WEBVTT

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(Music)

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She was born into a prosperous

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Philadelphia family.

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Though she was a shy child,

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she would live her life in the public eye.

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"Don't try to be a hero!

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You don't have to be a hero,
not for me!"

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"I'm not trying to be a hero..."

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By the age of 23, her beauty and talent

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took her to Hollywood.

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She made eleven films in
three and a half years

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and became one of the most
sought-after stars of her time.

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She worked with Hollywood's
most important directors,

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played opposite its top leading men.

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"There's nothing quite so mysterious

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and silent as a dark theater..."

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Then, at 26, she turned her back
on make-believe.

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But make-believe came true,

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in a fairy tale shared
by the entire world.

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Her name was Grace Kelly.

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It became Her Serene Highness,
Princess Grace of Monaco.

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I don't think Grace really believed that

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she was going to give up acting when

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she became Princess Grace of Monaco.

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I think that the reallity of that probably

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struck her some place in the middle of

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the Mediterranean after
the honeymoon began.

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She took everything so much in her stride,

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nothing seemed to be too much for her.

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Of any name, Grace, could not have been

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more fitting,

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and even her death, her tragic early death

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made her enter even more into legend.

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Monaco, a principality of less than

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five hundred acres on the French Riviera.

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For centuries, the Monégasques had held on

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to their distinctive character, 
and their pride.

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But, to this world, this place was known

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as a "playground for the wealthy"

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and came to enjoy its beauty 
and its gambling.

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Monaco became a home of young 
American actress

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who arrived in 1956 to be its Princess.

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She brought it fame, her cool beauty,

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her intelligence, and she brought war

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a sense of purpose.

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Well, this story about the Princess 
was firmly anchored in reality.

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Reality had its origins

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back in Philadelphia.

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Competition came easily to the Kellys.

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Here along Kelly Drive

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named after Grace's father, John B. Kelly,

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they still race in the sport for which

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Jack Kelly won an Olympic medal.

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A statue elected by the citizens 
of Philadelphia

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commemorates that achievement.

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Jack Kelly's father was a bricklayer from

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Ireland who went on to make a fortune.

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Young Jack soon joined 
the family business:

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construction and brick making.

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He started his own business

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and made his own fortune.

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But he always professed pride in

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his family's humble origins.

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Jack Kelly believed that the world

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was what you made it.

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Margaret Majer, who married Jack, had been

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a model as well as a champion 
swimmer and athlete.

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Margaret and Jack were determined

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to raise their children their own way.

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If you are good enough, you're sure 
to reach the top.

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It was drilled into the Kelly children 
from their earliest years.

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As a family, we were always very close,

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four of us, Peggy, my sister, the oldest,

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our brother Jack, Grace and then myself.

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She was the baby for three and 
a half years

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and loved every minute of it.

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Grace, when she was young,
was very shy

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and a mama's baby.

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There were many times
were we had pictures taken

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that our mother had to lean back

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away from the camera so Grace
would not cry

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and taken away from her mother,

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she was very sweet and soft, and
loved to held

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and cuddled and kissed, and loved.

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I, on the other hand, and I think my

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brother and older sister, were more

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"don't let me," "don't get around me,"

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we wanted to do our
own things.

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We always had a place
at the shore when we were young,

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and, at that time, I think we had
our best times together,

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we just had a marvelous time,

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and Grace, all her life, loved 
being by the ocean and the sea.

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Grace and all the family were 
a competitive family.

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I think we got that, I know we got

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that from our mother
and our father.

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They instilled into us a deep sense 
of competition

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and the love of sports,

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the will of winning,

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but also taught us 
how to lose gracefully.

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But the Kellys didn't intend to lose 
and there never was a better

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drillmaster than Jack Kelly.

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It was fun, family fun, and it left a 
special kind of determination.

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This determination didn't
manifest itself in Grace

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as much in the sporting field.

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But her determination sooner took 
another turn.

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She loved to sit by the hours and pretend

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and create situations and say:

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"Lizzie, you do this, and I'll be this,"

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and, "I'll be the mother and
you'll be the baby,"

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of course, I gave her a hard time
a lot of times because I did not

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want to play her games.

