The seven deadly sins of Hollywood (1957)

THE SEVEN DEADLY SINS OF HOLLYWOOD sin here?), and add that I don't think commercials go very well with marriage vows. He says, "Well, you know how it is. The studio takes charge . . . and the Palace, I suppose. Blame them. Don't blame Grace. She's a sweet, sincere person. A wedding like that can get out of hand. I know how this sort of thing can happen. . . . I was married once to a woman called Barbara Hutton." I enquire whether he will be going to the wedding. "I don't think so," he says. "I could never get my wife to wear a hat, and I am told hats will be worn." We discuss the changing acting techniques of Hollywood. Grant belongs to the old school of personable actors who usually play themselves. "You'd be surprised how difficult it is," he says. "I'm a great admirer of Marlon Brando. But you know, frankly, it's the easiest sort of acting when you can make faces all the time and hide behind them. Half these brilliant young actors from Actors' Studio, when they are told to pick up a glass and take a drink — they can't do it. They have to put some significance into it. They have to load it with hidden meanings. When Brando does a role he starts with the skeleton and adds to it detail by detail, filling it in. It's all intellectually worked out. But these boys — they can't just pick up a glass and take a drink so that the ice doesn't clink in the glass and sound like a thunderstorm on the soundtrack and so that the lights don't reflect on the glass. The technicians work like blazes to cover for them. Now Spencer Tracy, when he is told 'Stub out your cigarette and take a drink', he doesn't ask, 'What is the hidden motivation?' He just does it. And he can do it so the ice doesn't clink." Grant tells me he is orT to Spain to make The Pride and the Passion with Sophia Loren and Frank Sinatra. He and his wife Betsy Drake, he says, will go on a freighter. They don't care for the large liners. On a 14