Grace Kelly

At 52 years old, Grace Kelly has this physical status:

To start her career, she auditioned for the American Academy of Dramatic Arts in New York, using a scene from her uncle George Kelly's The Torch-Bearers (1923). Although the school had already met its semester quota, she obtained an interview with the admissions department, and was admitted through George's influence. Kelly worked diligently, and practiced her speech by using a tape recorder. Her early acting pursuits led her to the stage, and she made her Broadway debut in Strindberg's The Father, alongside Raymond Massey. At 19, her graduation performance was as Tracy Lord in The Philadelphia Story. Her uncle continued to advise and mentor Kelly throughout her acting career.

At her father's insistence, she lived at the Barbizon Hotel for Women in Manhattan. She was hired as a model by the John Robert Powers agency, where some of her first modeling jobs were doing commercials for bug spray and cigarettes. Kelly was reportedly "fond of dancing to Hawaiian music down the hallways of the Barbizon, and given to shocking her fellow residents by performing topless". She later wrote that she had "wonderful memories of the three years I spent at the Barbizon."

Television producer Delbert Mann cast Kelly as the lead in an adaptation of the Sinclair Lewis novel Bethel Merriday; this was her first of nearly sixty live television programs. She was mentioned in Theatre World magazine as "[a] most promising personality of the Broadway stage of 1950". Some of her well-known works as a theater actress were: The Father, The Rockingham Tea Set, The Apple Tree, The Mirror of Delusion, Episode (for Somerset Maugham's tele-serial), among others.

Impressed by her work in The Father, Henry Hathaway, director of the Twentieth Century-Fox film Fourteen Hours (1951), offered her a small role in the film. Kelly had a minor role opposite Paul Douglas, Richard Basehart, and Barbara Bel Geddes, as a young woman contemplating divorce. Douglas commented: "In two senses, she did not have a bad side – you could film her from any angle, and she was one of the most un-temperamental, cooperative people in the business." Following the release of the film, the "Grace Kelly Fan Club" was established, gaining popularity across the country with local chapters springing up and attracting many members. Kelly referred to her fan club as "terrifically amusing".

Kelly was noticed during a visit to the set of Fourteen Hours by Gary Cooper. However, Kelly's performance in Fourteen Hours went largely unnoticed by critics and did not contribute to her film career's momentum. She continued her work in the theater and on television, although she lacked "vocal horsepower", and it was thought she would likely not have had a lengthy stage career.

Kelly was performing at Colorado's Elitch Theatre when producer Stanley Kramer offered her a role co-starring opposite Cooper in Fred Zinnemann's High Noon (1952), a Western filmed in Columbia, California. She accepted the role, and the film was shot in the late summer and early fall of 1951 over a 28-day shooting schedule in hot weather conditions. She was cast as a "young Quaker bride to Gary Cooper's stoic Marshall", and wore a "suitably demure vaguely Victorian dress". High Noon garnered four Academy Awards, and has since been ranked by some reviewers among the best films of all time.

Biographer H. Haughland stated: "Miss Kelly's acting did not excite the critics, or live up to her own expectations." Some critics scoffed at the conclusion of the film in which Cooper's character has to be saved by Kelly's. One critic argued that her pacifist character, killing a man who is about to shoot her husband, was cold and abstract. Alfred Hitchcock described her performance as "rather mousy", and stated that it lacked animation. He said that it was only in her later films that she "really blossomed" and showed her quality.

After filming High Noon, Kelly returned to New York City and took private acting lessons, wanting to be taken seriously as an actress. She performed in a few dramas in the theater, and in TV serials. She appeared in several television plays, and screen-tested for the film Taxi in the spring of 1952. Director John Ford noticed Kelly in the screen test, and his studio flew her out to Los Angeles to audition in September 1952. Ford said that Kelly showed "breeding, quality, and class". She was given the role, along with a seven-year contract at the relatively low salary of $850 a week (equivalent to $8,674 in 2021). Kelly signed the deal under two conditions: first, that one out of every two years, she had time off to work in the theatre; and second, that she be able to live in New York City at her residence in Manhattan House, at 200 E. 66th Street, now a landmark.

In November 1952, Kelly and the cast arrived in Nairobi to begin the production of the film Mogambo, replacing Gene Tierney, who dropped out at the last minute due to personal issues. Kelly later told Hollywood columnist Hedda Hopper, "Mogambo had three things that interested me: John Ford, Clark Gable, and a trip to Africa, with expenses paid. If Mogambo had been made in Arizona, I wouldn't have done it." Kelly played Linda Nordley, a contemplative English wife with a romantic interest in Clark Gable's character. Filming took place over the course of three months. The costumes were designed by Helen Rose. A break in the filming schedule afforded her and Mogambo co-star Ava Gardner a visit to Rome. The film was released in 1953, and had a successful run at the box office. Kelly won a Golden Globe Award for Best Supporting Actress, and received her first Academy Award nomination for Best Supporting Actress for her performance.

