as a princess of Monaco far more oppressively than when she was queen of Hollywood. And lately—with all the lurid tabloid attraction of her nubile daughter Caroline—Grace complains, "The freedom of the press works in such a way that there is not much freedom from it." Still worse, her reviewers now judge not only Grace's performances but also her life.
The notices have so far been favorable, or mixed anyway. The late Charles de Gaulle, who had misgivings about her husband Prince Rainier, hailed Kelly as "I' Aphrodite Américaine." Brigitte Bardot, who likes to bare her mezzanine on the beach (a Swedish nudie club for Monte Carlo was vetoed), sneeringly prefers the title "I' Altesse (her highness) Frigidaire." "She's the squarest person I ever knew," concedes Frank Sinatra, "a cross between Aimee Semple McPherson and Queen Elizabeth." But he makes the statement fondly, and is always available to play a benefit gig for one of his old friend Grace's innumerable charities.
Women's Wear Daily calls her wardrobe "tawdry," though less dowdy than, say, that of Britain's Princess Margaret. To Terence Cardinal Cooke, Archbishop of New York, "She's a lesson in Catholic motherhood." And the final word, naturally, comes from her hairdresser. "She's much more of a lady than some of my ladies," says the famed Alexandre of Paris. "And," he adds, in the ultimate compliment a Frenchman can bestow on a Yankee, "she's so un-American."
Remarkably, all authoritative sources concur that Grace Kelly Grimaldi has, at 45, learned to play her regal role with more warmth and dignity than any of Europe's born-to-the-purple royalty except possibly for Britain's venerable Queen Mother Elizabeth. Grace's carriage and gestures are flawless, never wavering even in the oppressive heat of a midsummer antique show that had her on the verge of fainting. She suggests modestly that her low blood pressure might help account for her unflappable cool (her Hollywood nickname was "the hot icicle"). Is she capable of being ruffled? "Yes, indeed," says Grace, "by three children, for one thing. Lots of things annoy me. But I try to spare other people from the moments when I lose my temper."
There were more palpable strains at the very beginning of her reign, 19 years ago. Grace admits, "I wasn't equipped at all for many things I encountered. Everything was new. I had to adjust from being single to being married, from one set of customs to another, one culture to another." Her training in the theater (rather than Hollywood), she acknowledges, "definitely helped me in my public life as princess of Monaco: the discipline and objectivity about one's self is important."
Initially, Grace's public life was curtailed by her pregnancies. Caroline arrived nine months and five days after her marriage. Albert followed 14 months later. (Stephanie made her appearance after a six-year entr'acte.) "In those days, it was hard to remember how it was not to be pregnant," she recalls. But she also found that "when one's children are born in a place, one begins to feel that it's home." (The children were delivered at the palace rather than at a fancy Swiss clinic, and Grace, as a supporter of the La Leche League, insisted on breastfeeding.)
With the princess, the throne and independence itself finally secure (Monaco would have become a protectorate of France if Rainier had failed to produce a male heir), Grace lost her self-conscious caution and began to put her own imprint on the principality. Its half-liter size (470 acres) and population (23,500 with just 4,300 native Monégasques) might have made a lesser woman feel like just the wife of the city manager of, say, Reno, Nev. But in Grace's vision, the Grimaldis were more like Medici of a major city-state. "A lot of things that go with the job are not always convenient or terribly pleasant," she says, "but it is satisfying to be able to take an idea, develop it and see the results."
As a Grimaldi, Grace could transform Monaco with an impact unthinkable for a Kelly back in Philly. She founded a garden club and annual flower show, built boutiques for local artisans, established a day-care center (there is no unemployment in Monaco), and mobilized volunteers to aid the ill and elderly. And, with her showbiz connections, she produced a summer arts festival with luminaries like Sinatra and Arthur Rubinstein. Currently Grace is engrossed in reviving a permanent ballet company in the one-time home of the Ballet Russe de Monte Carlo. "Unfortunately," she says, "ballet companies don't look good on paper," and the project will require a bail-out subsidy from her own foundation, which is partly financed from her Hollywood earnings. On grand occasions, such as Rainier's 25th anniversary as a reigning prince last May, their Serene Highnesses invited the entire population to a family picnic in the local soccer stadium. It was just one indication of her acceptance when Rainier decreed that if he died before Albert became 21, Grace would serve as regent.
Under its well-matched monarchs (whose marriage, despite rumors, seems as solid as nearby Eden Roc), Monaco has boomed and thrust upward and outward as never before in its 800-year history. High-rise slabs are squeezing out the gracious villas and chaotically jostle one another for views of the sea. Monaco's beach, golf and tennis clubs have been located across the border in France. Stilts sunk in a seabed prop up a new Loew's hotel clinging to Monte Carlo. There is also a Holiday Inn and, with reclamation, new riches are anticipated in what is already one of the most prosperous, tax-free enclaves on earth.
Many Monégasques have always feared the Kelly family would convert their storybook state into Atlantic City. Au contraire, Grace fights to retain its 19th century charm. "That is what people want to find. I'm not too keen on some of the modern buildings and their height. I protest when I can, and then I have to learn to go along with whatever is the decision." To her credit, Grace helped save one architectural landmark, the grand old Hermitage Hotel. "I suggested," the heroine of High Noon says sweetly, "that I would nail myself to the door if they moved in to demolish it."
The one refuge the Grimaldis have from Rainier's responsibilities and Grace's causes is Rocagel, a mountaintop farm just across the French border from their realm. At 2,300 feet above sea level, Rocagel is sometimes veiled in clouds, but even on a clear day, a palace functionary explains pointedly for the benefit of potential paparazzi, "it cannot be overlooked from any point." There the royal progeny can ride and swim, or laugh ungraciously at screenings of Mom's old films.
