#Grace Kelly Blogathon

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My favourite actress, the sensational Grace Kelly, would have been 95 today. In her honour, I posted an article on my 2023 visit to her hometown, Philadelphia, where I had the occasion to see her childhood house and more!

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The 6th wonderful Grace Kelly blogathon

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Tony Wendice and his wife Margot are the picture of marital bliss. The two make a stunning couple as we see them go through their morning routine in their small but stylish London flat. They have breakfast together every morning. Tony is always dressed to the nines in what one assumes are the best suits money can buy and Margot is a vision with blonde hair perfectly coiffed and outfits out of the pages of Vogue. After a morning kiss the two settle at the breakfast table to attend to their rituals – he opens the mail while she reads the newspaper to catch up with the society and gossip pages. Mr. and Mrs. Wendice have done this many times and ne’er is there a glitch in the routine. But … we get the impression things are slightly off the morning we are introduced to their life when Mrs. Wendice reacts in a rather peculiar way to the news of the arrival of the Queen Mary. Specifically, her reaction of the arrival on the Queen Mary of mystery writer Mark Halliday.

The idyllic picture described above is a ruse. This is Dial ‘M’ for Murder, one of the many Alfred Hitchcock screen gems to make a negative statement about marriage. Oh sure, Tony and Margot do have breakfast together following a kiss every morning, but it’s nothing compared to the hot and bothered embrace she shares frequently with Mark Halliday (Robert Cummings). Don’t rush to judge Margot though because Tony cares about his wife’s affair only so far as he can use it to his advantage. And the advantage Tony has in mind is murder.

Tony Wendice was a ranked tennis player when he and the rich Margot met and married. It was about a year before our story opens when Tony came to the realization that he needed to ensure his own comfort for the rest of his life. His tennis career would soon be over and he’d found out that Margot had an American boyfriend. Tony was trying to drink his troubles away one day when he began to seriously consider killing Margot. The money he’d inherit would ensure he could continue the lifestyle he’d become accustomed to. Yes. Killing Margot was the answer. But how? Several possible scenarios swirled through his head, but Tony is nothing if not patient. He needed to come up with the perfect murder no matter how long that took. Then, as if by a sign from a greater power, the idea came to him when he saw a man he recognized walk into a pub. And what an idea it was! We see it come to fruition, a complicated scenario that involves a year of pretending to be a caring husband, a year of slowly saving money so that the funds are available when blackmail is in order, and a year of following his mark to learn everything there is to know about him. After all, Tony needs to force this man to kill his wife.

The day after the arrival of the Queen Mary Mr. Wendice and Mark Halliday meet when – in a bold move – Margot arranges an evening at the theatre for the three of them. Interestingly, Tony isn’t bothered by Mark at all. In fact Mark Halliday’s arrival in London means it’s time for Tony to put his murder plan into action. The charming Mr. Wendice wishes Margot and Mark a lovely evening and stays home with the pretext of doing some work. At first one wonders why Tony’s so darned cheerful about sending his wife on an evening of fun with her lover, but we soon learn that his cheerfulness is due to just having secured his alibi for the next evening, the evening the murder is to take place.

Tony Wendice has to be among Alfred Hitchcock’s most unlikable villains. Played to perfection by Ray Milland this guy’s slick and sly oozing over the sophisticated veneer sickens. In fact, Tony is so easy to dislike that we root for his cheating wife and her lover. Wendice’s arrogance is off the charts perhaps best illustrated in my favorite scene in Dial ‘M’ for Murder during which he meets with and blackmails Charles Swann (a memorable Anthony Dawson reprising his stage role) into strangling Margot. Tony’s the epitome of cold and calculating, a lesson in killer methodology that makes for a supremely entertaining sequence, which emphasizes the art of the crime.

