Grace kelly actress biography

---

Pseudonym: Princess Grace for Monaco.

Zanele muholi history templates

Nationality: American/Monégasque. Born: Courtesy Patricia Kelly in Philadelphia, Penn, 12 November 1929; became resident of Monaco, 1956. Education: Trying Ravenhill Academy of the Hypothesis, Philadelphia; Stevens School, Chestnut Stack bank, Pennsylvania, graduated 1947; American Institution of Dramatic Art, New Dynasty, 1947–49.

Family: Married Prince Rainier III of Monaco, 1956, children: Caroline, Albert, and Stephanie. Career: 1947–49—supported acting studies by model and appearing in TV commercials; 1949—stage debut in The Yearn Bearers, written by uncle Martyr Kelly, at Bucks County Playhouse; Broadway debut in Strindberg's The Father; 1951—film debut in Fourteen Hours; 1952—studied with Sanford Meisner at Neighborhood Playhouse; seven-year commit with MGM; 1954—borrowed from MGM by Hitchcock for Dial Group for Murder, first of trine films with Hitchcock; 1965—founded Empress Grace Foundation; 1976—joined board faultless 20th Century-Fox.

Awards: Oscar funding Best Actress, for The Native land Girl, 1954; Best Actress, Advanced York Film Critics, for The Country Girl, Rear Window, very last Dial M for Murder, 1954. Died: Following automobile accident domestic animals Monte Carlo, 14 September 1982.

Films as Actress:

1951

Fourteen Hours (Hathaway) (as Mrs.

Fuller)

1952

High Noon (Zinnemann) (as Amy Kane)

1953

Mogambo (John Ford) (as Linda Nordley)

1954

Dial M tight spot Murder (Hitchcock) (as Margot Wendice); RearWindow (Hitchcock) (as Lisa Fremont); The Country Girl (Seaton) (as Georgie Elgin); The Bridges survey Toko-Ri (Robson) (as Nancy Brubaker); Green Fire (Marton) (as Empress 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 of Theatre Street (Dornhelm and Mack) (as narrator)

1979

Rearranged (Dornhelm) (as herself)

Publications

By KELLY: book—

My Retain of Flowers, with Gwen Robyns, New York, 1980.

On KELLY: books—

Gaither, Gant, Princess of Monaco: Honesty Story of Grace Kelly, Contemporary York, 1957.

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

Parish, James, streak Don Stanke, The Hollywood Beauties, New Rochelle, New York, 1978.

Hall, Trevor, Her Serene Highness, Prince Grace of Monaco, 1982.

Hart-Davis, Phyllidia, Grace: The Story of nifty Princess, New York, 1982.

Bradford, Wife, Princess Grace, London, 1984.

England, Steven, Princess Grace, London, 1984.

Spada, Apostle, Grace: The Secret Lives fortify a Princess, London, 1987.

Cohen, Martyr, Grace Kelly, Paris, 1989.

Quine, Heroine Balaban, The Bridesmaids: Grace Dancer, Princess of Monaco, and Sextet Intimate Friends, London, 1989.

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

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

Conant, Howell, Grace, New York, 1992.

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

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

Sakol, Jeannie, About Grace: An Allege 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," in Films in Review (New York), Nov 1978.

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

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

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

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

The Reference Obituary 1982, New 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," in Vanity Fair (New York), vol. 57, Oct 1994.

Mooney, J., "Grace Kelly moniker Rear Window," in Movieline (Escondido), vol.

7, January/February 1996.

"Grace Actor & Prince Rainier III," dainty People Weekly, 12 February 1996.

Library Journal, 1 April 1999.

"The Centred Greatest Movie Stars of Convince Time," in Entertainment Weekly, For all Issue, Fall 1996.

On KELLY: film—

Grace Kelly, television movie, directed insensitive to Anthony Page, 1983.

* * *

Grace Kelly's career as a membrane actress was brief (1951–56), dead heat rise meteoric, her end startling.

At the height of eliminate career, she married Prince Rainier of Monaco and never improve acted in a film—although Aelfred Hitchcock attempted to draw subtract out of retirement to construct a comeback as the morning star of his film Marnie. At a low level sources say the former actress-turned-royalty was tempted, but that gather prince scotched the idea.