Prince Rainier drives a tractor and tinkers with wrought iron in his workshop, and Princess Grace plays the piano (for her parrot Berlioz) and makes quite professional ceramics and collages of dried flowers and leaves. If Rainier is barbecuing the steaks, Her Serene Highness will toss up a salad from the garden. "Rocagel," says Princess Grace, "is where we close the door to the world." The family's other escape is America, where they are currently enjoying a few weeks' breather in a secluded resort in New Hampshire and the Kelly family summer home in Ocean City, N.J. Prince Albert was already in New Hampshire serving as a camp counselor. At some point during the visit, he and his parents will scout out a college for Albert, who's now 17. (Princeton, Annapolis and the University of Virginia are on the shopping list.)
But the "door to the world" reopens when they return to either of their other two homes—the 180-room palace in Monaco and their apartment on the sunny side of Paris' chic Avenue Foch. It is to there that Grace shuttles, trying to chaperone her worldly daughter Caroline. Hounded relentlessly by reporters and elevated into a front-page crumpet, Caroline at 18 is in a bind just partly of her own making. Recently photographed in a gown slit to her waist, she explained to her folks that she'd misplaced her brooch. Flunking some of her university entrance exams hasn't helped. Nor has smoking in public (her proper Philadelphia mother disapproves) or apparently lying nude on a beach (a montage photo, faked in a blackmail attempt). With no assured niche like bonnie Prince Albert, Caroline flaunts the same rebellious public manner that makes Princess Anne the least-liked member of Britain's royal family. Add a lusty figure and the beginnings of her father's double chin rather than the classic unmatchable beauty of a woman 27 years her senior, who also happens to be her mother, and Caroline's difficulties become understandable.
Princess Grace is troubled by the publicity "in that it also disturbs Caroline. She can't live the life of a normal student." And dealings between the two women sometimes border on the abrasive. Grace, for example, hoped that while in Paris, Caroline would attend Maxim's chic six-week course in cooking and playing hostess. "I don't need that, Mother," Caroline snapped. "We've got slaves for that." "Yes, darling," Mom responded coyly, "and I'm your slave." Clearly, it is Prince Albert, with "his calmer nature" and role as altar boy in the palace chapel, who most resembles his mother. (As children, Grace had required them all to clean their rooms.) It is Rainier, a roué in his bachelor days (he kept a villa with live-in friend, actress Gisella Pascal, at nearby St. Jean-Cap-Ferrat), who is more tolerant, but is still said, by palace sources, to help maintain the disciplinary lines.
With her family now coming into young adulthood, Grace is entering a soignée middle age (save for a few extra pounds in the midriff) and is inevitably asked about plans to resume her career. "I haven't made a film in 20 years," she says. "So take your conclusions from there." Then she adds, "Who knows what's around the corner? I loved acting. I loved my career, and I have another life now. It's that simple. I don't dwell on the past. I look forward. There are many things ahead. I take my job seriously, but not myself. People who cannot be objective about themselves," observes Her Serene Highness, "become confused. Every life has sadness and disappointments, but if one has any sense one thinks only of the good and forgets the bad. I have been very fortunate and very lucky."
For Princess Grace, the Press Is a Pain, Caroline's a Trial, but How Serene It All Is
It may momentarily have seemed to Grace Kelly that day in 1956 when her prince had come that cameras and critics were at long last behind her. The daughter of a Philadelphia bricklayer-turned-contractor had become Her Serene Highness of Monaco. How serene it was, or was it?
In fact, the paparazzi of the continent's penny-dreadful press have dogged her life as a princess of Monaco far more oppressively than when she was queen of Hollywood. And lately—with all the lurid tabloid attraction of her nubile daughter Caroline—Grace complains, "The freedom of the press works in such a way that there is not much freedom from it." Still worse, her reviewers now judge not only Grace's performances but also her life.
The notices have so far been favorable, or mixed anyway. The late Charles de Gaulle, who had misgivings about her husband Prince Rainier, hailed Kelly as "I' Aphrodite Américaine." Brigitte Bardot, who likes to bare her mezzanine on the beach (a Swedish nudie club for Monte Carlo was vetoed), sneeringly prefers the title "I' Altesse (her highness) Frigidaire." "She's the squarest person I ever knew," concedes Frank Sinatra, "a cross between Aimee Semple McPherson and Queen Elizabeth." But he makes the statement fondly, and is always available to play a benefit gig for one of his old friend Grace's innumerable charities.
Women's Wear Daily calls her wardrobe "tawdry," though less dowdy than, say, that of Britain's Princess Margaret. To Terence Cardinal Cooke, Archbishop of New York, "She's a lesson in Catholic motherhood." And the final word, naturally, comes from her hairdresser. "She's much more of a lady than some of my ladies," says the famed Alexandre of Paris. "And," he adds, in the ultimate compliment a Frenchman can bestow on a Yankee, "she's so un-American."
Remarkably, all authoritative sources concur that Grace Kelly Grimaldi has, at 45, learned to play her regal role with more warmth and dignity than any of Europe's born-to-the-purple royalty except possibly for Britain's venerable Queen Mother Elizabeth. Grace's carriage and gestures are flawless, never wavering even in the oppressive heat of a midsummer antique show that had her on the verge of fainting. She suggests modestly that her low blood pressure might help account for her unflappable cool (her Hollywood nickname was "the hot icicle"). Is she capable of being ruffled? "Yes, indeed," says Grace, "by three children, for one thing. Lots of things annoy me. But I try to spare other people from the moments when I lose my temper."
There were more palpable strains at the very beginning of her reign, 19 years ago. Grace admits, "I wasn't equipped at all for many things I encountered. Everything was new. I had to adjust from being single to being married, from one set of customs to another, one culture to another." Her training in the theater (rather than Hollywood), she acknowledges, "definitely helped me in my public life as princess of Monaco: the discipline and objectivity about one's self is important."
Initially, Grace's public life was curtailed by her pregnancies. Caroline arrived nine months and five days after her marriage. Albert followed 14 months later. (Stephanie made her appearance after a six-year entr'acte.) "In those days, it was hard to remember how it was not to be pregnant," she recalls. But she also found that "when one's children are born in a place, one begins to feel that it's home." (The children were delivered at the palace rather than at a fancy Swiss clinic, and Grace, as a supporter of the La Leche League, insisted on breastfeeding.)