Prelude to murder aka blackmailing session

Right after Margot and Mark leave for the theatre Tony makes a phone call to inquire about a car he’s interested in buying. He insists that the seller meet him at his flat to iron out the details, but the man – Charles Swann – walks into a trap. Tony had recognized Swann as an old, unlikable schoolmate from Cambridge the day he’d walked into the Knightsbridge Pub. From that day on for over a year Tony followed Swann and investigated every detail of his life. What he learned was that Swann had a history of committing sleazy crimes, all fodder for blackmail. And the plan is set in motion with a reluctant Charles Swann told exactly how and when to execute every minute detail of how to strangle Margot Wendice.

Wendice calls, Margot answers, Swann strangles

I’m guessing everyone has seen the famous strangulation scene in Dial ‘M.’ for Murder. As is the case with all things Hitchcock it’s beautifully orchestrated from sound to image. Although I’ve never seen this movie in 3-D as it was released in some places in 1954, I can tell the scene contains the only gimmicky moves made in the entire movie. Due to that this movie works well in the flat format most of us have seen it in. Dial ‘M’ was the only Alfred Hitchcock movie made in 3-D and hopefully one day I’ll get to see it that way mainly due to Martin Scorsese’s explanation in this Academy piece. In any case, as you probably know Tony’s strangulation plot doesn’t go off as planned when it’s Swann who ends up dead instead of Margot.

Tony’s primary mistake in the orchestration of the murder is underestimating Margot. It seems that even after all of their years together he mistook her for just a cool, beautiful, blonde. It’s funny how the same thing happens in Rear Window with Jeff discounting Lisa as little more than a pretty face and her proving him wrong in the end. Clearly, the message is that no one should ever underestimate Grace Kelly who’s terrific in Dial ‘M,’ by the way, her first movie with Alfred Hitchcock.

Wendice also doesn’t take Mark Halliday into account when he’s planning the murder. Not only is Mark in love with Margot, but he has been writing about murder for years. During an exchange about the perfect murder Mark even mentions how he tries to go into the mind of the murderer he’s writing about. After the failed strangulation Tony tries to get rid of Margot by making her look guilty of murdering Swann. It’s Mark who finds holes in Tony’s story. Wendice should not have attempted the murder with Mark Halliday in London. It’s clear his arrogance gets the better of him in this regard.

Despite his failings, however, I’m compelled to admit that I have a certain degree of admiration for Tony Wendice. His mind is rather miraculous. Imagine having that level of avarice, a level that supersedes every other aspect of your life for over a year, and go about your day as if you’re just a regular society guy. You plan a murder so perfect, so precise that the smallest glitch will lay everything to waste. Then to be able to suppress the disappointment on a dime, a disappointment that has to have wounded your humongous ego. I mean, that takes an inexplicable talent. To so convincingly and without missing a beat twist the evidence so it looks as though your wife willfully murdered the man who tried to murder her on your behalf. BRAVO!! It takes a superior investigator with a talent to discover both the magnificent and the common to be able to bring Tony down.

Hubris thy name is Wendice

Chief Inspector Hubbard, played brilliantly by John Williams, is just the man needed to knock Tony Wendice off his high horse. Mr. Williams reprises the Chief Inspector role he brought to life in the play the movie is based on and nearly steals the movie. It’s no wonder Hitchcock loved to work with him. Williams also appears in The Paradine Case (1947) and To Catch a Thief (1955) as well as 10 episodes of Alfred Hitchcock Presents. Mr. Williams played Chief Inspector Hubbard again in 1958 in a TV version of Dial ‘M’ for Murder directed by George Schaefer. This is a terrific role with Inspector Hubbard as doggedly persistent, brilliant and humorous as my own Lt. Columbo. By the way, have you ever noticed how many similarities there are between Dial ‘M’ for Murder and Columbo?  The crime happens at the beginning of the story, there’s an arrogant murderer who offers assistance to the investigator, there’s a tricky GOTCHA! staged by the brilliant Inspector who at one point turns to leave and pauses to say, “oh…one other thing, sir.” It’s thanks to John Williams that the finale of Dial ‘M’ is so much fun to watch. A latch key plays a central role in the unraveling of Tony and I have to admit I get confused by the Inspector’s switcheroo every time, but in the end my smile is a mile wide.

GOTCHA!

