Grace
Page 28
The finale focuses on the jury selections in the floral competition and the handing out of prizes to the winners. This scene was filmed in Le Sporting d’Été, a large special events hall located directly on the sea. In another short appearance, Prince Rainier receives one of the prizes. Monaco’s then-mayor announces the winners into the microphone.
The double twist of the little film comes at the very end. First, the princess tells “Mr. Wilson” that she knew the entire time who he really was. Since his lecture had been postponed, she explains, “I decided to rearrange things.”378
Furthermore, after this dialogue which takes place in the princess’s car, Professor Nelson finds himself again in that same car, complete with chauffeur Paul Raimondo. The plot circles back on itself. They are again en route to the cliffs, to the palace. The entire story was only a daydream.
Throughout the film Dornhelm inserted separate, free-standing scenes that showed Grace walking in the palace garden and examining plants. Her gaze wanders off into space again and again. She stands at the garden wall of the palace and looks down at the harbor of Monaco. Her gaze, her mannerisms, have something indefinably yearning about them. And the camera embraces her, courts her, charms her.
Her last feature film, High Society, was made in 1956. Twenty-three years passed between then and Rearranged, in 1979. It is amazing—her voice is almost unchanged. It still has the same distinguished clarity, precise articulation, and elegant tone. It was the same exact, fine English that she had used in her films. It was that very specific sound, that very specific soft warmth that she always had. Even her gestures were the same. Prince Albert II commented on Rearranged: “For her it was an amusing diversion for a few days. Of course now, in some ways, it is also a serious movie.”379
Robert Dornhelm described the supposed meaning of Rearranged for Grace Kelly: “It was a lot of fun for her. And since she was also the producer, she wanted to take care of everything; she was especially involved. She told me that she had always been afraid of producers. You always had to be nice to them so they would treat you well. And I wrote one or two things for her. We discussed a whole array of films and wanted to make them all—together. One of them was the history of Prince Albert I. Albert was a pacifist, and he founded the Monegasque Red Cross organization and the Oceanographic Institute. He was awarded the National Order of the Legion of Honour. His wife left him, and he had huge debts tied to the institute. He was totally bankrupt. We wanted to make a film about all of this . . .
“She was often in Los Angeles since she was on the board of directors for Twentieth Century-Fox at the time. (In November 1976, Grace became the first female member of the Fox Board of Directors.) I often went with her to see films.”380
Disregarding the simple plot of the now highly obscure Rearranged, it is, of course, the appearance and presence of Grace Kelly that makes something noteworthy out of this thirty-three-minute film fragment.381 She imbued it with her own charm and beauty; it was brief yet very unique.
Although it was never intended to be, Rearranged became a kind of tribute to Grace Kelly. Not really because of its content or narration. Rather, simply because it was her last performance before a camera, apart from the one-hour interview she did for CBS with journalist Pierre Salinger in the palace garden on July 22, 1982, only seven weeks before her death.
“Unfortunately it is not a good film, but it is a document,” Robert Dornhelm commented self-critically.382 Rearranged was definitely a product of its time. It was created in May 1979 during the 12th Annual Flower Show and Competition. Shot on 16 mm film, the movie shows in passing the fashion, colors, style, and accessories, as well as Monaco, of the late 1970s and early 1980s. Artifacts from another era.
Rearranged was not originally planned to be only thirty-three minutes in length. It was meant to be twice as long, or longer. The circumstances, perhaps even fate, prevented this. The English-language fragment, now provided with French subtitles, was restored and preserved by the Archives Audiovisuelles de Monaco in March 2007.
