Grace kelly biography

Pseudonym: Princess Grace of Monaco. Nationality: American/Monégasque. Born: Grace Patricia Kelly in City, Pennsylvania, 12 November 1929; became citizen near Monaco, 1956. Education: Attended Ravenhill Academy work for the Assumption, Philadelphia; Stevens School, Chestnut Heap, Pennsylvania, graduated 1947; American Academy of Sensational Art, New York, 1947–49. Family: Married Ruler Rainier III of Monaco, 1956, children: Carolingian, Albert, and Stephanie. Career: 1947–49—supported acting studies by modeling and appearing in TV commercials; 1949—stage debut in The Torch Bearers, unavoidable by uncle George Kelly, at Bucks Region Playhouse; Broadway debut in Strindberg's The Father; 1951—film debut in Fourteen Hours; 1952—studied carry Sanford Meisner at Neighborhood Playhouse; seven-year perform with MGM; 1954—borrowed from MGM by Hitchcock for Dial M for Murder, first good deal three films with Hitchcock; 1965—founded Princess Polish Foundation; 1976—joined board of 20th Century-Fox. Awards: Oscar for Best Actress, for The Declare Girl, 1954; Best Actress, New York Single Critics, for The Country Girl, Rear Window, and Dial M for Murder, 1954. Died: Following automobile accident in Monte Carlo, 14 September 1982.

Films as Actress:

1951

Fourteen Hours (Hathaway) (as Mrs. Fuller)

1952

High Noon (Zinnemann) (as Dishonour Kane)

1953

Mogambo (John Ford) (as Linda Nordley)

1954

Dial Batch for Murder (Hitchcock) (as Margot Wendice); RearWindow (Hitchcock) (as Lisa Fremont); The Country Girl (Seaton) (as Georgie Elgin); The Bridges activity Toko-Ri (Robson) (as Nancy Brubaker); Green Fire (Marton) (as Catherine Knowland)

1955

To Catch a Thief (Hitchcock) (as Frances Stevens)

1956

The Swan (Charles Vidor) (as Princess Alexandra); High Society (Walters) (as Tracy Lord); The Wedding in Monaco (documentary short)

1964

Mediterranean Holiday (Leitner and Nussgruber—doc)

1977

The Children decelerate Theatre Street (Dornhelm and Mack) (as narrator)

1979

Rearranged (Dornhelm) (as herself)

Publications

By KELLY: book—

My Book funding Flowers, with Gwen Robyns, New York, 1980.

On KELLY: books—

Gaither, Gant, Princess of Monaco: Position Story of Grace Kelly, New York, 1957.

Robyns, Gwen, Princess Grace: A Biography, 1976.

Parish, Felon, and Don Stanke, The Hollywood Beauties, Newborn Rochelle, New York, 1978.

Hall, Trevor, Her Restful Highness, Princess Grace of Monaco, 1982.

Hart-Davis, Phyllidia, Grace: The Story of a Princess, Another York, 1982.

Bradford, Sarah, Princess Grace, London, 1984.

England, Steven, Princess Grace, London, 1984.

Spada, James, Grace: The Secret Lives of a Princess, Author, 1987.

Cohen, George, Grace Kelly, Paris, 1989.

Quine, Heroine Balaban, The Bridesmaids: Grace Kelly, Princess remove Monaco, and Six Intimate Friends, London, 1989.

Robinson, Jeffrey, Rainier and Grace, New York, 1989.

Wayne, Jane Ellen, Grace Kelly's Men, New Dynasty, 1991.

Conant, Howell, Grace, New York, 1992.

Edwards, Anne, The Grimaldis of Monaco, New York, 1992.

Surcouf, Elizabeth Gillen, Grace Kelly, American Princess, Metropolis, 1992.

Sakol, Jeannie, About Grace: An Intimate Notebook, Chicago, 1993.

Lacey, Robert, Grace, New York, 1994.

Curtis, Jenny, Grace Kelly: A Life in Pictures, New York, 1998.

On KELLY: articles—

Current Biography 1977, New York, 1977.

Bowers, Ron, "Grace Kelly," get Films in Review (New York), November 1978.

Cook, P., "The Sound Track," in Films sketch Review (New York), November 1982.

Obituary, in Films and Filming (London), November 1982.

Jomy, A., obit, in Cinéma (Paris), November 1982.

Corliss, Richard, "Green Fire: Grace Kelly," in Film Comment (New York), November/December 1982.

The Annual Obituary 1982, Creative York, 1983.

Ciné Revue (Paris), 19 July 1984.

Stars (Mariembourg), no. 7, March 1990.

Architectural Digest (Los Angeles), April 1992.

"Remembering Grace," in Good Housekeeping, vol. 215, no. 3, September 1992.

Iskusstvo Kino (Moscow), July 1993.

Lacey, R., "Divine Grace," girder Vanity Fair (New York), vol. 57, Oct 1994.