When I first watched Dial ‘M’ for Murder it felt like Hitchcock-lite to me, as if it were icing without the cake. However, Dial ‘M’ has grown on me through the years and now I think it’s brilliant for its simple complexity. Hitchcock viewed this movie as a minor work. Based on the hit stage play by Frederick Knott who also wrote the screen play, Hitchcock shot the movie primarily in one room and I marvel at how beautiful it is, how intricately the story is relayed. Sir Hitchcock may have been simply passing the time while directing this movie as Grace Kelly mentioned he kept talking excitedly about his next effort, Rear Window while making Dial ‘M,’ yet he still managed a technical triumph. Shot in just 36 days Dial ‘M’ for Murder is straightforward, detailed storytelling as only this director could do. For Alfred Hitchcock is takes one room wherein hubris becomes Wendice to manage a superior thriller.

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This is my second submission to the ‘Till Death Do Us Part Blogathon on Monday, July 24th hosted by CineMaven’s Essays from the Couch. I can’t seem to stay away from spouse on spouse murder and you shouldn’t either. Be sure to visit the blogathon entries.

My first submission – The Guilt and Innocence of Jack Forrester in Richard Marquand’s Jagged Edge (1985)

  The Hitchcock signature in Dial ‘M’ for Murder

When I dedicated a post to The Hitchcock Signature a few years ago I didn’t include Dial ‘M’ For Murder, but there is a lot of enjoyable pieces of Hitchcock in the movie. As a way to continue that conversation I thought I’d make note a few of the Hitchcock signature notables strewn about with great care.

The silent sequence – Hitchcock often went back to his roots and included silent sequences in his movies whereby he demonstrates his mastery of the visual. The opening sequence in Rear Window is my favorite example, but Dial ‘M’ for Murder doesn’t fall far behind. In a few moments we learn all there is to know about the Wendice marriage. As the movie opens we see the idyllic couple as they have breakfast. He kisses her good morning and sits across the table. She is reading the paper and notices something of interest. Because she looks up to make sure her husband isn’t looking we know she has a secret and when the camera closes in on a name we know what that secret is. The next thing we see is the wife passionately kissing another man, the one whose name was in the paper. Brilliant! Another silent sequence occurs later as we see Tony methodically cleaning up after the crime.

Enough extreme close-ups and odd angles to warm your sinister heart. As is always the case Hitchcock shows us exactly what we should see and when to see it. My favorite here is the shot of the knife going deeper into Swann’s back when he falls on it.

Gorgeous, intentional use of color is seen throughout this movie as is the case with the other notable Hitchcock films in the 1950s. The importance of color is also evident in the clothing used throughout with emphasis on the Margot character. Her clothes get darker as the drama unfolds. It’s a simple example, but my favorite is the contrast between the white Margot is wearing in the idyllic opening scene I described above as compared to the hot red she wears when she is with her lover just a moment later. You can compare this to perhaps the most obvious example in a Hitchcock movie, which is the white vs. black bras worn by Marion Crane in Psycho (1960) to signify the before and after she makes the decision to commit a crime.

Fantastic score – I absolutely adore the music in Dial ‘M’ for Murder and how it switches seamlessly from romance to thriller to emphasis on the key moments as important in all Hitchcock films. This is thanks to the genius of Dimitri Tiomkin.

Confined space – Already noted in the fact that the action in this production takes place primarily in one London flat. Alfred Hitchcock seemed to enjoy the limitations in confined spaces as settings for his thrillers. A few obvious examples would be Rear Window, Rope, The Lady Vanishes and Dial ‘M’ for Murder. 

The wrong man theme – or in this case, the wrong woman who is accused of a crime she didn’t commit.

The methodical explanation either done by way of images or words. Hitchcock ensures we are kept abreast of every detail and does so brilliantly in two key scenes – the one where Tony is giving Swann step-by-step instructions and at the end when the Inspector is recounting the steps of the crime and coverup. This heightens our expectations and thrill, similar to the concert scene in The Man Who Knew Too Much.