According to Vincent Vatrican, director of the Archives Audiovisuelles de Monaco: “Rearranged was found among the cinematographic materials in the palace archives. We had heard much about this prior to 2006, but neither we nor anyone else had seen it. Thus, we viewed it and all of the existing film copies, all of which had a strong red discoloration. This is the case with many films from the 1970s that have not been carefully preserved. We decided to undertake a digital restoration of the film. Afterward, the film was provided with French subtitles. Since then, it has been shown in Monaco at the Garden Club. However, it has not been shown publicly in a movie theater or on television.”383
During Grace Kelly’s lifetime, Rearranged was only shown once to a select audience. After that, Rainier III strictly refused to have the film shown publicly until his death in April 2005. Vatrican explained: “As far as I know, Prince Rainier III did not want the film shown after Princess Grace’s death.”384 The film vanished into the archives of the royal palace, unbeknownst to the world outside.
Robert Dornhelm could understand why Rearranged stayed locked away for decades after its filming: “There were good reasons. It was a light comedy, a comedy of mistaken identities. The protagonist gets into the wrong car and does not land at the hotel, but at the palace, and he does not take part in the conference but ends up arranging flowers instead of talking about stars. After her death, the Prince was of the opinion that this was a film of memories. Of course, after her death, everyone wanted to have it because it was her last film. To have marketed this film, that was so lighthearted anyway, would have been inappropriate. And I think he was right. It was certainly not an important film that suitably showcased her incredible acting abilities. They could have shown excerpts from the film. I would have been very much in favor of this, but ultimately, it was a meaningless film. Now years later, I would probably cut it differently and only use parts of it. We had planned to re-shoot the entire thing. On the day of our appointment in Paris [September 14, the day Grace Kelly died], ABC had made us an offer to create a one-hour film from it. We wanted to discuss this, what we still wanted to film and how we would expand the whole thing to an hour in length.”385
Generally speaking, it is little known that besides the never aired film Rearranged, Princess Gracia Patricia, in private, often picked up a camera and shot movies. “In 2006, we began to prepare the large exhibition Les années Grace Kelly—Princess de Monaco. After the death of his father, Prince Albert II gave us the palace film and archival materials so that we might restore and conserve them. Among these were many unpublished private photos and film footage. Privately, Princess Grace had shot quite a lot of film with a small hand camera. There are about one hundred films on both 16 mm and 8 mm film. Many of the films show her three children, but many also show her friends, such as David Niven, Cary Grant, Bing Crosby, and Alfred Hitchcock.”386 All of these life excerpts and parts, frozen on film, make up a compilation: a kaleidoscope of a life.
The shots of Hitchcock were taken during one of Princess Grace’s many trips abroad. They were shot on the veranda at his house in California. The Master sat next to Grace and smoked a cigar with apparent pleasure. Grace can be seen talking, as Hitch listens to her. Thus, it is likely that Prince Rainier was the one who captured this moment of reunion between two old friends.387
Other shots show Grace and Cary Grant with a group of children playing on the edge of a swimming pool. These images contain something touching in them. In other photos, Bing Crosby was captured at the Grimaldi family’s private estate high above Monaco, at Roc Agel. David Niven and John Williams can be seen laughing at the edge of a pool. Although Rainier absolutely did not approve and felt insecure in the face of it, Grace tried to maintain her contacts in Hollywood—the world that was lost to her—at least with the people to whom she felt the closest.
As Nadia LaCoste recalled, “I saw all sorts of actors in Monaco, also some who were friends. However, the two she felt closest
to were Cary Grant and Frank Sinatra. Frank Sinatra even sang in Monaco, at a large charity function, the Red Cross Ball, and Rainier loved it: ‘Come Fly With Me.’ That was in the Sporting d’Été. Cary Grant was often a visitor here, and once he even served on the jury for one of the festivals in Monaco. Whenever any of her friends from Hollywood were on the Côte d’Azur, they were always invited to either lunch or dinner.”388
Perhaps this was one of Grace Kelly’s contradictions. Although she never liked Hollywood, she maintained the friendships she had made there, some even until her death. Hers was a loyalty that never wavered.
1980
The Master Departs:
Farewell to Hitch
She liked Hitchcock and his wife Alma very much. That was a lasting relationship.