With the princess, the throne and independence itself finally secure (Monaco would have become a protectorate of France if Rainier had failed to produce a male heir), Grace lost her self-conscious caution and began to put her own imprint on the principality. Its half-liter size (470 acres) and population (23,500 with just 4,300 native Monégasques) might have made a lesser woman feel like just the wife of the city manager of, say, Reno, Nev. But in Grace's vision, the Grimaldis were more like Medici of a major city-state. "A lot of things that go with the job are not always convenient or terribly pleasant," she says, "but it is satisfying to be able to take an idea, develop it and see the results."
As a Grimaldi, Grace could transform Monaco with an impact unthinkable for a Kelly back in Philly. She founded a garden club and annual flower show, built boutiques for local artisans, established a day-care center (there is no unemployment in Monaco), and mobilized volunteers to aid the ill and elderly. And, with her showbiz connections, she produced a summer arts festival with luminaries like Sinatra and Arthur Rubinstein. Currently Grace is engrossed in reviving a permanent ballet company in the one-time home of the Ballet Russe de Monte Carlo. "Unfortunately," she says, "ballet companies don't look good on paper," and the project will require a bail-out subsidy from her own foundation, which is partly financed from her Hollywood earnings. On grand occasions, such as Rainier's 25th anniversary as a reigning prince last May, their Serene Highnesses invited the entire population to a family picnic in the local soccer stadium. It was just one indication of her acceptance when Rainier decreed that if he died before Albert became 21, Grace would serve as regent.
Under its well-matched monarchs (whose marriage, despite rumors, seems as solid as nearby Eden Roc), Monaco has boomed and thrust upward and outward as never before in its 800-year history. High-rise slabs are squeezing out the gracious villas and chaotically jostle one another for views of the sea. Monaco's beach, golf and tennis clubs have been located across the border in France. Stilts sunk in a seabed prop up a new Loew's hotel clinging to Monte Carlo. There is also a Holiday Inn and, with reclamation, new riches are anticipated in what is already one of the most prosperous, tax-free enclaves on earth.
Many Monégasques have always feared the Kelly family would convert their storybook state into Atlantic City. Au contraire, Grace fights to retain its 19th century charm. "That is what people want to find. I'm not too keen on some of the modern buildings and their height. I protest when I can, and then I have to learn to go along with whatever is the decision." To her credit, Grace helped save one architectural landmark, the grand old Hermitage Hotel. "I suggested," the heroine of High Noon says sweetly, "that I would nail myself to the door if they moved in to demolish it."
The one refuge the Grimaldis have from Rainier's responsibilities and Grace's causes is Rocagel, a mountaintop farm just across the French border from their realm. At 2,300 feet above sea level, Rocagel is sometimes veiled in clouds, but even on a clear day, a palace functionary explains pointedly for the benefit of potential paparazzi, "it cannot be overlooked from any point." There the royal progeny can ride and swim, or laugh ungraciously at screenings of Mom's old films.
Prince Rainier drives a tractor and tinkers with wrought iron in his workshop, and Princess Grace plays the piano (for her parrot Berlioz) and makes quite professional ceramics and collages of dried flowers and leaves. If Rainier is barbecuing the steaks, Her Serene Highness will toss up a salad from the garden. "Rocagel," says Princess Grace, "is where we close the door to the world." The family's other escape is America, where they are currently enjoying a few weeks' breather in a secluded resort in New Hampshire and the Kelly family summer home in Ocean City, N.J. Prince Albert was already in New Hampshire serving as a camp counselor. At some point during the visit, he and his parents will scout out a college for Albert, who's now 17. (Princeton, Annapolis and the University of Virginia are on the shopping list.)
But the "door to the world" reopens when they return to either of their other two homes—the 180-room palace in Monaco and their apartment on the sunny side of Paris' chic Avenue Foch. It is to there that Grace shuttles, trying to chaperone her worldly daughter Caroline. Hounded relentlessly by reporters and elevated into a front-page crumpet, Caroline at 18 is in a bind just partly of her own making. Recently photographed in a gown slit to her waist, she explained to her folks that she'd misplaced her brooch. Flunking some of her university entrance exams hasn't helped. Nor has smoking in public (her proper Philadelphia mother disapproves) or apparently lying nude on a beach (a montage photo, faked in a blackmail attempt). With no assured niche like bonnie Prince Albert, Caroline flaunts the same rebellious public manner that makes Princess Anne the least-liked member of Britain's royal family. Add a lusty figure and the beginnings of her father's double chin rather than the classic unmatchable beauty of a woman 27 years her senior, who also happens to be her mother, and Caroline's difficulties become understandable.
Princess Grace is troubled by the publicity "in that it also disturbs Caroline. She can't live the life of a normal student." And dealings between the two women sometimes border on the abrasive. Grace, for example, hoped that while in Paris, Caroline would attend Maxim's chic six-week course in cooking and playing hostess. "I don't need that, Mother," Caroline snapped. "We've got slaves for that." "Yes, darling," Mom responded coyly, "and I'm your slave." Clearly, it is Prince Albert, with "his calmer nature" and role as altar boy in the palace chapel, who most resembles his mother. (As children, Grace had required them all to clean their rooms.) It is Rainier, a roué in his bachelor days (he kept a villa with live-in friend, actress Gisella Pascal, at nearby St. Jean-Cap-Ferrat), who is more tolerant, but is still said, by palace sources, to help maintain the disciplinary lines.
With her family now coming into young adulthood, Grace is entering a soignée middle age (save for a few extra pounds in the midriff) and is inevitably asked about plans to resume her career. "I haven't made a film in 20 years," she says. "So take your conclusions from there." Then she adds, "Who knows what's around the corner? I loved acting. I loved my career, and I have another life now. It's that simple. I don't dwell on the past. I look forward. There are many things ahead. I take my job seriously, but not myself. People who cannot be objective about themselves," observes Her Serene Highness, "become confused. Every life has sadness and disappointments, but if one has any sense one thinks only of the good and forgets the bad. I have been very fortunate and very lucky."
scriptgirl
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Her Serene Highness Princess Grace of Monaco, née Grace Patricia Kelly, was born in Philadelphia, Pennsylvania, on November 12, 1929. She was the third child of a family of four. Her father, John Brendan Kelly, was a businessman and an Olympic rowing champion ; her mother’s maiden name was Margaret Majer. She was the niece of American playwright, George Kelly, a Pulitzer prize winner.