After the success of Mogambo, Kelly starred in the television play The Way of an Eagle with Jean-Pierre Aumont, before being cast in the film adaptation of Frederick Knott's Broadway play Dial M for Murder, opposite Ray Milland and Robert Cummings. Kelly played the role of the wealthy wife of a retired professional tennis player. Alfred Hitchcock became one of Kelly's mentors during the last years of her career. She was subsequently loaned by MGM to work in several Hitchcock films, which would become some of her most critically acclaimed and recognized work. Kelly began filming scenes for her next film, The Bridges at Toko-Ri, in early 1954, with William Holden, for Paramount Pictures. The story, based on the novel by James Michener, is about American Navy jet fighters stationed to fight in Asia. Kelly played the role of Holden's wife. Edith Head did her costumes, with whom she had established a friendly relationship.

Kelly unhesitatingly turned down the opportunity to star alongside Marlon Brando in On the Waterfront (1954). Eva Marie Saint, who replaced her, went on to win an Academy Award for the role. Instead, Kelly played the role of Lisa Fremont in Rear Window. Kelly stated, "All through the making of Dial M for Murder, he (Hitchcock) sat and talked to me about Rear Window all the time, even before we had discussed my being in it." Kelly's co-star, James Stewart, was highly enthusiastic about working with her. The role of Lisa Fremont, a wealthy Manhattan socialite and fashion model who "never wore the same dress twice", was unlike any of the previous women she had played. This marked her first performance as an independent career woman. In line with their previous collaborations, Hitchcock provided the camera with a slow-sequenced silhouette of Kelly, along with close-ups of the two stars kissing, finally lingering closely on her profile. Hitchcock brought her elegance to the foreground by changing her dresses many times, including: "glamorous evening short dresses, a sheer negligee over a sleek nightgown, a full-skirted floral dress, and a casual pair of jeans". Upon the film's opening in October 1954, Kelly was again praised. Variety's film critic remarked on the casting, commenting on the "earthy quality to the relationship between Stewart and Miss Kelly", as "both do a fine job of the picture's acting demands".

Kelly played the role of Bing Crosby's long-suffering wife, Georgie Elgin, in The Country Girl (1954), after a pregnant Jennifer Jones bowed out. Already familiar with the play, Kelly was highly interested in the part. To do it, MGM once again would have to lend Kelly to Paramount Pictures. Kelly was adamant, and threatened the studio, saying that if they did not allow her to do the film she would pack her bags and leave for New York for good. MGM eventually relented. Kelly also negotiated a more lucrative contract in light of her recent success. In the film, Kelly played the wife of a washed-up, alcoholic singer, played by Crosby. Her character becomes torn emotionally between her two lovers, played by Crosby and William Holden. She was again dressed by Edith Head to suit her role in the film, initially appearing in fashionable dresses, shifting to ordinary-looking cardigans toward the end of the film.

As a result of her performance in The Country Girl, Kelly won the Academy Award for Best Actress. Her acceptance speech was brief: "The thrill of this moment keeps me from saying what I really feel. I can only say thank you with all my heart to all who made this possible for me. Thank you." Her main competitor was Judy Garland for her performance in A Star Is Born. After receiving the Oscar nomination, Kelly won the New York Film Critics Circle Award for best actress for her performances in her three big movie roles of 1954: Rear Window, Dial M For Murder, and The Country Girl. At the Golden Globe Awards in 1955, Kelly won the Award for Best Actress in a Motion Picture – Drama. The New York Times praised her performance in The Country Girl as "excellent", and Rear Window got her marquee credits on a par with, and beyond, those of Stewart and Hitchcock.

In April 1954, Kelly flew to Colombia for a 10-day shoot on her next project, Green Fire, with Stewart Granger. She played Catherine Knowland, a coffee plantation owner. Kelly told Hedda Hopper, "It wasn't pleasant. We worked at a pathetic village – miserable huts and dirty. Part of the crew got shipwrecked ... It was awful." After the consecutive filming of Rear Window, Toko-Ri, Country Girl, and Green Fire, Kelly flew to the French Riviera to work on her third, and last, film for Hitchcock, To Catch a Thief. Loaned to Paramount for the fifth time, Kelly played the role of a temptress who wears "luxurious and alluring clothes", while Cary Grant played the role of a former cat burglar, then looking to catch a thief who is imitating him. Kelly and Grant developed a mutual bond and admiration for one another. Years later, when asked to name his all-time favorite actress, Grant replied: "Well, with all due respect to dear Ingrid Bergman, I much preferred Grace. She had serenity."

In 1956, Kelly resided in a home rented from Bill Lear in the Pacific Palisades, California for the duration of her filming. She portrayed Princess Alexandra in the film The Swan, directed by Charles Vidor, opposite Alec Guinness and Louis Jourdan. Her final role was in Charles Walters's musical film High Society, a re-make of MGM's The Philadelphia Story (1940). She portrayed Tracy Lord, opposite Bing Crosby, Frank Sinatra, and Celeste Holm in the other leads. When it was released in July 1956. Variety stated, "Miss Kelly impresses as the femme lead with pleasantly comedienne overtones.", and that it was "possibly her most relaxed performance."

Source