—Nadia LaCoste389
Over the passing years, Grace and Hitchcock stayed in close contact, writing letters and visiting each other. Hitchcock described to her his upcoming projects, such as the political thriller Torn Curtain (1966) with Paul Newman and Julie Andrews in the leading roles. Grace sent him photos of baby Stéphanie, and in his letter he responded with sheer delight—a reaction that might surprise those who know him only as the master of horror.
In mid-May 1972, Grace and Hitch met at the Cannes Film Festival. On May 19, the seventy-two-year-old director hosted the world premiere of Frenzy on the festival’s main program. This was his next-to-last film, and he had filmed it in his hometown, London, in 1971. In two letters dated April 19 and May 3, 1972, Hitch informed Grace that he would soon be on the Riviera. Afterward, she invited him to visit her in a letter from May 19.390
Hitchcock’s letters contained a very detailed description of his itinerary, accommodations, transit stops, and other information. He also outlined his extensive publicity tour for Frenzy, which would take him to Paris, London, and New York after his time in Cannes. There is something almost touching in the way that Hitchcock shared all of his plans with Grace and how truly concerned he was that under no circumstances should they miss an opportunity to see each other. Alongside his concern, his typical ironic sense of humor pertaining to these concise plans can be read between the lines.
In the late 1970s, Robert Dornhelm visited Alfred Hitchcock, along with Grace Kelly, at Hitchcock’s house on Bellagio Road in Bel Air, Los Angeles. Dornhelm described the comfortable relationship between the two of them and commented on the decades’ long speculation that Hitchcock had his eye on even this blonde leading lady: “I never sensed this, not even in the slightest. She was good friends with his wife Alma, a film cutter. I never noticed even the smallest bit of tension. It was very familiar, even from his side. It was as if an old family friend had come for a visit. I never sensed an obsession in connection with her. It was all the nicer since he even chatted with me in German. He was very congenial and sympathetic.”391
On April 29, 1974, almost two years after the premiere of Frenzy, Hitchcock was honored by the New York Film Society of Lincoln Center. That year the society dedicated its annual gala to the old master, who was increasingly gaining recognition and honor within the academic world. Together with his wife Alma and Grace Kelly, Hitchcock attended the gala at Lincoln Center. He was also accompanied by his admirer and follower, the French director François Truffaut. Hitchcock was honored with a compilation of film excerpts, at the conclusion of which he gave a brief commentary.
This was the context of his much-cited, legendary sentence: “As you can see, the best way to do it is with scissors.” This was a playful reference to Dial M for Murder, which had starred Grace in the main role and which had been included in the honorary film montage.
Grace gave a short talk in honor of her director and friend, who along with his wife Alma listened attentively: “I think the qualities I most admired while working with Mr. Hitchcock were his incredible patience and good humor. I have watched him in trying [ . . . ] situations that would set many directors screaming in rage—but Hitch always remained calm and in control of the situation.”392
In conclusion, the heavyset Master of Suspense delivered his prerecorded thank-you speech, as always in a tone of dry, humorous-ironic ambivalence:
Good evening. They say that when a man drowns, his entire life flashes before his eyes. I am indeed fortunate for having just had that same experience without even getting my feet wet.
First of all, I wish to express my deep satisfaction for this honour. It makes me feel very proud indeed.
As you will have seen, murder seems to be the prominent theme. As I do not approve of the current wave of violence that we see on our screens, I have always felt that murder should be treated delicately. And, in addition to that, with the help of television, murder should be brought into the home, where it rightly belongs. Some of our most exquisite murders have been domestic—performed with tenderness in simple homey places like the kitchen table or the bathtub.
Nothing is more revolting to my sense of decency than the underworld thug is able to murder anyone, even people to whom he has not been properly introduced. After all, I’m sure you will agree that murder can be so much more charming and enjoyable—even for the victim—if the surroundings are pleasant and the people involved are ladies and gentlemen like yourselves.