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For Grace, growing up wealthy

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meant winter sports in Lake Placid.

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It also meant the best private schools.

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Working for causes you believed
in started young.

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With modeling, it's
society fashion benefits.

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But for Grace, these shows meant
more than fundraising;

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They were theater.

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She got most of her love from the 
theater my uncle George.

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He was a playwright and
he directed plays.

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Very gracious, highly educated
person, well-read, and very witty.

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And she just was fascinated with

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all the tales of the
stage and the theater.

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Her uncle George Kelly was a 
great example to her.

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He was sensitive and kind, and talented,

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and I think of all the men she ever
knew,

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rather than going for the 
"athletic macho type,"

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I think her ideal man was
her uncle George.

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My recollections with her father,
Jack Kelly,

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were of an enormous man with

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a tremendous amount of gusto, 
everything up front,

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everything in the open, moved ahead.

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A nice man, but not a tremendous
amount of internal sensitivity.

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Her father believed absolutely that Peggy,

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the elder sister, was gonna be

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the big star of the family and
succeed,

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and he never paid any attention

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to basically the middle of the
family and his four children,

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and she was quiet, observant of

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the others and adored
her older brother too Kell,

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John B. Kelly Jr., an also athletic
star, great racer,

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her father thought he was great,

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but Gracie just accepted, and I
don't think

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he understood her at all,

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but she adored him.

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And yet, one wonders, when you
don't

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get from a parent, what it is

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perhaps what you need, if that isn't what

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creates a great deal of the
drive in you

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to go out and become the
fullest part of yourself.

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She decided to go to New York, and my

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mother and father especially surprised

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because she was a shy and retiring girl.

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My mother and father were a little
wary of New York and on her own,

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but mother said: "Jack, it's not as if

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she is going to Hollywood or to
California."

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Grace knew that her father didn't
think much of an acting career.

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They allowed her to go, to get it
out of her system,

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"Let her go, it won't mount to
anything."

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Grace was accepted into the

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American Academy of Dramatic Arts

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and then housed in 
Manhattan's Carnegie Hall.

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It was 1947 and Grace Kelly was 18
years old.

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She supported herself by modeling.

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She got her round portfolio, and
little by little,

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she started getting jobs.

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So that she didn't have to ask 
for the favor of being supported

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in her efforts

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so that she could justify her own
existence

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by her own earning power.

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Grace also appeared in
commercials.

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She was the girl-next-door,

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the girl a man hoped they could
marry.

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After graduating from the
American Academy,

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Grace found parts in stock
companies

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and her first professional role

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in her uncle George Kelly's play:
"The Torch-Bearers".

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Then, came her first Broadway role

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in a Strindberg play.

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And we all went up to Philadelphia
to see the opening night,

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and dad did not know that 
Raymond Massey was in the play.

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Grace introduced her father to
Raymond and he said:

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"Oh! Jack! How are you?" And he said:

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"Is this your daughter? 
I did not know that!"

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So she did everything on her own
and did not want any help

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from any of the family

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because she said: "If I don't do it
for myself,

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I don't want to do it at all."

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I was very taken away for the way 
she looked,

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and the way she walked,

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and specially her lovely voice.

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She had a beautiful voice.

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Except for the speech was not
yet

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as an actress blended with her
posture

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with that stately figure that 
she projected.

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She studied,

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she really applied herself to the
characters

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that she was working on.

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I met Grace Kelly early in her career

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back in 1950 when I was directing 
"Danger" for CBS Television.

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Her mother came up, and I think
her brother

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came up to watch her rehearsal,

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and when the rehearsal was over,

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I heard her mother say:

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"Darling, your speech was affected 
a little bit, can you, kind of, make it

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more natural?"

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and she said
"Mother, I'm working on it."

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"Your city is full of sounds, listen..."

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"I don't hear a thing."

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"Because there is no automobile
'going pass in the road'

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and the boat in the harbor..."

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She played the lead in the "Rich
Boy" for me.

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"I'll take you."

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"Will you?..."

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Under the pressures of live television,

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no retakes,

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no ability to go back and get
changed.

