Cary Grant (16 page)

9

E
ven before the
Berengaria
docked in New York City, Cary Grant knew his marriage to Virginia Cherrill was over. During the voyage she had talked about the type of home she wanted to make for them. The more elabo- rate and elegant she imagined it, the more Grant cringed. Even while living with Scott, who loved to decorate with the kind of ornate flourish that only inherited southern wealth could provide, Grant was content to have nothing more in the house in the hills than a chair or two, a version of his favorite bed, running water, a radio, and a refrigerator. Scott had filled the place for the both of them, and Grant had gone along with it primarily to please him. He did not have the desire to similarly accommodate his bride.

There were other problems as well. Cherrill had become extremely chatty during the long journey home—talking about everything from poetry to cooking. Unfortunately, nothing she went on about held the least bit of interest for Grant. He had had little formal education and did not consider himself an intellectual in any sense, or a gourmand. Whenever he and Scott talked, they mostly theorized about ways to increase their creative control and financial
stake in the films they worked on, via approval of script, casting, directors, profit participation, salary guarantees against gross, and so on. Cherrill, on the other hand, was completely uninterested in discussing the art
or
the business of acting. She told Grant she was more than willing to give up her movie career, such as it was. She may not have been the domestic type, but she knew she could offer Grant her beauty and the promise of good sex that went with it— two things in which Grant, at least as far as Cherrill could tell, now seemed utterly uninterested. It was almost as if all the action for Grant had been in the pursuit; as in the movies, when the couple married, the story ended. In the morning after of what should have been the biggest day of his life, he almost seemed surprised she was still there.

Upon arriving in New York City, Grant's mood seemed to brighten, and in lieu of an official honeymoon, he stole forty-eight hours from the studio and booked a suite in the Raleigh Hotel in midtown Manhattan. For the next two days he took delight in giving Cherrill an informed walking tour of the city as he had known it in the 1920s, and he showed her all his personal land- marks: the hotel he'd stayed in while with the Pender troupe, the small apartment he'd shared with Orry-Kelly, the beautiful turn-of-the-century the- aters he'd performed in, and the spirited dives he'd frequented when he had little or no money. It was a repeat of his Bristol tour without the accompa- nying emotional trauma.

Cherrill noted with some surprise Grant's affinity for what she took to be the seamier side of the city. When she made a joke about all the adolescent boys from England he'd had to live with, Grant never broke stride as he mat- ter-of-factly related to her stories about the games they used to play with one another, the measuring of their penises to see who had the biggest, the “circle jerks,” the rubbing up against one another at night for comfort—all the things, he said with a half-smile, that go on in boys' dormitories all over England, from Eton to Oxford. As she would tell friends and acquaintances later on and note in her diaries, it was the closest Grant ever came to admitting to her that he was bisexual. Not surprisingly, Grant's “confession,” his way of trying to explain himself to her now that they were man and wife, further dismayed Cherrill. Unable to see much without her glasses and always unwilling to wear them in public, she walked speechless with Grant mile after mile in a blind haze along the city's cement streets.

By the end of the two days (during which time their marriage was, according to Cherrill, still not officially consummated), she was more than ready to board the Santa Fe Chief at Grand Central Terminal for the three-day jour- ney back to Los Angeles.

At Union Station in downtown L.A., they were met by dozens of paparazzi, tipped by the studio on their arrival and eager to photograph the newlyweds. To avoid the gauntlet that Cherrill actually looked forward to, Grant insisted they duck out a side exit and into a limousine he had ordered in anticipation of the crush of the press.

They went directly to the house on West Live Oak Drive. To Cherrill's dismay, Randolph Scott was there, waiting for them at the front door. That was when she realized he had not moved out, that he was still living in the small house with, apparently, no intention of leaving. As Grant carried Cherrill over the crowded threshold, his other full-time live-in, Archie Leach, barked loudly at Cherrill, then ran out the back door and disappeared. The dog's running away threw Grant into a new funk that lasted the entire week until, seven days later, the tired-looking hound came loping back home.

Grant barely had time to celebrate, as the studio, which had given him a few extra days to search for his dog, now demanded his immediate return to work. Zukor needed him to put as much filmed product in the can as possi- ble, anticipating the studio's imminent bankruptcy and the selling off of its assets, the most valuable of which were finished movies.

The first feature Grant appeared in after returning to Hollywood was Marion Gering's
Thirty Day Princess,
costarring Sylvia Sidney and pro- duced by B. P. Schulberg's new independent production company (distrib- uted by Paramount), formed while Grant was in London. Schulberg's official departure from Paramount upset Grant, as he had always believed Schulberg was his strongest supporter at the studio.

Thirty Day Princess
is a variation on the old prince-and-pauper plot of switched identities and roles. A princess (Sidney, sporting an odd Asian- sounding accent despite her character's supposedly European origins—the “mythical kingdom of Taronia”) comes down with the flu at a particularly
inopportune time. An actress (also Sidney) is hired to impersonate her to fool a New York newspaper publisher (Grant), who has been critical of the princess. Upon “meeting” her, he falls in love with her stand-in. This slap- stick rondo goes around in circles for seventy-three tedious minutes. Grant hated everything about the film, including the haste with which it was made and the fact that once again he was cast in a role that Gary Cooper had rejected. The film was ready for release that May, barely four months to the day Grant and Cherrill had returned from England.