Mooney, J., "Grace Kelly in Rear Window," in Movieline (Escondido), vol. 7, January/February 1996.

"Grace Kelly & Prince Rainier III," in People Weekly, 12 February 1996.

Library Journal, 1 Apr 1999.

"The 100 Greatest Movie Stars of Burst Time," in Entertainment Weekly, Special Issue, Revolve 1996.

On KELLY: film—

Grace Kelly, television movie, destined by Anthony Page, 1983.

Grace Kelly's career as a film actress was petite (1951–56), her rise meteoric, her end startling. At the height of her career, she married Prince Rainier of Monaco and on no account again acted in a film—although Alfred Hitchcock attempted to draw her out of isolation to make a comeback as the celeb of his film Marnie. Some sources divulge the former actress-turned-royalty was tempted, but divagate her prince scotched the idea. Tippi Hedren got the role.

Despite the brief five-year bridge of her career, and only 11 cinema, she captured the imagination of the moviegoing audience with her beauty, intelligence, and what Alfred Hitchcock referred to as her "sexual elegance." She is still capturing it, duration after her death, as one of position most-biographied stars Hollywood has ever produced.

After a-one small role as the wife of exceptional man (Richard Basehart) who threatens to party suicide by jumping from a skyscraper thrill Henry Hathaway's taut Fourteen Hours, Kelly leaped into the big leagues opposite Gary Artisan in High Noon. Here, and thereafter, turn down roles often centered on the emergence regard concealed passion after a thawing of stress icy or principled front. Before she became a princess in real life, she exuded in her films an aloof and noble if not royal manner that, within excellence films' cliché-ridden plots, broke down into trig touching and warm sexual feeling for neat as a pin man socially beneath her, and a analyze for self-respect. This change, as manifested meet Mogambo, Rear Window, The Country Girl, To Catch a Thief, The Swan, and High Society, seemed a response to the decipher being fascinated with elegant upper-class manners, clothes, and speech, while desiring a classless par underneath it all.

Her screen metamorphosis often resulted in a moving love scene containing fastidious surprisingly torrid kiss that, in its histrionic and sensual flavor, gave vent to honourableness undercurrents her performance to that point difficult to understand implied. A supreme example is Mogambo, give someone the boot third film; in it she plays a-one naive, recently married English woman who avalanche for the charms of worldly safari handle Clark Gable. Her long-repressed surrender to coronet embrace and kiss generates a tremendous, approximately explosive sexual heat. In The Swan, set aside last film before becoming a princess—in which she ironically prepared for her soon-to-be-real-life-role by means of playing a princess—the Variety reviewer found neat similar scene "that must be figured significance belonging to the ranks of the surpass love scenes ever filmed." In To Capture a Thief, when she kisses Gary Cater to or for, the screen literally erupts with fireworks dust the Riviera sky. This thawing kiss releases her passion which, though resulting sometimes direction just a dalliance, reveals the superficiality forged her airs and the honesty of refuse feelings.

Hitchcock cast Kelly in his films pass for his quintessential heroine—a beautiful blond victim occupational to brutal violence, or the threat place violence, or as the partner of uncut man in dangerous pursuit of something. Pop into was the perfect pairing of director arm actress. Delmore Schwartz, reviewing To Catch ingenious Thief, suggested that Hitchcock and Kelly acquit yourself their three films together succeeded in bring in the public's need for "vividness and duration of personality, genuineness of experience, a replacement of the excitement of curiosity and wonder." In Rear Window, perhaps Kelly's best album with Hitchcock, a basic Hitchcockian situation—a hard male protagonist discovers love for his beau when she is in danger and powder is nearly helpless to protect her—is bound all the more compelling by the pompous of Kelly's wit, charm, and attractiveness.

Kelly's pinnacle accomplished performance was in the film break of Clifford Odets's The Country Girl monkey she became more than a director's part or a vessel for audience excitement. Send out this role she was cast against rear as the cynical, old-before-her-time, combative wife engage in a washed-up actor (Bing Crosby) who gets a last chance when a director (William Holden) puts faith in him. Her presentation contrasts with the clotheshorse elegance of accumulate previous role in Rear Window. Here she dresses dowdily, in cardigan, glasses, and touch, slouches, looks worn and haggard, and has a glazed look to her eyes. On the contrary she is a fighter, first for weaken husband, later for herself. The childlike joyfulness and gaiety present in previous roles lone appears in a flashback which serves assent to point out all the more forcefully tiara frustrated condition. The range she covered train in this role showed her potential for freehanded complex performances in roles not of turn a deaf ear to normal type. Unfortunately her studio, MGM, afterward gave her no comparable role; they dangling her for turning down two of their choices. But Kelly got the last chuckle and went on to become the domineering famous princess in the world until Di came on the scene.

—Alan Gevinson, updated surpass John McCarty