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Television when they had to flat 
full down on tea tables

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and everybody was out there
improvising.

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She performed absolutely
brillantly

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and very quickly became one of
the

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leading members of the so-called

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"stock company,"

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those actors that we would tend
to cast

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over and over again.

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"... basic I would say.

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Oh, I must sound very snobbish
about the west."

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"Oh! No! I'm interested,

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I just never thought about that
way."

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"Well, people in the west are more open."

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"I'm open."

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"That's because you've had a lot to
drink.

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You drink a lot, don't you?"

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"No!"

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"When I was watching you from
across the room,

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you kept filling your glass 
every few minutes."

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"You were watching me?"

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"And so were the other girls.

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Some men are like that,

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they compel attention.

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"I didn't even see you until just a
few minutes ago,

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and I couldn't wait to be introduced."

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"Some men are like that..."

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The first time I saw Grace, I would
be hard-pressed

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to describe her as the glamour
queen of the world.

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During the rehearsal, she had a
pair of glasses on,

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and they were just a little bit down
her nose,

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and she had a terrible cold.

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And she was quite withdrawn.

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I remember we shook hands, but it
wasn't a very hearty handshake,

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it was the handshake of a little girl.

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And I thought: "Ooh, what a nice
schoolteacher!"

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She's from Philadelphia, and that was
my first impression of Grace.

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Grace was given a small part in
the movie "Fourteen Hours"

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in which she was hardly noticed.

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She returned to television and to
stock theater.

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Her big break came almost by
chance.

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I met Grace in 1953 actually going
through the receiving line

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at my wedding to my then-
husband Jay Kanter,

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who was her agent.

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I was intrigued by her looks in the
photographs that he sent me

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by her background, and probably
more by the fact that

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she absolutely would not accept the long-
term studio contract.

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He was a young agent, I was a
young producer,

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and he brought to me Marlon
Brando,

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then he sent me a photograph of
Grace Kelly

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at the time we were casting "High Noon".

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Now, I wanted an unknown girl. I
asked to see her.

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She came in from Denver for an
interview.

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For an interview for a part in a
Western with white gloves

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no less.

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That goes way back when we were
children.

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My mother insisted every time we
went into town:

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"You wore hats and gloves."

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That's not only my mother,
we were brought up at a convent,

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and the nuns insisted that you
wore white gloves

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on special occasions.

00:15:16.269 --> 00:15:21.269
I went overboard because she had
that lady-like quality,

00:15:21.269 --> 00:15:25.809
that kind of dignity, which was in
contrast to the Western scene,

00:15:25.809 --> 00:15:28.469
which works so well. These are the
corporate.

00:15:28.469 --> 00:15:30.103
"... Your love and wedded husband,

00:15:30.103 --> 00:15:32.333
to love and to hold, from this day
forward."

00:15:32.333 --> 00:15:33.973
The reason I think she was miscast

00:15:33.973 --> 00:15:36.293
is that Cooper was much older
than Grace Kelly,

00:15:36.293 --> 00:15:39.305
he was too old for Kelly, actually, 
in the role.

00:15:39.305 --> 00:15:43.305
She didn't believe that she did well
in the film,

00:15:43.495 --> 00:15:45.345
I didn't think so either.

00:15:45.582 --> 00:15:48.247
There was a girl in the film named
Katy Jurado,

00:15:48.247 --> 00:15:50.337
who played the Mexican girl on the town,

00:15:50.337 --> 00:15:53.610
Katy Jurado was dynamic and overpowering,

00:15:53.732 --> 00:15:57.732
and yet, Kelly wasn't swallowed 
even in her miscast

00:15:57.819 --> 00:16:01.031
because this lady-like thing came through.

00:16:02.358 --> 00:16:04.144
"... they were on the right side, but

00:16:04.144 --> 00:16:05.717
that didn't help them anyway
when the

00:16:05.717 --> 00:16:07.093
shooting started.

00:16:07.093 --> 00:16:10.703
My brother was 19.
I watched him die..."

00:16:10.949 --> 00:16:15.387
For Grace Kelly was her big break,
and

00:16:15.387 --> 00:16:18.087
for me, it was my first American
picture

00:16:18.087 --> 00:16:19.600
making here on Hollywood.