Finally, I think I can best describe the insidious effect of murder on one’s character by quoting a paragraph from Thomas De Quincey’s delightful essay “Murder as One of the Fine Arts.” He said: “If once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath-breaking, and from that to incivility and procrastination. Once begun on this downward path, you never know where you are to stop. Many a man dates his ruin from some murder or other that perhaps he thought little of at the time.”
They tell me that murder is committed every minute, so I don’t want to waste any more of your time. I know you want to get to work.
Thank you.393
One week after this festive occasion, Hitch wrote Grace a letter in which he thanked her. Once again, the mutual respect maintained between the two of them is evident: “I can’t thank you enough for the effect of your presence. It made the crush of the all-embracing crowd so much more pleasant to endure.”394
On March 7, 1979, the American Film Institute awarded Alfred Hitchcock with its Lifetime Achievement Award.395 This was another belated honor for him. As had been the case with Charlie Chaplin, he had scandalously never received an Oscar. The event was aired on television, and everyone who was anyone in Hollywood was there. All of the great Hitchcock stars were there, including Ingrid Bergman, who acted as hostess for the evening, Tippi Hedren, Janet Leigh, Anthony Perkins, Sean Connery, Henry Fonda, and even Cary Grant and James Stewart. The latter two actors, both of whom were the only ones who had each starred in four Hitchcock films, sat directly next to the honoree at his table.
There was a standing ovation when his name was read and the spotlight illuminated his spot. With an occasional pained expression on his face, he laboriously made his way through the waiting crowd to his table, where the waiting Alma showed him his seat next to hers. Despite their physical difficulties, both of them insisted on participating in this event. The most painful aspect of these images is the visible age of both of them, particularly Hitchcock. There is something lost and wistful in the way that Alma and Alfred Hitchcock sat at their large, covered table in the midst of all the other dinner tables set up for this opulent gala affair. At times, they seemed to no longer be part of this world.
François Truffaut was also one of the presenters and congratulators that evening. He had planned the fifty-hour interview with this personally revered director during the 1960s, and he recalled this experience in his speech. However, the Master of Suspense seemed to be completely untouched and unmoved by all of these accolades of recognition, respect, and admiration. His expression remained stoic throughout.
Finally, it was Alfred Hitchcock’s turn to say thank you. With great effort, he stood up
from his chair, falling back into it once. He rose again and his prerecorded thank-you speech began to play, but not before he once again told his legendary tale of his five-minute incarceration at the age of six.
The most moving moment of this speech was certainly his thank-you to all of his colleagues and collaborators, which he expressed in a specific thankyou to four people in his life: “I beg to mention by name only four people who have given me the most affection, appreciation and encouragement . . . and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen . . . and their names are Alma Reville.”396
A declaration of love. The speech was deeply touching. The pragmatic, hardworking woman, now old and weary and ill, hid her face behind her hands. Behind her perennially oversized glasses, tears could be seen running down her cheeks. It was clear in this moment that Hitch and Alma, Alma and Hitch, would each be lost without the other. Norman Lloyd, actor in Saboteur and Spellbound as well as coproducer of Hitchcock’s television series, once said, “She was his soul.” They had been married for fifty-three years and had made fifty-three feature films together.
Patricia Hitchcock once had the following to say about her mother Alma Reville: “My mother has never gotten enough credit for the part she played. For instance, when my father wanted to make another movie . . . [based on] a story, a book—he would have her read it first, to see if she thought it would make a good picture. If she said no, he didn’t even go on with it. It was the same way all the way through with writers, with actors. She was always the first one—she didn’t see a lot of the rushes [the unedited prints of a movie scene], because she wasn’t there every day to see the finished product. In fact she saw Psycho right before they sent it out, and they asked her ‘What do you think?’—and then she said ‘you can’t send it out.’ And they said ‘Why?’ And she said ‘Because Janet Leigh takes a breath when she is supposed to be dead. Nobody had caught it except her. She used to be a film cutter too. But she never got enough credit. [ . . . ] But when she died, the Los Angeles Times said: ‘The Hitchcock touch had four hands, and two of them were Alma’s.’ And it’s true, it’s true.”397