Cherrill, meanwhile, continued to feel uneasy living under the same roof with Grant
and
Scott, and as soon as
Thirty Day Princess
was finished, insisted that she and Grant move to a place of their own. Grant obligingly, if reluc- tantly, leased an apartment at the La Ronda complex, on Havenhurst just east of Hollywood. The next day Scott rented the one next door, and Cherrill threw a fit. While Scott moved in his things, a loud argument ensued between her and Grant that lasted deep into the night. By now Grant was convinced that divorce was going to be the only remedy for the misery he had inflicted upon himself by marrying Cherrill. He would have already filed if not for two considerations. The first was practical: his inherent thriftiness made him fear divorce and alimony in a state where mandatory “irreconcilable differences” settlements were based on residency, not the location of the wedding, and was almost always a fifty-fifty split of assets. He didn't feel like handing over half of everything he had because of a stupid mistake he'd made. The second con- sideration was more complex. More than anything else, he hated the notion of appearing to abandon anyone, even his wife
—especially
his wife—which would have been a clarion echo of his father's abandonment of Elsie. As a result, Grant was emotionally paralyzed and withdrew even further from Cherrill. When they did communicate, he passively avoided the big issue by arguing with her over the smallest and most insignificant ones.

Their constant bickering continued through the release of four more unremarkable Cary Grant “tuxedo” movies that he was happy to lose himself in, if for no other reason than to get away from the situation at home. They were all made in the space of seven months, and none earned back its cost. Lowell Sherman's
Born to Be Bad
costarred Loretta Young and was released May 18, 1934, with Grant on cash loan to Darryl F. Zanuck's 20th Century. In Harlan Thompson's
Kiss and Make Up,
opposite Helen Mack, Grant sang
“Love Divided by Two,” written for him by Leo Robin and Ralph Rainger. In Frank Tuttle's
Ladies Should Listen,
Grant played opposite Frances Drake, and in one of Paramount Publix's final films, Elliott Nugent's
Enter Madame,
Grant starred opposite Elissa Landi.

In these movies, Grant can be seen with his hands in his pockets, trying to act suave, even interested. His reversion to pocket-posing was a manifestation of his boredom with playing the same uninteresting character over and over again, and his resident insecurity as an actor that always surfaced when- ever he felt unprotected by the lack of a strong script, a solid director, a tal- ented lighting designer, or a perfectionist cinematographer. Indeed, what is most notable about these movies is how similarly unremarkable they are, how glossy without shine their black-and-white photography appears, and how mechanically their mise-en-scène is presented. These were, pure and simple, product, the final churn-out of the Paramount Publix factory that in its endgame specialized in these hurried, repetitious, and banal feature films.

Of the actresses Grant played opposite in this cluster of features, Landi was the one he most favored, but not for the reasons one might suspect. At the time Landi was struggling to make it as an actress without having signed to any studio (although she had been offered a contract by several, including Paramount). She would not go on to become a star, despite her good looks and appealing onscreen personality, at least in part because of her unwillingness to become a contract player for any of the majors—an act of courage and tenacity Grant admired. Landi's failed attempt at autonomy became an early reference point as well as an object lesson for Grant, whose growing desire to gain control of his own cinematic destiny made him feel, more than ever after these last pictures, like a mouse in a wheel toy, running faster and faster and still getting nowhere.

Not long after, Grant petitioned Zukor and his collapsing studio to loan him out to MGM, where a film version of the popular book
Mutiny on the Bounty
by Charles Nordhoff and James Norman Hall was being planned. By now loaning had become so common among studios that Irving Thalberg, the legendary head of production at MGM, thought nothing of mentioning to Grant at a party that they both happened to attend just how much he would like to have him play the part of Midshipman Roger Byam in
Mutiny.
It was a special role, the always charming and articulate Thalberg explained,
one that called for a personality of enormous intelligence and positive appeal with a rational eloquence, a balance between the extremes of the evil Captain Bligh and the idealistic Fletcher Christian. The film was to be one of MGM's spectacular star-studded showcases. Charles Laughton was set to play the role of Captain Bligh, and Clark Gable was the only actor the stu- dio would even consider for the role of Fletcher Christian.

Grant envied Gable's swaggering success (and his $4,000-a-week salary) and wanted more than anything to appear in a movie with him, knowing that it was bound to be a box office smash and elevate the careers of all who appeared in it. He quickly read the book and then the script and believed he was perfect for the part of Byam. Thalberg then contacted Paramount to arrange Grant's loan-out, which the MGM head of production believed at this point was nothing more than a mere formality. As far as Thalberg was concerned, there was no way the financially strapped Paramount could refuse the deal, especially the hefty fee it would collect for Grant's services while continuing to pay him his $750-a-week salary.

Thalberg consulted with Zukor, who feared the very thing Thalberg pre- dicted—that
Mutiny
would make Cary Grant one of Hollywood's biggest stars. With a year left on Grant's contract, Zukor believed it was not in the studio's best interest to escalate Grant's value. Better, he thought, to keep him at a level where his contract could be renewed at a bargain rate. It would prove a costly mistake on Zukor's part, and one that would permanently alter the direction of Grant's career.

Grant was, predictably, infuriated at Zukor's decision not to let him appear in
Mutiny on the Bounty
and vowed that when his contract was up, he would not re-sign with Paramount, no matter what they offered. It didn't help mat- ters any that Franchot Tone, cast in the role that Thalberg had wanted to give to Grant, earned an Oscar nomination for Best Actor of 1935.
^*

As all this was taking place, Grant's marriage to Virginia Cherrill con- tinued its precipitous decline. His gathered anger and confusion curdled into
an overall insecurity and paranoia. He became irrationally jealous of any man he suspected of having a sexual interest in his wife—an ironic twist for a man who had no sexual interest of his own in her. (In truth, had he been thinking clearly, he would have realized that her running off with someone would have given him the perfect excuse to sue for divorce
and
come out of it for the most part financially intact.)