00:16:19.750 --> 00:16:23.120
I was two years older than she was,

00:16:23.120 --> 00:16:25.592
I have seven years making pictures

00:16:25.592 --> 00:16:29.600
in Mexico, but there was something

00:16:29.600 --> 00:16:33.437
so different between Grace and I,

00:16:33.437 --> 00:16:36.787
we could not really explain that we
could not be very close,

00:16:36.787 --> 00:16:42.586
but I could see a girl with a lot of 
dignity, and a lot of character

00:16:42.586 --> 00:16:46.586
because she wants to be
somebody in movies

00:16:46.843 --> 00:16:49.303
and she worked very hard in that picture.

00:16:49.303 --> 00:16:55.633
She looked weak and very tiny, but
she was a very strong person.

00:16:55.633 --> 00:17:00.233
I believe she was one of the 
strongest movie star I worked with.

00:17:00.431 --> 00:17:04.551
She knew what you want,
and she did it.

00:17:09.307 --> 00:17:10.877
Gary Cooper went on to win an

00:17:10.877 --> 00:17:14.257
Academy Award for Best Actor of 1952,

00:17:15.227 --> 00:17:17.647
but there were no more roles for
Grace,

00:17:17.647 --> 00:17:21.597
and she promptly headed back to
New York for more study.

00:17:21.597 --> 00:17:25.147
She was a Kelly, and she had to do better.

00:17:25.288 --> 00:17:27.618
We both probably read the thing
when she says that

00:17:27.618 --> 00:17:29.896
"You can see everything in Gary

00:17:29.896 --> 00:17:32.086
Cooper's eye" but that her eyes
were

00:17:32.086 --> 00:17:34.337
"flat and dull, and dead" and
that she didn't like them

00:17:34.337 --> 00:17:36.915
she couldn't tell what the
character was feeling.

00:17:36.915 --> 00:17:40.505
She began to work harder on 
concentrating on her objective.

00:17:40.505 --> 00:17:43.432
In other words, that would've

00:17:43.432 --> 00:17:46.416
eventually be the cure for the way
she

00:17:46.416 --> 00:17:49.732
attacked her characters, to make
them come alive

00:17:49.732 --> 00:17:52.472
to make her eyeball shine with meaning.

00:17:52.974 --> 00:17:59.790
She always had this inner image of
being an old-fashioned actress

00:17:59.790 --> 00:18:02.208
with the kind of glamour that you
have on Broadway.

00:18:02.761 --> 00:18:04.855
Grace was eager for a lead role in

00:18:04.855 --> 00:18:08.185
a New York production of "Cyrano
de Bergerac".

00:18:08.575 --> 00:18:11.535
I wanted to have Grace as Roxanne,

00:18:11.952 --> 00:18:15.641
I wanted her, not because of her
great acting ability, but

00:18:15.641 --> 00:18:19.214
because of that discipline that she
appeared to have.

00:18:19.405 --> 00:18:22.065
Unfortunately, she never did
realize that

00:18:22.065 --> 00:18:25.285
every part she went up for in
Broadway,

00:18:25.285 --> 00:18:29.285
with the exception of "The Father",
she lost.

00:18:29.581 --> 00:18:31.799
And when she didn't get it, there

00:18:31.799 --> 00:18:35.179
were mentions of it in the columns
and so on.

00:18:35.179 --> 00:18:38.049
She was very, very, very distressed

00:18:38.049 --> 00:18:41.732
and she picked herself up, and went on.

00:18:41.732 --> 00:18:44.532
"Mogambo" was a picture that
Grace apparently

00:18:44.532 --> 00:18:50.612
wanted to do very badly because
she was willing to

00:18:50.612 --> 00:18:55.372
sign a long-term contract with
MGM to do the picture.

00:18:55.612 --> 00:18:57.812
"Is that all you're going to do for
him?!"

00:18:58.548 --> 00:19:00.858
"Well, what do you expect me to
do, Mrs. Nordley,

00:19:00.858 --> 00:19:02.778
crawl in bed with him and hold his
hand?"