Miss Grace Kelly’s scholastic studies took place at Raven Hill Academy Philadelphia, a convent run by the Sisters of the Assumption, and later at Stevens School, also in Philadelphia. Strongly attracted to the theatre, she attended the American Academy of Dramatic Art in New York, and graduated after two years. Her debut as a stage actress took place in New York, where she played the role of Raymond Massey’s daughter in Strindberg’s play, « The Father ».
After several parts in the theatre and on television, Grace Kelly went to Hollywood. There she experienced a dramatic rise towards the heights of the artistic career. Among her films were « High Noon » - « Mogambo » - « Dial M for Murder » - « High Society » - « To Catch a Thief » - « The Swan » - and « Country Girl », for which she received an Oscar in 1954, the highest American Cinema Award.’’ (Prince’s Palace of Monaco site online)
“Grace Kelly was ”characterized by an innate sense of style, classic beauty and inherent good taste. Always atop the “world’s most beautiful” lists, admired as a fashion leader and setter of trends, She “graced” the pages of many a glossy magazine with a dazzling smile, warm, enigmatic eyes and vivacious expression. “Grace Kelly style” is a well-known, well-used phrase in the English lexicon signifying incomparable beauty and all that is chic, natural and lady-like.” (Fashion Era.com)
Grace’s wholesome yet sophisticated look — neat twin sets, full skirts, and pearls — was perfect for the 1950s. It even caught the eye of fashion designer Oleg Cassini, to whom she was unofficially engaged before she met Prince Rainier. Kelly bag was born out of Grace’s desire to hide her pregnancy!* First produced in 1935, it was not until 1956 that the bag’s reputation became positively stratospheric when the newlywed Princess Grace of Monaco was famously photographed for the cover of Time magazine trying to shield her pregnant belly with a classic Hermes bag. The bag in question thereafter became known as the Kelly in her honour, and shot to global bestseller status, where it remains today. Fashion commentators at the time were quite clear about the association of bag and star: carrying a Kelly bag screamed class and old money, both then thought to be highly desirable. (Daily Mail online)
CELEBRATION of GRACE on October 15-26 in 2007 was 25 years since her death at the age of 52 in 1982. ”To commemorate the 25th anniversary of Grace’s tragic death at 52, the principality of Monaco is staging a major retrospective starting at the Grimaldi Forum in Monaco (July 12 through September 23) and culminating in a special Sotheby’s exhibition in New York City titled “Grace, Princess of Monaco: The Life and Legacy of Grace Kelly” (October 15 through 25). Sotheby’s also will be conducting an auction during the Princess Grace Foundation-USA Awards Gala on October 25” (Harper’s Bazaar online)
According to the Newscom Australia her son Prince Albert said: “For my sisters and myself, this exhibition will revive happy memories we shared with our mother, who was a peerless woman.”
In the 1920’s, Somerset Maugham wrote: “Monaco is a sunny place for shady people”. That was all to change the day Grace Kelly married Prince Rainier of Monaco on April 19,1956.
Her Serene Highness Princess Grace of Monaco, née Grace Patricia Kelly, was born in Philadelphia, Pennsylvania, on November 12, 1929. She was the third child of a family of four. Her father, John Brendan Kelly, was a businessman and an Olympic rowing champion ; her mother’s maiden name was Margaret Majer. She was the niece of American playwright, George Kelly, a Pulitzer prize winner.
Miss Grace Kelly’s scholastic studies took place at Raven Hill Academy Philadelphia, a convent run by the Sisters of the Assumption, and later at Stevens School, also in Philadelphia. Strongly attracted to the theatre, she attended the American Academy of Dramatic Art in New York, and graduated after two years. Her debut as a stage actress took place in New York, where she played the role of Raymond Massey’s daughter in Strindberg’s play, « The Father ».
After several parts in the theatre and on television, Grace Kelly went to Hollywood. There she experienced a dramatic rise towards the heights of the artistic career. Among her films were « High Noon » - « Mogambo » - « Dial M for Murder » - « High Society » - « To Catch a Thief » - « The Swan » - and « Country Girl », for which she received an Oscar in 1954, the highest American Cinema Award.’’ (Prince’s Palace of Monaco site online)
“Grace Kelly was ”characterized by an innate sense of style, classic beauty and inherent good taste. Always atop the “world’s most beautiful” lists, admired as a fashion leader and setter of trends, She “graced” the pages of many a glossy magazine with a dazzling smile, warm, enigmatic eyes and vivacious expression. “Grace Kelly style” is a well-known, well-used phrase in the English lexicon signifying incomparable beauty and all that is chic, natural and lady-like.” (Fashion Era.com)
Grace’s wholesome yet sophisticated look — neat twin sets, full skirts, and pearls — was perfect for the 1950s. It even caught the eye of fashion designer Oleg Cassini, to whom she was unofficially engaged before she met Prince Rainier. Kelly bag was born out of Grace’s desire to hide her pregnancy!* First produced in 1935, it was not until 1956 that the bag’s reputation became positively stratospheric when the newlywed Princess Grace of Monaco was famously photographed for the cover of Time magazine trying to shield her pregnant belly with a classic Hermes bag. The bag in question thereafter became known as the Kelly in her honour, and shot to global bestseller status, where it remains today. Fashion commentators at the time were quite clear about the association of bag and star: carrying a Kelly bag screamed class and old money, both then thought to be highly desirable. (Daily Mail online)
CELEBRATION of GRACE on October 15-26 in 2007 was 25 years since her death at the age of 52 in 1982. ”To commemorate the 25th anniversary of Grace’s tragic death at 52, the principality of Monaco is staging a major retrospective starting at the Grimaldi Forum in Monaco (July 12 through September 23) and culminating in a special Sotheby’s exhibition in New York City titled “Grace, Princess of Monaco: The Life and Legacy of Grace Kelly” (October 15 through 25). Sotheby’s also will be conducting an auction during the Princess Grace Foundation-USA Awards Gala on October 25” (Harper’s Bazaar online)
According to the Newscom Australia her son Prince Albert said: “For my sisters and myself, this exhibition will revive happy memories we shared with our mother, who was a peerless woman.”