Sympathy for the criminal – similar to when we root for Norman’s car to go under in Psycho, we root for Swann to leave the damn flat before he gets caught. You might remember that Tony Dials ‘M’ later than planned because his watch stopped. It makes for  a terrific suspense sequence.

Hitchcock’s hilarious cameo in a Cambridge reunion picture

Hubris Thy Name is Wendice in Hitchcock’s DIAL ‘M’ FOR MURDER (1954) Tony Wendice and his wife Margot are the picture of marital bliss. The two make a stunning couple as we see them go through their morning routine in their small but stylish London flat.

[bob-the-movie-man-film-reviews]

One Mann's Movies Special for "The Alfred Hitchcock Blogathon": Rear Window (1954)

One Mann’s Movies Special for “The Alfred Hitchcock Blogathon”: Rear Window (1954)

“Hmm… must have splattered a lot”.

Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcockblogathon. A fine idea, celebrating the life and works of the “Master of Suspense”. My contribution comes from his 1954 masterpiece “Rear Window” starring James Stewart and Grace Kelly.  

In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in…

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by Paul Batters

‘Who wants to live ’till the last bottle is empty? It’s all-for one, d’Artagnan, and one for all!’ Athos (Van Heflin)

Films provide us with a myriad of opportunities and personal responses. We all have those films that can be a catharsis for pent up emotions, from which we find release where others merely shrug or cannot see or make the personal connection. There are those films we watch and in which we become deeply immersed or those we simply enjoy because they are fun. Hollywood has always been about escape and stepping into another world is a key part of the magic. Indeed, we sometimes find ourselves watching a film (after enjoying it many times before) because it’s a ‘go-to’ when we need something that’s either not too taxing on our thought process or is the perfect film to get comfortable with on the sofa. As much as I enjoy considering the brilliance of how a director like Murnau frames the mis-en scene, it’s also nice to enjoy some silly film that’s just plain fun. Sometimes you need a good burger and a Coke over filet mignon and a glass of Cabernet Sauvignon (or two).

For me, MGM’s colourful and grandiose The Three Musketeers (1948) is such a film.

The classic novel by Alexandre Dumas, pere, is a particular favourite of mine and it is no wonder that the famous story has been filmed numerous times. It offers adventure, romance and intrigue, with liberal doses of exciting characters and history (or historical fiction to be precise), all thrown together in an almost epic story. Bringing such a story to the screen, presents quite the challenge to the director and MGM certainly saw the value in doing so in 1947, when it announced that a film adaption of the story was going into production. Its’ eventual release in 1948 was a financial success for MGM, although profits would be slightly whittled down by the huge production cost.

Yet despite this, The Three Musketeers, directed by George Sidney, is not exactly MGM at its’ very best though critics generally gave it good reviews, including Bosley Crowther. Over time, however, critics have been less kind in their reviews. In fairness, the negative criticisms are not unfounded. Visually, The Three Musketeers is a Technicolor extravaganza that is perhaps a little too saturated in rich colour and goes way over the top in the costume department. The film is also over-long with certain scenes drawn out, unnecessary and laboured to the point of distraction. As a result, the pacing of the film goes awry. Additionally, the direction of the film at certain points becomes disjointed, with the film not able to decide whether it is rollicking fun-filled romp, petty melodrama, romance or dark historical drama. The romance scenes are as cheesy as you can get and Kelly’s wooing of June Allyson is cringe-worthy of the highest degree. And just for good measure, the casting is also a little off-key, despite some great talent.

Let’s have a look at the story.

The oft-told story has the young, naïve and slightly grandiose D’Artagnan (portrayed by the not-so-young Gene Kelly) heading to Paris to fulfil his dream of becoming a Musketeer. On his journey, he immediately finds himself in trouble, which will inadvertently find him committed to fight three duals in one day – against the very men he intends to join, the Three Musketeers. In the process of the first duel against Athos (Van Heflin), the guards of the King’s powerful Prime Minister Richelieu (Vincent Price) interrupt them and a mighty sword fight ensues. D’Artagnan fights alongside and wins the admiration of the three, who embrace him into their friendship group.