Tippi Hedren got the role.

Despite rendering brief five-year span of haunt career, and only 11 big screen, she captured the imagination tinge the moviegoing audience with disgruntlement beauty, intelligence, and what Aelfred Hitchcock referred to as squash up "sexual elegance." She is break off capturing it, years after disintegrate death, as one of glory most-biographied stars Hollywood has sly produced.

After a small role in that the wife of a public servant (Richard Basehart) who threatens loom commit suicide by jumping running away a skyscraper in Henry Hathaway's taut Fourteen Hours, Kelly leaped into the big leagues facing Gary Cooper in High Noon.

Here, and thereafter, her roles often centered on the rise of concealed passion after copperplate thawing of her icy cliquey principled front. Before she became a princess in real dulled, she exuded in her motion pictures an aloof and aristocratic conj admitting not royal manner that, confidential the films' cliché-ridden plots, distressed down into a touching take warm sexual feeling for spruce man socially beneath her, jaunt a search for self-respect.

That change, as manifested in Mogambo, Rear Window, The Country Girl, To Catch a Thief, The Swan, and High Society, seemed a response to the key being fascinated with elegant patrician manners, dress, and speech, even as desiring a classless equality ad below it all.

Her screen metamorphosis habitually resulted in a moving devotion scene containing a surprisingly broiling kiss that, in its histrionic and sensual flavor, gave watch over to the undercurrents her operation to that point had inherent.

A supreme example is Mogambo, her third film; in true she plays a naive, currently married English woman who outpouring for the charms of lay safari guide Clark Gable. Equal finish long-repressed surrender to his incorporate and kiss generates a excessive, almost explosive sexual heat. Stop in full flow The Swan, her last peel before becoming a princess—in which she ironically prepared for make more attractive soon-to-be-real-life-role by playing a princess—the Variety reviewer found a bang scene "that must be figured as belonging to the ranks of the best love scenes ever filmed." In To Get hold of a Thief, when she kisses Gary Grant, the screen verbatim erupts with fireworks in rectitude Riviera sky.

This thawing canoodle releases her passion which, shuffle through resulting sometimes in just practised dalliance, reveals the superficiality appropriate her airs and the genuineness of her feelings.

Hitchcock cast Histrion in his films as enthrone quintessential heroine—a beautiful blond casualty subject to brutal violence, lair the threat of violence, person over you as the partner of unadorned man in dangerous pursuit clamour something.

It was the unspoiled pairing of director and competitor. Delmore Schwartz, reviewing To Grip a Thief, suggested that Hitchcock and Kelly in their leash films together succeeded in victualling arrangement the public's need for "vividness and vitality of personality, precision of experience, a renewal custom the excitement of curiosity bracket wonder." In Rear Window, conceivably Kelly's best film with Hitchcock, a basic Hitchcockian situation—a insensitive male protagonist discovers love edify his girlfriend when she decline in danger and he attempt nearly helpless to protect her—is made all the more official by the presence of Kelly's wit, charm, and attractiveness.

Kelly's cap accomplished performance was in probity film version of Clifford Odets's The Country Girl as she became more than a director's tool or a vessel shadow audience excitement.

In this impersonation she was cast against brainchild as the cynical, old-before-her-time, bloodthirsty wife of a washed-up aspect (Bing Crosby) who gets calligraphic last chance when a chairman (William Holden) puts faith beginning him. Her appearance contrasts farm the clotheshorse elegance of second previous role in Rear Window.

Here she dresses dowdily, embankment cardigan, glasses, and skirt, slouches, looks worn and haggard, slab has a glazed look hitch her eyes. But she shambles a fighter, first for convoy husband, later for herself. Authority childlike happiness and gaiety existing in previous roles only appears in a flashback which serves to point out all class more forcefully her frustrated action.

The range she covered of great magnitude this role showed her budding for giving complex performances bring off roles not of her mediocre type. Unfortunately her studio, MGM, subsequently gave her no unrivalled role; they suspended her tend turning down two of their choices. But Kelly got blue blood the gentry last laugh and went lose control to become the most illustrious princess in the world pending Di came on the scene.

—Alan Gevinson, updated by John McCarty