Cary Grant Movie Quotes

In North By Northwest during the scene on Mount Rushmore, I wanted Cary Grant to hide in Lincoln's nostril and then have a fit of sneezing. The Parks Commission...was rather upset at this thought. I argued until one of their number asked me how I would like it if they had Lincoln play the scene in Cary Grant's nose. I saw their point at once.

@mink: Guess what I got in the mail today? A brand-new copy of The Philadelphia Story. @alex: Nice! Love that movie. We should watch that together sometime if I can find a copy. @mink: Definitely. It’s one of my favorite Cary Grant/Katharine Hepburn films! @alex: Well, in other good news, since I know you LOVE gangster movies so much [insert sarcasm here], I just sent you a ton of Godfather screens with Alex-ified captions, changing things up for you. @mink: I’m looking at them right now. You think you’re pretty funny, don’t you? @alex: Only if you do. @mink: You made orange juice go up my nose. @alex: That’s all I ever wanted, Mink.

Margo shushing Alice, who had to sigh theatrically every time Cary Grant did a Cary Grant thing.

It's hot as a barbecue the smog is pressed up against the foothills so that you can't even see them. everyone is irritated, but noone argues because noone can breathe. i laid on the couch in my bikini and watched His Girl Friday. I have decided that i will be a journalist like Josland Russel (in the movie) and not take any flak for anyone unless they look and act like Cary Grant.

I have spoken of reinventing marriage, of marriages achieving their rebirth in the middle age of the partners. This phenomenon has been called the 'comedy of remarriage' by Stanley Cavell, whose Pursuits of Happiness, a film book, is perhaps the best marriage manual ever published. One must, however, translate his formulation from the language of Hollywood, in which he developed it, into the language of middle age: less glamour, less supple youth, less fantasyland. Cavell writes specifically of Hollywood movies of the 1930s and 1940s in which couples -- one partner is often the dazzling Cary Grant -- learn to value each other, to educate themselves in equality, to remarry. Cavell recognizes that the actresses in these movie -- often the dazzling Katherine Hepburn -- are what made them possible. If read not as an account of beautiful people in hilarious situations, but as a deeply philosophical discussion of marriage, his book contains what are almost aphorisms of marital achievement. For example: ....'[The romance of remarriage] poses a structure in which we are permanently in doubt who the hero is, that is, whether it is the male or female who is the active partner, which of them is in quest, who is following whom.' Cary grant & Katherine Hepburn "Above all, despite the sexual attractiveness of the actors in the movies he discusses, Cavell knows that sexuality is not the ultimate secret in these marriage: 'in God's intention a meet and happy conversation is the chiefest and noblest end of marriage. Here is the reason that these relationships strike us as having the quality of friendship, a further factor in their exhilaration for us.' "He is wise enough, moreover, to emphasize 'the mystery of marriage by finding that neither law nor sexuality (nor, by implication, progeny) is sufficient to ensure true marriage and suggesting that what provides legitimacy is the mutual willingness for remarriage, for a sort of continuous affirmation. Remarriage, hence marriage, is, whatever else it is, an intellectual undertaking.

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

I think we’ve seen every movie Cary Grant ever made a dozen times.” She widened her eyes. “Me too. Nanna adored Cary Grant.” “‘Everybody wants to be Cary Grant. Even I want to be Cary Grant.’” “I love that line.” “How about this one. ‘Insanity runs in my family. It practically gallops.’” “Arsenic and Old Lace.” “That’s one point for you.” “My turn. ‘Not that I mind a slight case of abduction now and then, but I have tickets for the theater this evening.’” “Too easy.” AJ smirked. “North by Northwest.” “We’re tied. One point each.” “So it’s a competition now?” “For biggest Cary Grant fan.” “Okay. Try this one. ‘There must be something between us, even if it’s only an ocean.’” “Every woman in the world knows that one.” “Then what is it?” “An Affair to Remember.” Shelby sighed dreamily. “And you can’t watch that one without watching Sleepless in Seattle.” “Another of Gran’s favorites.” “Did you really watch all those movies with her?” “Sure did. About once a month or so on a Sunday afternoon, we’d have a movie marathon.” His eyes softened as he revisited the past, then he grinned. “Sometimes I drifted off to sleep. So did she, but we both pretended we didn’t.” “Sounds like a pleasant way to spend a Sunday.” “It was.

He was basically a Cary Grant movie.

One of the greatest decorum scenes in movie history graces the climax of 8 Mile, Eminem’s semiautobiography. He gets talked into a competition at a dance club in downtown Detroit where hip-hop artists (orators, if you will) take turns insulting each other. The audience chooses the winner by applause. Eventually, the contest comes down to two people: Eminem and a sullen-looking black guy. (Well, not as sullen as Eminem. Nobody can be that sullen.) Eminem wears proper attire: stupid skullcap, clothes a few sizes too big, and as much bling as he can afford. If he showed up dressed like Cary Grant, he would look terrific—to you and me. But the dance club crowd would find him wildly indecorous. Clothing is the least of his decorum problems, though. He happens to be white, and everyone else in the room is black. Eminem nonetheless manages to devastate his adversary by revealing a nasty little secret: this putative gangbanger attended a prep school! All the poor guy’s hip-hop manners are pointless, because the audience finds them phony.