But he is drawn into further intrigue when he falls in love with Constance (June Allyson), a lady-in-waiting of the Queen (Angela Lansbury). Given a set of 12 diamonds by her husband the King (Frank Morgan), she instead offers them as a gift to her lover the English Duke Of Buckingham (John Sutton). Richelieu learns of this and sees an opportunity to gain mileage out of it but our heroic group set out to retrieve the jewels from England, facing danger, whilst Richelieu employs the treacherous and beautiful Countess de Winter (Lana Turner).

It’s all part of his scheme to bring France and England to war, and thus seize the throne for himself. However, D’Artagnan is successful in his mission and returns with the jewels including two replacements, previously stolen by the Countess.

Impressed by D’Artagnan’s courage, Richelieu attempts to gain his services by not only kidnapping Constance but by also using the Countess to seduce and distract the young aspiring musketeer. But as he starts to fall for the Countess, D’Artagnan discovers a terrible truth from the long-suffering Athos – the Countess is actually Athos’ wife, condemned to death for her treachery.

After much turmoil, war does break out and although things do not go well for Richelieu, he is not yet undone. The Musketeers discover proof, which will implicate Richelieu in his evil plans but they must first deal with the Countess as well as maintain the King’s good graces. The final ending will not be revealed here!

There’s a fair amount of silliness, barely believable character development and motivation and political intrigue that makes little sense. So why do I enjoy the film?

Because it is fun to watch – even with all the nonsense.

There is some weak casting but the strengths outweigh any weaknesses. True, Gene Kelly is not exactly what many might picture as a believable D’Artagnan, considering Kelly’s age at the time. But he was certainly dedicated to the role. Kelly, who had long held an ambition to play the role, previously and famously played in the 1921 silent version by the legendary Douglas Fairbanks Snr, particularly championed the production of the film. According to Gene Kelly, Fairbanks had been a boyhood hero of his, and marvelled at his acrobatic skill and screen presence, leaving the boy with dreams of matching the great man’s skills. In a February 1985 issue of Interview, Kelly stated that his greatest influence was the legendary silent screen star: ‘I couldn’t believe his grace, his moves, his athleticism’. Despite a long-standing dream of playing the role, Kelly would admit that it was a taxing time playing D’Artagnan, outlining in a 1991 interview with Reflections:

“Every time I think about The Three Musketeers I want to groan…ouch! I feel sore and stiff at just the thought of it… I had to go into training for that picture just like a prizefighter before a fight”.

Additionally, Kelly himself had the athleticism and physical skill of an amazing dancer and he brings this to the portrayal. Kelly’s D’Artagnan is formidable and incredibly skilled with the sword, and the amazing sword fights and action are breathtaking in their choreography and some of the best on screen. Kelly would state:

We studied two hours a day with Jean Heremans, the national fencing champion of Belgium, to learn how to fence. What a genius he was. When he had finished with us we, who were greenhorns, were able to fight with one hand tied behind. It was hard work.”

All the training and hard work appears seamless on the screen and it’s one of the great strengths of the film. Furthermore, Kelly does bring a vivaciousness, joy and carefree naivety that fit the portrayal quite well.

A number of critics haven’t thought much of Van Heflin as Athos but he’s believable as the tormented musketeer haunted by a past and drowning his sorrows in drink. Heflin conveys the tragedy of Athos’ life with authenticity and the final scenes, which bring his personal tragedy to a head, are also done well.

But perhaps the best casting is Lana Turner as the Countess. She is absolutely gorgeous to look at and as dangerous as a femme fatale. By all reports, she wasn’t too keen on the role but MGM prevailed upon her and we get to see Turner in her first Technicolor film. The final scenes as she faces justice are also beautifully done. Also outstanding is Vincent Price as Richelieu. The combination of his physicality, wonderful voice and incredible confidence shapes a memorable and completely believable villain.