00:19:03.739 --> 00:19:07.909
The thought of playing opposite of
star-like Clark Gable

00:19:07.909 --> 00:19:12.849
being directed by John Ford, a
fellow Irishman.

00:19:12.849 --> 00:19:18.599
And I also think she was intrigued
to the idea of going to Africa.

00:19:19.429 --> 00:19:23.359
On location for "Mogambo," Clark
Gable described an incident

00:19:23.359 --> 00:19:26.623
to Rupert Allan, then Look
magazine correspondent.

00:19:27.481 --> 00:19:31.259
Grace was alone and was
discovered by Gable.

00:19:31.259 --> 00:19:34.139
She turned to him and he saw that
she was crying,

00:19:34.139 --> 00:19:36.439
and he said: "Well, why are you
crying, Grace?"

00:19:36.439 --> 00:19:39.949
She says: "So beautiful. I'm reading
'The Snows of Kilimanjaro'

00:19:39.949 --> 00:19:44.419
by Hemingway, and I looked up
and I was just reading about this

00:19:44.419 --> 00:19:48.738
frozen leopard I think they
found way up in the snows

00:19:48.738 --> 00:19:51.388
of this highest mountain in Africa,

00:19:51.388 --> 00:19:53.818
and I looked up in that book
thinking about

00:19:53.818 --> 00:19:56.748
what a beautiful picture it was
inside Hemingway,

00:19:56.748 --> 00:20:00.658
and then I saw a lion walking along
the seashore.

00:20:00.658 --> 00:20:02.418
It's just too beautiful."

00:20:02.418 --> 00:20:06.418
She gave human personalities to
her animals

00:20:06.418 --> 00:20:10.418
and very often she gave animal
personalities to humans.

00:20:10.418 --> 00:20:13.788
She used to call some of her close
friends bird and she called

00:20:13.788 --> 00:20:16.428
Rita bird, Jay bird, this bird, that
bird.

00:20:16.428 --> 00:20:18.168
I mean, people and animals

00:20:18.168 --> 00:20:20.780
became interchangeable with
Grace.

00:20:24.815 --> 00:20:26.985
Grace's role in "Mogambo" earned

00:20:26.985 --> 00:20:29.955
her an Academy Award
nomination as Best Supporting

00:20:29.955 --> 00:20:32.175
Actress of 1953.

00:20:32.375 --> 00:20:34.838
"What are you saying? You're
drunk!"

00:20:36.735 --> 00:20:39.285
"You know how it is on safari.

00:20:39.285 --> 00:20:42.715
It's in all of us, a woman
always falls for the White Hunter

00:20:42.715 --> 00:20:45.815
and we guys make the most of it,
can you blame us?

00:20:46.510 --> 00:20:49.790
Oh, when you get along with that
look in your eye..."

00:20:50.575 --> 00:20:53.215
Some critics called her a star in
the making.

00:20:55.885 --> 00:20:59.565
Few realized how luminous that
star would become,

00:20:59.565 --> 00:21:02.545
and in how short a time.

00:21:04.670 --> 00:21:07.850
Hollywood, as far as Jack and
Margaret Kelly were concerned,

00:21:07.850 --> 00:21:10.400
was no place for a girl on her own.

00:21:10.973 --> 00:21:14.273
On Sundays many times, we used
to go to church,

00:21:14.273 --> 00:21:17.463
and then uncle George who lived
in Southern California

00:21:17.463 --> 00:21:19.303
would come pick us up

00:21:19.303 --> 00:21:23.463
and take us for a ride around and
take us to lunch,

00:21:23.463 --> 00:21:27.830
and she enjoyed those rides with
George so much.

00:21:27.830 --> 00:21:32.630
That I would sit in the backseat
and maybe take a little nap,

00:21:32.630 --> 00:21:37.683
but the two of them would talk
theater and books and poetry.

00:21:37.893 --> 00:21:40.835
Some of the people in town, the
studio heads,

00:21:40.835 --> 00:21:43.956
were quite mystified by her,
and they didn't understand why

00:21:43.956 --> 00:21:46.613
she didn't wanna go their dinner
parties

00:21:46.613 --> 00:21:48.893
and be sitting next to all the
people that young

00:21:48.893 --> 00:21:50.928
actresses should wanna be seating next to.