In the 1920’s, Somerset Maugham wrote: “Monaco is a sunny place for shady people”. That was all to change the day Grace Kelly married Prince Rainier of Monaco on April 19,1956.
scriptgirl
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BBC
Myths are stories which provide multiple layers of metaphor about the human condition. It is easy to see the mythic nature of the stories of the Greek or the Norse gods. And fairy stories - particularly in their darker traditional versions - are mythic. Urban legends are also mythic.
Myths deal with what we fear the most, and we use them to gain distance on subjects that are too painful to look at directly. They perform much the same function in a society that dreams perform for individuals.
For example, in the story of Beauty and the Beast, the girl eventually discovers that the beast is a man she is able to love and she entrusts him with her future happiness. If we assume that he did not in fact change physically, we either have a romantic tale in which she discovers the kind and loving nature of the ugly man, or we have a much darker tale about the changes that take place in her during a sexual relationship which involves domination and submission. We may even have both together.
The potency of the myth comes from the tension between these equally valid subtexts lurking beneath the surface. There are at least four stories here.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Power of Myth[/FONT]
We need myths to help us understand and process the darker complexities of our nature. They are a bridge between the subconscious and the conscious mind, as Freud acknowledged when he used the Oedipus myth to explain and explore human sexuality. He got stuck in the myth of the child who killed his father and married his mother. Jung took the power of myths, rather than just their content, further than Freud.
And we still need myths today to deal with the world we live in. Though these days we don't only look to fairy stories and legends; our myths are taken from films and urban legends.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Truth as Myth[/FONT]
However, some lives either are mythic or become mythic. Marilyn Monroe is a good example of someone whose life is mythic. She was Cinderella, rising from rags to riches and marrying America's prince, Joe di Maggio. There was much of Aphrodite, the goddess of sexual love in her. There is something of Pandora, the girl who opened the box and released so much that was bad into her life, but who always had hope. Much of the fascination we have with Marilyn comes from the multi-stranded potency of her tale, from the sheer strength of its metaphors for the rest of us.
There are other lives with mythic elements. Princess Grace was also Cinderella, and this time Cinderella married a real live Prince. James Dean, the rebel without a cause lived fast and died young and was killed by a beautiful and dangerous machine.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Diana, Princess of Wales[/FONT]
Diana, Princess of Wales, was someone whose life was taken over and driven by our collective need for myth.
The newspapers eulogised her engagement as a fairytale but it had more in common with one of the darker parts of the Trojan War. Before the fleet could sail, in order to propitiate the gods so that they would change the wind, Agamemnon sacrificed his daughter Iphigenia.
Much was made of Diana's youth and purity when she was engaged to Prince Charles. What was not widely publicised at the time was the fact that she was checked out by gynaecologists before she was allowed to marry the heir to the throne. A virgin was taken for the good of the nation.
Yes, the royal family probably decided that that particular Harley Street appointment was appropriate. But we should not forget the burden of expectation which was laid with those headlines calling her Cinderella either. It was not an accident that the bride chosen for the Prince of Wales was a beauty.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Madonna[/FONT]
When Prince William was born, Diana progressed from Virgin to Madonna[FONT=Trebuchet MS, arial, helvetica, sans-serif]1[/FONT]. Much of this is explicit in the photographs of Diana with the baby William playing on a rug in Australia. This particular mythic image has less potency in Britain, which is a predominantly agnostic and Protestant county. But virtuous motherhood is a powerful image in any culture.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Innocence Victimised[/FONT]
Diana's next forays into the collective consciousness were as a bulimic. The connection with specific myths is looser here, but we have the image of beauty, immured and suffering in a castle.
She identified very strongly with those who suffer, and was willing to let images of her with the victims of AIDS and of starvation reinforce that link in our collective minds. She did a lot of good, and helped to change the perception of AIDS. But we always have the image of the creature of almost divine beauty walking among us. There are multiple strands here to ensnare our imaginations.
There is a paradox here, too. Diana was a goddess walking in the grimmest parts of the world. But she was also one of us, a human in the royal world of gods. As Shakespeare warned, that is not a good position to be in 'As flies to wanton boys, are we to the gods. They kill us for their sport.' Diana's death was an accident; but before she died she was thrust out of the royal pantheon. She was like Prometheus, who stole fire from heaven and took it down to mortal man, and who was punished by the gods because mankind loved him more than them for actually doing good in the world. And like Lucifer, the most beautiful of the angels, whose name means 'bearer of light', who was cast out for challenging the ultimate power. And Eve, cast out from Eden for tasting forbidden fruits. As with Beauty and the Beast, we have a tale which grips us because of the many different stories it contains.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Fall[/FONT]
And the forbidden fruits bring us onto another powerful myth driving Diana's life. It is well documented that both during and after her marriage she had several affairs. The Madonna fell from grace with a vengeance into quite a different role. Right up to her death the newspapers were probing into her sex life. She was demonised in the tabloids and broadsheets alike. The early editions of the papers on the day she died were printed before her death was announced and ran prurient stories about her relationship with Dodi Fayed. Their volte face from one print run to the next was the fastest and one of the most sickening turnarounds in media history.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Mirror on the Wall[/FONT]
Before Diana died another myth was played out around her - that of Snow White. Camilla Parker Bowles[FONT=Trebuchet MS, arial, helvetica, sans-serif]2[/FONT] may not have been a wicked step-mother, and Diana may have already married the Prince, but the two women look so alike and so different, that the mirror on the wall reflected them both to us in a way far more subliminally potent than if Charles's first love had been a stunning brunette.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Iphigenia[/FONT]
The final myths of Diana surround her death. 'She shall grow not old as we who are left grow old.' She was beautiful in death, and hounded to it by hungry furies who were spurred on by our thirst for newsprint about her.