Production wise, there was no hold back on the cost. All the hallmarks of a classic MGM production are present. The MGM used their back-lot well and the keen eye will recognise some of the sets being used in period pieces and historical dramas, not to mention the odd musical. Street scenes, inns, palaces and gardens all evoke the era and our hero and his cohort seem right at home there as they make merry, fight and carouse.

Truth to be told, The Three Musketeers is superficial silliness and yes, there is plenty that could have been fixed. But put aside critical analysis and it’s also a lot of fun. The fact that it’s gaudy and over-the-top shapes its’ appeal and despite the director unsure of his film’s identity, it never truly take itself seriously. And we all need that type of film from time to time.

This article has been submitted for the 2018 Classic Comfort Movie Blogathon, hosted by The Classic Film And TV Cafe Blog. Please click on the following link for access to more articles for this blogathon – https://www.classicfilmtvcafe.com/2018/05/celebrate-national-classic-movie-day.html

Paul Batters teaches secondary school History in the Illawarra region and also lectures at the University Of Wollongong. In a previous life, he was involved in community radio and independent publications. Looking to a career in writing, Paul also has a passion for film history.  

The Three Musketeers (1948) – For A Lazy Sunday Afternoon by Paul Batters 'Who wants to live 'till the last bottle is empty? It's all-for one, d'Artagnan, and one for all!'

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Grace Kelly's Mrs Kane in High Noon

Grace Kelly’s Mrs Kane in High Noon

High Noon (1952). A masterpiece western which I must admit, I appreciate more on viewing it this time round than the first time. It may be one of two reasons: 1) the fact that I know what it is about and so can concentrate on other aspects or 2) the fact that I viewed it with a focus on Grace Kelly for the Grace Kelly Blogathon. Either way, it is still a brilliant movie that has more to it than…

[flapperdame16]

Grace Kelly Blogathon: Mogambo

This entry is part of “The Wonderful Grace Kelly Blogathon” hosted by Virginie at “The Wonderful World of Cinema”. I would personally like to thank her for allowing me to participate at such short notice. This is officially my first blogathon- I entered at the last minute- its Grace Kelly, my favorite actress so I couldn’t let it pass me by!  For me, Mogambo was the second Grace Kelly picture I saw, and I watched for the first time on my 17th Birthday.

(Photo-Wikipedia)

Mogambo… what is Mogambo? According to the trailer, Mogambo means “The Greatest”. And maybe that’s because MGM really had the “greatest” elements going for the film- Technicolor, location shoot, and the “greatest” actor in all of Hollywood, the king of himself, Mr. Clark Gable. Of course, MGM also had the “greatest” source material for the picture, as Mogambo was to be a remake of their own 1932 Jean Harlow pre-code Red Dust (which also had Gable as the leading man- Only Gable can replace Gable folks, even if its twenty years later!)

Like its predecessor, Mogambo was to have the same plot- two women (one married, one single) vying for the affections of Clark Gable in an exotic location- but instead of taking place on an Indochina rubber plantation, Mogambo was to be set in the African jungle. To cast the female leads, MGM turned to some of Gable’s former co-stars: Ava Gardner, who had previously worked with Gable on both The Hucksters and Lone Star; and Gene Tierney, his leading lady from Never Let Me Go. With Gable, Gardner, Tierney and veteran western/ action director John Ford all attached, Mogambo was set to be a smash even before it hit the big screen.

So how does the wonderful Grace Kelly fit in of this? It actually turned out to be a twist of fate, as right before filming began, Gene Tierney dropped out due to illness. Needing to find a new actress for the part, John Ford went to MGM executives and showed them Grace’s 1950 screen test from the film Taxi. Of her test, Ford said Ms. Kelly had “Breeding, Quality and Class�� (I agree Mr. Ford, I agree!!!)

At the time Grace only had two films to her name, (14 Hours and High Noon) but MGM execs clearly agreed with Ford when they offered her the role of Linda Nordley (the married woman; Donald Sinden played her husband), as well as the traditional 7 year studio contract. Grace accepted, but careful as ever, signed on the conditions that A- she was able to live in New York and B- every two years she could get time off to work in the theater.