00:21:50.928 --> 00:21:53.829
She didn't rush out effusively

00:21:53.829 --> 00:21:59.157
and reach forward to make lots
and lots and lots of friends.

00:21:59.620 --> 00:22:04.860
She got up five o'clock in the
morning, went on set, came home

00:22:04.860 --> 00:22:07.470
and grabbed something to eat.

00:22:07.470 --> 00:22:10.660
Usually a hamburger which was
Gracie's favorite food.

00:22:10.660 --> 00:22:13.050
And then went to bed.

00:22:13.376 --> 00:22:17.376
She was always charming, she was
never cold, she was never icy to

00:22:17.376 --> 00:22:19.556
anybody on the set.

00:22:19.718 --> 00:22:23.718
She could give that appearance of
coldness, of being sort of

00:22:23.718 --> 00:22:29.228
above it all at all times, but inside,
she was a very often seething.

00:22:29.228 --> 00:22:34.178
And she was a volatile person but
always under control.

00:22:34.178 --> 00:22:38.178
Alfred Hitchcock used to say
about Grace Kelly

00:22:38.178 --> 00:22:46.068
with his usual whit that her
apparent virginity was like

00:22:46.068 --> 00:22:48.728
a mountain covered with snow,

00:22:48.728 --> 00:22:51.248
but that the mountain was a
volcano.

00:22:56.013 --> 00:23:01.473
In 1953, director Hitchcock found 
in Grace his perfect heroine

00:23:06.913 --> 00:23:14.723
It was a scene in "Dial M for Murder"
where he wanted her to answer the phone

00:23:14.723 --> 00:23:16.893
by putting on her bathrobe

00:23:16.893 --> 00:23:22.393
and she said: "There is no reason for 
her to put a bathrobe on, jut to answer

00:23:22.393 --> 00:23:25.393
a telephone, with no one else in the
house but her"

00:23:25.616 --> 00:23:28.041
and said: "What would you wear?"
and she said: "I'll wear a night gown"

00:23:28.796 --> 00:23:31.812
She said: "I'll right"
and it worked out very well

00:23:32.406 --> 00:23:33.266
"Hello...

00:23:50.751 --> 00:23:59.141
She seemed to know the movements
before Hitchcock had anything to say

00:23:59.141 --> 00:23:59.851
about it

00:24:03.411 --> 00:24:06.811
and I think Hitchcock liked that

00:24:07.333 --> 00:24:10.233
I think everybody liked it

00:24:10.384 --> 00:24:15.224
In the picture "Rear Window" Hitchcock
said no to Grace

00:24:15.798 --> 00:24:21.853
"Now, you're going to go have to
go across and go into the room"

00:24:23.058 --> 00:24:30.158
and Grace without any direction,
she just went over, climbed the firescape

00:24:31.624 --> 00:24:36.924
climbed in one of the windows and
sneaked into the door

00:24:37.461 --> 00:24:43.681
and then, looked over across 
the way to Hitchcock and said:

00:24:43.689 --> 00:24:46.559
"Is that what you mean?"

00:24:46.790 --> 00:24:54.680
Well, everybody applauded, and she
deserved it because

00:24:55.102 --> 00:24:59.102
that was exactly what Alfred Hitchcock 
wanted

00:24:59.102 --> 00:25:04.362
What Grace brought, as an actress,
was, Grace brought the actual young

00:25:04.362 --> 00:25:09.349
women of the '50s into 
a vision of glamour

00:25:09.615 --> 00:25:12.755
It was a very proper era, in a way
very premier

00:25:12.755 --> 00:25:17.321
Underneath that, of course, there was
always the sense of flirtatiousness

00:25:17.321 --> 00:25:20.361
of young women, and the sense of fun

00:25:22.492 --> 00:25:24.412
Grace had trully arrived

00:25:25.567 --> 00:25:29.567
She appeared on the covers of 
national magazines

00:25:29.841 --> 00:25:33.652
But success meant more time spent 
in Hollywood

00:25:33.652 --> 00:25:37.652
She was really a family person, 
she didn't liked to be alone