The wind changed. Iphigenia at last.
There are fewer strands here, but the suddenness, the finality and the reality of the event made it even more powerful in our minds than her life had been.
Diana's life and death compel us more than Marilyn's, and more than Princess Grace's, and more than James Dean's, because our need for myth snarled through her life in far more intricate complexity than it does in the lives of any other figure of modern times.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Power of Irony[/FONT]
There is one more myth which Diana played out at our behest. She was someone who made a Faustian pact with the press; a pact which killed her as Faustian pacts do.
She was a woman who was desperate for love, and who found little love in her private life. Yet the one thing that the press gave her was the privilege of being the person in the world most loved by strangers after her death.
Myths are stories which provide multiple layers of metaphor about the human condition. It is easy to see the mythic nature of the stories of the Greek or the Norse gods. And fairy stories - particularly in their darker traditional versions - are mythic. Urban legends are also mythic.
Myths deal with what we fear the most, and we use them to gain distance on subjects that are too painful to look at directly. They perform much the same function in a society that dreams perform for individuals.
For example, in the story of Beauty and the Beast, the girl eventually discovers that the beast is a man she is able to love and she entrusts him with her future happiness. If we assume that he did not in fact change physically, we either have a romantic tale in which she discovers the kind and loving nature of the ugly man, or we have a much darker tale about the changes that take place in her during a sexual relationship which involves domination and submission. We may even have both together.
The potency of the myth comes from the tension between these equally valid subtexts lurking beneath the surface. There are at least four stories here.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Power of Myth[/FONT]
We need myths to help us understand and process the darker complexities of our nature. They are a bridge between the subconscious and the conscious mind, as Freud acknowledged when he used the Oedipus myth to explain and explore human sexuality. He got stuck in the myth of the child who killed his father and married his mother. Jung took the power of myths, rather than just their content, further than Freud.
And we still need myths today to deal with the world we live in. Though these days we don't only look to fairy stories and legends; our myths are taken from films and urban legends.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Truth as Myth[/FONT]
However, some lives either are mythic or become mythic. Marilyn Monroe is a good example of someone whose life is mythic. She was Cinderella, rising from rags to riches and marrying America's prince, Joe di Maggio. There was much of Aphrodite, the goddess of sexual love in her. There is something of Pandora, the girl who opened the box and released so much that was bad into her life, but who always had hope. Much of the fascination we have with Marilyn comes from the multi-stranded potency of her tale, from the sheer strength of its metaphors for the rest of us.
There are other lives with mythic elements. Princess Grace was also Cinderella, and this time Cinderella married a real live Prince. James Dean, the rebel without a cause lived fast and died young and was killed by a beautiful and dangerous machine.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Diana, Princess of Wales[/FONT]
Diana, Princess of Wales, was someone whose life was taken over and driven by our collective need for myth.
The newspapers eulogised her engagement as a fairytale but it had more in common with one of the darker parts of the Trojan War. Before the fleet could sail, in order to propitiate the gods so that they would change the wind, Agamemnon sacrificed his daughter Iphigenia.
Much was made of Diana's youth and purity when she was engaged to Prince Charles. What was not widely publicised at the time was the fact that she was checked out by gynaecologists before she was allowed to marry the heir to the throne. A virgin was taken for the good of the nation.
Yes, the royal family probably decided that that particular Harley Street appointment was appropriate. But we should not forget the burden of expectation which was laid with those headlines calling her Cinderella either. It was not an accident that the bride chosen for the Prince of Wales was a beauty.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Madonna[/FONT]
When Prince William was born, Diana progressed from Virgin to Madonna[FONT=Trebuchet MS, arial, helvetica, sans-serif]1[/FONT]. Much of this is explicit in the photographs of Diana with the baby William playing on a rug in Australia. This particular mythic image has less potency in Britain, which is a predominantly agnostic and Protestant county. But virtuous motherhood is a powerful image in any culture.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Innocence Victimised[/FONT]
Diana's next forays into the collective consciousness were as a bulimic. The connection with specific myths is looser here, but we have the image of beauty, immured and suffering in a castle.
She identified very strongly with those who suffer, and was willing to let images of her with the victims of AIDS and of starvation reinforce that link in our collective minds. She did a lot of good, and helped to change the perception of AIDS. But we always have the image of the creature of almost divine beauty walking among us. There are multiple strands here to ensnare our imaginations.
There is a paradox here, too. Diana was a goddess walking in the grimmest parts of the world. But she was also one of us, a human in the royal world of gods. As Shakespeare warned, that is not a good position to be in 'As flies to wanton boys, are we to the gods. They kill us for their sport.' Diana's death was an accident; but before she died she was thrust out of the royal pantheon. She was like Prometheus, who stole fire from heaven and took it down to mortal man, and who was punished by the gods because mankind loved him more than them for actually doing good in the world. And like Lucifer, the most beautiful of the angels, whose name means 'bearer of light', who was cast out for challenging the ultimate power. And Eve, cast out from Eden for tasting forbidden fruits. As with Beauty and the Beast, we have a tale which grips us because of the many different stories it contains.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Fall[/FONT]
And the forbidden fruits bring us onto another powerful myth driving Diana's life. It is well documented that both during and after her marriage she had several affairs. The Madonna fell from grace with a vengeance into quite a different role. Right up to her death the newspapers were probing into her sex life. She was demonised in the tabloids and broadsheets alike. The early editions of the papers on the day she died were printed before her death was announced and ran prurient stories about her relationship with Dodi Fayed. Their volte face from one print run to the next was the fastest and one of the most sickening turnarounds in media history.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Mirror on the Wall[/FONT]
Before Diana died another myth was played out around her - that of Snow White. Camilla Parker Bowles[FONT=Trebuchet MS, arial, helvetica, sans-serif]2[/FONT] may not have been a wicked step-mother, and Diana may have already married the Prince, but the two women look so alike and so different, that the mirror on the wall reflected them both to us in a way far more subliminally potent than if Charles's first love had been a stunning brunette.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]Iphigenia[/FONT]
The final myths of Diana surround her death. 'She shall grow not old as we who are left grow old.' She was beautiful in death, and hounded to it by hungry furies who were spurred on by our thirst for newsprint about her.