Filming took place from Fall 1952- Winter 1953. During the duration of the shoot, Grace naturally got along with all her co-stars (she found a life-long friend in Ava Gardner; with Clark, while on location, she joined him on hunting trips ) and even impressed everyone at dinner one night by ordering in Swahili! On the downside, behind the scenes, there were also some problems- Frank Sinatra and Ava’s deteriorating marriage (and her abortion during a filming break), Ford’s nasty treatment to all the stars, and of course the alleged “affair” between Gable and Grace.

In the end, however, Grace’s hard work prevailed, as was she was nominated both for a Golden Globe and an Oscar with both noms in the category of Best Supporting Actress. I think Grace gave a good performance and her character proves glamour can exist even in the most un-glamourous of places. Her scenes with Gable and Gardner are well acted and it’s easy to believe she’s falling for Gable, even though she’s a married woman. The costumes are also wonderful as Helen Rose made Grace to be “Safari Chic”.

Today, Mogambo may not be regarded as a “classic” classic, however, it still is a fan favorite and is considered by many to be John Ford’s most under rated work.  I think Grace herself summed it up well as to why we still watch the film today, when she later said,“Mogambo had three things that interested me-John Ford, Clark Gable, and a trip to Africa.”  

(photo- DVD Beaver)

What I like about Mogambo is even though it’s a re-make- it’s a good one that’s worth watching. It’s different to Red Dust and is not a shot by shot, word for word re-make. The film also has nice parallel between Grace and Mr. Gable, in regards to their careers- his last real success and a breakout performance for her. My favorite scene has to be the lake scene with Clark, Grace, and their embrace- it’s just so pretty and it’s really the moment Grace’s character falls for Clark’s (seriously who can blame Grace!!)

After all everyone, with talent like that Mogambo truly is “The Greatest”!

Sources

Spoto, Donald.  High Society: The Life of Grace Kelly.  1st Ed.  New York: Harmony Books, 2009.  Print.

[viviqueen]

The 6th Wonderful Grace Kelly Blogathon that I'm co-hosting with The Flapper Dame (@flapperdame16) via The Wonderful World of Cinema is here! Starting today, we're honoring the memory of this amazing lady on the occasion of what would have been her 95th anniversary.

[viviqueen]

Reminder for film bloggers! 📣

The 6th Wonderful Grace Kelly Blogathon that I co-host with The Flapper Dame (@flapperdame16) via The Wonderful World of Cinema begins on November 12. There's still plenty of time to subscribe, but don't wait too long!

Infos + registrations HERE.

[viviqueen]

CALLING FILM BLOGGERS!

Emily from The Flapper Dame (@flapperdame16) and I at The Wonderful World of Cinema are back to co-host THE WONDERFUL GRACE KELLY BLOGATHON for a 6th edition! Next November 12-14, 2024, we'll celebrate the life and career of our favourite actress who would have been 95.

Subscribe here : https://thewonderfulworldofcinema.wordpress.com/2024/09/21/the-wonderful-grace-kelly-blogathon-returns-for-a-6th-edition/

Make sure to watch our trailer : https://youtu.be/U4ZudE1RQsM

[viviqueen]

I'm thrilled to announce that the Wonderful Grace Kelly Blogathon will be back this year! This is a very special edition, not only because it's the 5th one (!) but also because it will mark what would have been Grace's 90th birthday! Emily from The Flapper Dame and Samantha from Musings of a Classic Film Addict are co-hosting with me. :)

[viviqueen]

I’ll be co-hosting the 4th Wonderful Grace Kelly Blogathon via The Wonderful World of Cinema with Emily from The Flapper Dame! @flapperdame16

Please click HERE to subscribe!

[viviqueen]

I wrote this article about Grace Kelly guest appearance on the famous British radio program Desert Island Discs. I hope you'll find this interesting!

[theflapperdamefilm]

Grace Kelly Blogathon

This entry is part of “The Wonderful Grace Kelly Blogathon” hosted by Virginie at “The Wonderful World of Cinema”. I would personally like to thank her for allowing me to participate at such short notice. This is officially my first blogathon- I entered at the last minute- its Grace Kelly, my favorite actress so I couldn’t let it pass me by!  For me, Mogambo was the second Grace Kelly picture I saw, and I watched for the first time on my 17th Birthday.