00:25:37.843 --> 00:25:41.843
I remember when she first went to 
California to make films

00:25:41.843 --> 00:25:46.213
she lived alone, and suddenly she asked
Rita Gam to come and live with her

00:25:46.213 --> 00:25:50.801
and Grace let me in, and there she was
wearing the same Philadelphia skirt

00:25:50.801 --> 00:25:56.031
same sensible shoes, the same tight
back hair, ecept now, she was becoming

00:25:56.031 --> 00:26:04.311
a very valuable property, and I had no
idea that her background was one

00:26:05.182 --> 00:26:11.038
I thought of her as a coworker
an actress

00:26:11.332 --> 00:26:17.572
Then, out of the clear blue sky,
and very directly, openly and warmly

00:26:17.661 --> 00:26:21.661
she said: "Would you like to share the 
flat?

00:26:21.661 --> 00:26:23.791
How would that fit in with your 
schedule?"

00:26:23.791 --> 00:26:26.121
I said: "I will have to wake up at 5 
in the morning"

00:26:26.121 --> 00:26:29.078
"Should I get up at 5 too?, I said:
"We both would go to sleep at 9"

00:26:29.078 --> 00:26:30.708
Terrific!, that's it"

00:26:30.708 --> 00:26:34.708
I think, the thing that most people forget
is that when all of this was happening

00:26:34.708 --> 00:26:38.868
to Grace, this extraordinary excitement
of her career being generated

00:26:40.248 --> 00:26:43.768
and roles with the world's most famous
leading men

00:26:43.768 --> 00:26:48.748
and the world's most respected
directors, she was just a girl in her

00:26:48.748 --> 00:26:49.498
early 20s

00:26:49.708 --> 00:26:52.810
One time in Hollywood, Grace and I were
invited to what tuned out to be rather

00:26:52.810 --> 00:26:55.320
sticky dinner party with two
bachelors

00:26:55.320 --> 00:26:58.840
We thought it was going to be this 
grand party with a lot of people

00:26:58.840 --> 00:27:01.410
and, there we were, and the lights were
getting lower

00:27:01.410 --> 00:27:06.400
and the wine was getting heavyer, and
I was getting very nervous

00:27:06.827 --> 00:27:10.547
and I knudged Grace under the table

00:27:10.764 --> 00:27:13.984
Grace had her glasses on, I think that
was her protection

00:27:13.984 --> 00:27:18.134
mine, was this sort of chatting nervously
and say "let's go, let's go Grace"

00:27:18.134 --> 00:27:22.134
and she whispered back "Let's wait
until after. Dessert might be good"

00:27:22.883 --> 00:27:26.773
The bridges that took a reek gave Grace
the opportunity to play opposite

00:27:26.773 --> 00:27:30.091
an actor she admired:
William Holden

00:27:31.308 --> 00:27:34.309
"Harry, you've got to tell me about
those bridges"

00:27:37.096 --> 00:27:41.096
The kind of concentration that a 
good actor was capable of would

00:27:41.096 --> 00:27:42.676
definetly inffect her

00:27:45.477 --> 00:27:48.457
"I know we aren't going to fly about
above the mountains"

00:27:50.200 --> 00:27:51.853
"We're going to fly between them"

00:27:51.853 --> 00:27:56.273
It would make her respond, and in that
way you could see to the chat of nervous

00:27:56.273 --> 00:27:58.525
system that was similar to lookness paper

00:27:58.525 --> 00:27:59.697
She reacted immediately

00:27:59.697 --> 00:28:02.337
"You didn't want to tell me because 
you didn't want me to worry

00:28:04.467 --> 00:28:08.467
well, I don't want you to worry either
about me, I mean"

00:28:11.786 --> 00:28:18.164
"I know what the admirant was trying to
tell me; I had to face those bridges too"

00:28:19.613 --> 00:28:23.373
Director George Seaton was impressed
by Grace's performance

00:28:23.373 --> 00:28:27.373
and wanted her for the demanding role 
of the wife in "The Country Girl"

00:28:28.596 --> 00:28:33.247
But, the before relising, MGM insisted 
she appeared in "Green Fire"