The wind changed. Iphigenia at last.
There are fewer strands here, but the suddenness, the finality and the reality of the event made it even more powerful in our minds than her life had been.
Diana's life and death compel us more than Marilyn's, and more than Princess Grace's, and more than James Dean's, because our need for myth snarled through her life in far more intricate complexity than it does in the lives of any other figure of modern times.
[FONT=Trebuchet MS, arial, helvetica, sans-serif]The Power of Irony[/FONT]
There is one more myth which Diana played out at our behest. She was someone who made a Faustian pact with the press; a pact which killed her as Faustian pacts do.
She was a woman who was desperate for love, and who found little love in her private life. Yet the one thing that the press gave her was the privilege of being the person in the world most loved by strangers after her death.
scriptgirl
Active Member
- Joined
- May 1, 2006
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people magazine
From Oscar Winner To Princess, Her Beauty And Elegance Charmed Us All
Before Diana, Princess of Wales, we had Grace Kelly of Philadelphia, a spunky debutante who proved that an American girl could grow up not only to become a glamorous movie star but also to become a princess. Her career in movies lasted barely five years, but it made her an overnight box office sensation. When she retired to wed Prince Rainier of Monaco in 1956, the role of royalty seemed tailor-made for her, and she excelled in it for more than a quarter-century. Every inch the princess, she worked tirelessly for such favorite charities as the Red Cross and the Princess Grace Ballet School. At her glittering parties, while her husband usually sat and chatted with cronies, Grace would circulate among the tables, concerned that no guest feel overlooked.
But she faced her most demanding responsibilities behind the palace walls. Nine months and five days after her wedding, she gave birth to a daughter. Firmly believing that the upbringing of children was primarily a mother's responsibility, Princess Grace devoted much of her attention to Caroline, 25, Albert, 24, and Stephanie, 17. "I had a quiet childhood compared to theirs," she recently told PEOPLE'S Fred Hauptfuhrer. "They have had the misfortune of growing up in the spotlight, and this is more difficult for them." Those difficulties were sometimes painfully apparent, at no time more so than during Caroline's brief marriage to playboy Philippe Junot, which ended in a 1980 divorce. Like Caroline, Stephanie showed a preference for nightlife over home life. Princess Grace staunchly defended her daughters, but temperamentally she was most attuned to her shy son, Albert, now serving in the French Navy. "When Prince Albert went away on a cruise for six months early this year, she missed him terribly," recalls Rupert Allen, a Los Angeles friend. "I was talking to her this spring and she said, 'I can't tell you how happy I am that Alby is coming home. I've missed him so.' "
But with only Stephanie still living at home, Princess Grace at 52 was beginning what she hoped would be the third and most satisfying act of her career. In 1976, to commemorate the American Bicentennial, she read some poems at the Edinburgh Festival that she had selected to illustrate the American spirit. Surprised and delighted by the critical acclaim, she added poetry readings to an already busy schedule. "The poetry reading is something that doesn't take too much time, and that I can do occasionally," she explained. "For the most part I do it for students or for people interested in poetry. I get a lot of satisfaction from it." She was planning to visit California next March to give readings at UCLA and in Palm Springs.
Constantly she was asked if she would ever make another Hollywood movie. Although she discounted the possibility, her fans—and shrewd producers—were ever hopeful. Among the plums she spurned was a choice of either leading role in the 1977 movie The Turning Point. Asked to co-star early this year in a London stage production of a play written by Pope John Paul II as a young man (she was reportedly the Pontiff's personal choice), Grace begged off. "To act, to have a career and to do it well, you have to do it completely," she explained. "I don't have the time to devote to it."
Yet in recent years she had made tentative moves toward a return to acting. In 1977 she narrated a documentary film on a Leningrad ballet school, The Children of Theater Street; later she played herself in a half-hour film, Rearranged, that has yet to be aired. She overcame her old aversion to publicity and the star system to attend a gala tribute to her film career last spring in Philadelphia. Some of her friends believe that with the major duties of motherhood behind her, Princess Grace would have resumed at least a part-time acting career. "I think she was going to come back and do a film," says Stewart Granger, her co-star in the 1954 movie Green Fire. "Maybe I'd have done one with her."
She was never idle. When she was able to relax, she loved to stitch needlepoint or arrange dried flowers, humming happily to herself. Her wood-paneled palace den, which a friend describes as "looking as modest as a tract home," is festooned with such joking stickers as "In God we trust, all others pay cash" and "We'd love to help you out, which way did you come in?" The gold record given to her for the 1956 hit True Love (she claimed that she needed 80 takes to harmonize with Bing Crosby) hung on the wall like a trophy. Royal responsibilities—she supervised a 180-room palace in Monaco, a hilltop farm across the border in France and a Paris town house—never overwhelmed her common sense. "I certainly don't think of my life as a fairy tale," she said. "I think of myself as a modern, contemporary woman who has had to deal with all kinds of problems that many women today have to deal with. I am still coping—trying to cope."
What she might yet have accomplished cannot be known. Having published one book on her dried-flower collages, she hoped someday to write a memoir. "I haven't started or kept diaries," she admitted, "and I won't decide what kind of book it will be until I sit down and write it." She looked forward to seeing her three children happily married. "Being a grandmother would be an exciting experience," she confided. Too busy to make detailed agendas for the future, she was optimistic about aging gracefully. "No one likes the idea of getting older," she mused. "It's a question of facing the inevitable and not getting upset about it. I don't plan much."
