Photoplay (Jul-Dec 1947)

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Same A ge City _ _ State _ Portrait in Quicksilver ( Continued from, page 71) and scholar; gay man-about-town — moody and hypersensitive; equally jovial and relaxed. The life of any party and a worrier when he works. One room in his studio dressing room suite is ultra-conservative, boasts his two beloved antique lamps with the lapis lazuli bases he bought with the first big money he earned. The inner dressing room is all done up in red-striped wallpaper and strictly carnival motif. His eight-foot studio bed at home, surrounded as it is by titled furniture, dares a yellow quilted spread. And his collection of valuable Boudin paintings must feel chastened by the cherished cream-colored Ford convertible with the red trim that he drives. Concerning his more serious side, Cary’s perfected the art of worrying along with everything else. He does it very well. Acutely sensitive to the feelings of others, he worries exaggeratedly about any word or act of his that might be misinterpreted and hurt the person involved. He worries about the international chaos in the headlines and will stop reading his morning newspaper because reading it makes him too depressed. He keeps a little black book always with him in which he notes long lists of things he’s promised to do. A request for a picture or a promise to call somebody the next morning at ten. And he spends from one to two hours daily clearing his book. The guy who never thought he’d hear from him again gets a ring at 9:59, “This is Cary. I said I’d call . . .” HE TAKES his work even more seriously and worries about a picture from the opening shot until it breaks all box-office records and the rave reviews come in. Henry Koster, who directed him in the Samuel Goldwyn production, “The Bishop’s Wife,” and who has great admiration for Grant’s “tremendous talent,” echoes a common directorial sentiment. “Cary’s a thinking man. If you convince him that you’re right, you have to prove why, and if you can’t show him . . . then you start all over again,” he laughed. Why he worries so much over minute details, with all of his stature and some thirteen years of successful hits behind him, is a matter of conjecture. It could be a deep feeling of insecurity carried over from his early years of hardships, when he lived on hot dogs and fifty cents a day. Sometimes, in reminiscing about the stiltwalking stanza, he says he used to walk in fear, constantly afraid some hoodlums would run between his legs, knock him down and break his knees, and that he wouldn’t be able to find an acting job when the Broadway season opened again in the fall. Or it could be that he doesn’t place enough value on what he’s achieved. That he’s still reaching for the ultimate . . . and doesn’t realize he’s practically up to his dimpled chin in it right now. Cary’s versatility has been unanimously acclaimed, what with his underplaying in “Notorious,” his brash yet sensitive role in “None But the Lonely Heart,” his wideopen comedy in “The Bachelor and the Bobby-soxer,” to name three. He’s recognized as one of the finest comedians in films, and by many as the greatest pantomime artist since Chaplin. Irving Reis, who directed him in “The Bachelor and the Bobby-soxer,” praises Cary’s rare gift of timing and facial reactions. “He can express more with one flick of an eyelash than most players can with a page of dialogue,” he says. And Myrna Loy, who’s starring with him again at RKO in “Mr. Blandings Builds His Inspired by romance . . . designed to capture his heart, yet softly feminine. 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