(Photo-Wikipedia)

Mogambo… what is Mogambo? According to the trailer, Mogambo means “The Greatest”. And maybe that’s because MGM really had the “greatest” elements going for the film- Technicolor, location shoot, and the “greatest” actor in all of Hollywood, the king of himself, Mr. Clark Gable. Of course, MGM also had the “greatest” source material for the picture, as Mogambo was to be a remake of their own 1932 Jean Harlow pre-code Red Dust (which also had Gable as the leading man- Only Gable can replace Gable folks, even if its twenty years later!)

Like its predecessor, Mogambo was to have the same plot- two women (one married, one single) vying for the affections of Clark Gable in an exotic location- but instead of taking place on an Indochina rubber plantation, Mogambo was to be set in the African jungle. To cast the female leads, MGM turned to some of Gable’s former co-stars: Ava Gardner, who had previously worked with Gable on both The Hucksters and Lone Star; and Gene Tierney, his leading lady from Never Let Me Go. With Gable, Gardner, Tierney and veteran western/ action director John Ford all attached, Mogambo was set to be a smash even before it hit the big screen.

So how does the wonderful Grace Kelly fit in of this? It actually turned out to be a twist of fate, as right before filming began, Gene Tierney dropped out due to illness. Needing to find a new actress for the part, John Ford went to MGM executives and showed them Grace’s 1950 screen test from the film Taxi. Of her test, Ford said Ms. Kelly had “Breeding, Quality and Class” (I agree Mr. Ford, I agree!!!)

At the time Grace only had two films to her name, (14 Hours and High Noon) but MGM execs clearly agreed with Ford when they offered her the role of Linda Nordley (the married woman; Donald Sinden played her husband), as well as the traditional 7 year studio contract. Grace accepted, but careful as ever, signed on the conditions that A- she was able to live in New York and B- every two years she could get time off to work in the theater.

Filming took place from Fall 1952- Winter 1953. During the duration of the shoot, Grace naturally got along with all her co-stars (she found a life-long friend in Ava Gardner; with Clark, while on location, she joined him on hunting trips ) and even impressed everyone at dinner one night by ordering in Swahili! On the downside, behind the scenes, there were also some problems- Frank Sinatra and Ava’s deteriorating marriage (and her abortion during a filming break), Ford’s nasty treatment to all the stars, and of course the alleged “affair” between Gable and Grace.

In the end, however, Grace’s hard work prevailed, as was she was nominated both for a Golden Globe and an Oscar with both noms in the category of Best Supporting Actress. I think Grace gave a good performance and her character proves glamour can exist even in the most un-glamourous of places. Her scenes with Gable and Gardner are well acted and it’s easy to believe she’s falling for Gable, even though she’s a married woman. The costumes are also wonderful as Helen Rose made Grace to be “Safari Chic”.

Today, Mogambo may not be regarded as a “classic” classic, however, it still is a fan favorite and is considered by many to be John Ford’s most under rated work.  I think Grace herself summed it up well as to why we still watch the film today, when she later said,“Mogambo had three things that interested me-John Ford, Clark Gable, and a trip to Africa.”  

(photo- DVD Beaver)

What I like about Mogambo is even though it’s a re-make- it’s a good one that’s worth watching. It’s different to Red Dust and is not a shot by shot, word for word re-make. The film also has nice parallel between Grace and Mr. Gable, in regards to their careers- his last real success and a breakout performance for her. My favorite scene has to be the lake scene with Clark, Grace, and their embrace- it’s just so pretty and it’s really the moment Grace’s character falls for Clark’s (seriously who can blame Grace!!)

After all everyone, with talent like that Mogambo truly is “The Greatest”!

Sources

Spoto, Donald.  High Society: The Life of Grace Kelly.  1st Ed.  New York: Harmony Books, 2009.  Print.