From Oscar Winner To Princess, Her Beauty And Elegance Charmed Us All
Before Diana, Princess of Wales, we had Grace Kelly of Philadelphia, a spunky debutante who proved that an American girl could grow up not only to become a glamorous movie star but also to become a princess. Her career in movies lasted barely five years, but it made her an overnight box office sensation. When she retired to wed Prince Rainier of Monaco in 1956, the role of royalty seemed tailor-made for her, and she excelled in it for more than a quarter-century. Every inch the princess, she worked tirelessly for such favorite charities as the Red Cross and the Princess Grace Ballet School. At her glittering parties, while her husband usually sat and chatted with cronies, Grace would circulate among the tables, concerned that no guest feel overlooked.
But she faced her most demanding responsibilities behind the palace walls. Nine months and five days after her wedding, she gave birth to a daughter. Firmly believing that the upbringing of children was primarily a mother's responsibility, Princess Grace devoted much of her attention to Caroline, 25, Albert, 24, and Stephanie, 17. "I had a quiet childhood compared to theirs," she recently told PEOPLE'S Fred Hauptfuhrer. "They have had the misfortune of growing up in the spotlight, and this is more difficult for them." Those difficulties were sometimes painfully apparent, at no time more so than during Caroline's brief marriage to playboy Philippe Junot, which ended in a 1980 divorce. Like Caroline, Stephanie showed a preference for nightlife over home life. Princess Grace staunchly defended her daughters, but temperamentally she was most attuned to her shy son, Albert, now serving in the French Navy. "When Prince Albert went away on a cruise for six months early this year, she missed him terribly," recalls Rupert Allen, a Los Angeles friend. "I was talking to her this spring and she said, 'I can't tell you how happy I am that Alby is coming home. I've missed him so.' "
But with only Stephanie still living at home, Princess Grace at 52 was beginning what she hoped would be the third and most satisfying act of her career. In 1976, to commemorate the American Bicentennial, she read some poems at the Edinburgh Festival that she had selected to illustrate the American spirit. Surprised and delighted by the critical acclaim, she added poetry readings to an already busy schedule. "The poetry reading is something that doesn't take too much time, and that I can do occasionally," she explained. "For the most part I do it for students or for people interested in poetry. I get a lot of satisfaction from it." She was planning to visit California next March to give readings at UCLA and in Palm Springs.
Constantly she was asked if she would ever make another Hollywood movie. Although she discounted the possibility, her fans—and shrewd producers—were ever hopeful. Among the plums she spurned was a choice of either leading role in the 1977 movie The Turning Point. Asked to co-star early this year in a London stage production of a play written by Pope John Paul II as a young man (she was reportedly the Pontiff's personal choice), Grace begged off. "To act, to have a career and to do it well, you have to do it completely," she explained. "I don't have the time to devote to it."
Yet in recent years she had made tentative moves toward a return to acting. In 1977 she narrated a documentary film on a Leningrad ballet school, The Children of Theater Street; later she played herself in a half-hour film, Rearranged, that has yet to be aired. She overcame her old aversion to publicity and the star system to attend a gala tribute to her film career last spring in Philadelphia. Some of her friends believe that with the major duties of motherhood behind her, Princess Grace would have resumed at least a part-time acting career. "I think she was going to come back and do a film," says Stewart Granger, her co-star in the 1954 movie Green Fire. "Maybe I'd have done one with her."
She was never idle. When she was able to relax, she loved to stitch needlepoint or arrange dried flowers, humming happily to herself. Her wood-paneled palace den, which a friend describes as "looking as modest as a tract home," is festooned with such joking stickers as "In God we trust, all others pay cash" and "We'd love to help you out, which way did you come in?" The gold record given to her for the 1956 hit True Love (she claimed that she needed 80 takes to harmonize with Bing Crosby) hung on the wall like a trophy. Royal responsibilities—she supervised a 180-room palace in Monaco, a hilltop farm across the border in France and a Paris town house—never overwhelmed her common sense. "I certainly don't think of my life as a fairy tale," she said. "I think of myself as a modern, contemporary woman who has had to deal with all kinds of problems that many women today have to deal with. I am still coping—trying to cope."
What she might yet have accomplished cannot be known. Having published one book on her dried-flower collages, she hoped someday to write a memoir. "I haven't started or kept diaries," she admitted, "and I won't decide what kind of book it will be until I sit down and write it." She looked forward to seeing her three children happily married. "Being a grandmother would be an exciting experience," she confided. Too busy to make detailed agendas for the future, she was optimistic about aging gracefully. "No one likes the idea of getting older," she mused. "It's a question of facing the inevitable and not getting upset about it. I don't plan much."
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scriptgirl
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Lead from the Heart: Grace, Princess of Monaco
Grace Kelly was an icon in her Hollywood days and went on to become a real princess in Monaco. Not only did Grace imitate life through art, but she also became one of those rare human beings whose art imitated her life. Although her movies became timeless classics that included an Academy-Award winner, her role as princess would become most legendary. Grace displayed a consistent desire to please, be loved and to love, throughout her entire life. With grace and style, the princess sought to create happiness amidst the pomp and protocol that she attracted in her life. Leading from the heart, Princess Grace showed the world just how much she cared about people through her boundless contributions to society—from politics, performing arts and philanthropy, to motherhood, marriage and monarchy.
Lead from the Heart: Grace, Princess of Monaco
Grace Kelly was an icon in her Hollywood days and went on to become a real princess in Monaco. Not only did Grace imitate life through art, but she also became one of those rare human beings whose art imitated her life. Although her movies became timeless classics that included an Academy-Award winner, her role as princess would become most legendary. Grace displayed a consistent desire to please, be loved and to love, throughout her entire life. With grace and style, the princess sought to create happiness amidst the pomp and protocol that she attracted in her life. Leading from the heart, Princess Grace showed the world just how much she cared about people through her boundless contributions to society—from politics, performing arts and philanthropy, to motherhood, marriage and monarchy.
scriptgirl
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scriptgirl
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I've never seen this picture before, I recognize the clothes though, taken while filming 'Green Fire'
scriptgirl
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