I didn’t want to go, but his arms were underneath me, easing me toward the edge of the gurney and a waiting wheelchair padded with pillows. I was afraid any resistance would result in another game of hospital gown peekaboo. He settled me so gently in the soft wheelchair that my hip and my back hardly hurt. Pushing me past the curtain and into the bustling emergency room, he leaned close, over me, to say, “I fixed it. They’re going to lose the records of your visit, so you’ll never get billed. But you’re my girlfriend.” “What do you mean, I’m your girlfriend?” What delicious blackmail was this? And was it worth the price? Perhaps I could stand it. ‘I had to make them think I have a vested interest in you,” he whispered. “They never would have agreed to lose your records if I told them you were my friend at twelve years old but not so much at eighteen and I had pretty much walked in and stolen the birthright to your family farm. See? Shhh. Hey, Brody.” He slapped hands with another man in scrubs wheeling an empty gurney in the opposite direction. The man eyed me, waggled his eyebrows at Hunter, and kept going. “Couldn’t you have said we’re friends and left it at that?” I needed to keep up the façade that I did not like the idea at all. At the same time, I was a little afraid Hunter would call the charade off. “I have a lot of friends,” he explained, wheeling me into a waiting room marked X-RAY. he rounded the wheelchair and knelt in front of me. Behind him, a door stood ajar. A contraption I assumed to be an X-ray machine was visible through the crack. He glanced over his shoulder at the door, then turned back to me. “Sorry about this,” he murmured as he slid both hands into my hair and kissed me. All I could do at first was feel. His lips were on mine. His hands held me steady, so I couldn’t have shrugged away if I’d tried, but I would not try. Bright tingles spread from my lips across my face and down my neck to my chest. I longed to pull him closer for more. I reminded myself that we were faking this for a reason. I didn’t want to make the kiss deeper than necessary in case it turned him off. Hunter deepened it. His tongue pressed past my teeth and swept inside my mouth. One of his hands released my hair and caressed my shoulder, traveling down. The farther his hand went, the higher I felt. My hip hardly hurt and my back pain was gone. I wondered how low his hand would go. I never found out. A shadow stood in the doorway and cleared its throat. I stopped kissing Hunter back and braced for him to jump away. He did back off, but very slowly. He sat back on his haunches and glared at the X-ray tech as if she had a lot of nerve. His cheeks were bright red. “So, Hunter,” she said mischievously. “This is your girlfriend.” “Hullo.” I gave her a small wave. “And you got hit by a taxi while you were crossing the street to visit Hunter? That is so romantic! Have you seen Sleepless in Seattle?” “Not romantic,” I said flatly. “I hate that movie. They don’t meet until the last scene. They don’t kiss at all.” Too late I realized I sounded like I was begging Hunter for more. “But in that movie,” the tech said, “they talk about An Affair to Remember. Have you seen that? Deborah Kerr is crossing the street to meet Cary Grant and gets hit by a car. Years later he comes back to her and she’s paralyzed from the waist down.” “You call that romantic?” I heard myself yelling. “That is repulsive!” Hunter stood and put a heavy hand on my shoulder as he pushed my wheelchair past the tech and through the doorway to the X-ray machine. “Erin is in a lot of pain,” he murmured to the tech, “and she doesn’t want to think about being paralyzed from the waist down.” After that the tech was a lot nicer, because Hunter had a way with people. Hunter lifted me onto the table and left the room so he wouldn’t be irradiated or see my bony ass.

Hitch, who was vocal in his disdain of movie stars, had been quoted more than once as saying, “[Cary was] the only actor I’d ever loved in my whole life.” Cary loved Hitch, too, and in addition to everything else, I think he always particularly enjoyed being around a fellow Englishman. “He’s English to the core,” Cary said appreciatively, adding, “if you overlook the fact that he’s really from another planet.” As

From the front row of the balcony, I look out over the Uptown Cinema. The red velvet seats are emptying, the credits scrolling up the screen. Ginger Rogers married a Nazi, but Cary Grant got her out of it. Their ship is sailing to America; sun burns away the fog and the wind blows free. Now they are gone and I am coming back to reality, breathing a harsher air. It is how I always feel when a movie ends.

From the ashes of the studio system, a “New Hollywood” emerged, beginning with the 1967 release of Bonnie and Clyde. Mixing violence, sex, and art, Arthur Penn’s $2.5 million film did more than signal a break with the Hollywood of Cary Grant, John Wayne, and Katharine Hepburn. It also brought in $50 million at the box office. And

If we went to Les Agarves, which is twice the cost, but about as gourmet as we can get without actually being in France, that would qualify as a special evening out. Ronnie will do it on an anniversary or on a birthday, but I know his true opinion of it is that it’s not worth it. I’ve come to believe his taste buds can’t reach gourmet level so he can’t appreciate the difference. For him, then, it makes little sense. But it’s not only the food that is exquisite; it’s the ambience and the service. You feel you’re special, even if only for one night, one dinner. Ronnie likes to make it seem that only women want this. Sometimes I wonder if that’s not true. It’s certainly true when it comes to his friends or most of the husbands of my girlfriends. It’s almost as if there’s something unmanly about elegance. They’d rather associate themselves with Clint Eastwood than Cary Grant or George Clooney. Eastwood can be tough, virile and dangerous, and be grimy at the same time, except, of course, in a movie like The Bridges of Madison County, but men don’t talk about that film.

CARY GRANT IS THE MCCARTNEY OF MOVIE STARS—HIS STORY has much to tell us about Paul’s. They share a spiritual connection, beyond their pronunciation of “Judy.” (Paul described his “hey Judy-Judy-Judy” ad libs as “Cary Grant on heat.”) They dazzled Americans as the ultimate English dream dates—yet both were self-inventions, street guys who taught themselves to pose as posh charmers. Both grew up working-class in hardscrabble industrial cities; both lost their mothers at a young age. (Grant, whose real name was Archibald Leach, was nine when he was told his mother had gone on a trip; more than twenty years later, after he was famous, he learned she was locked up in an institution and got her released.) Both dropped out of school to fight their way into the sleaziest sewers of show biz—Grant joined a troupe of traveling acrobats, which must have been an even rougher scene than the Reeperbahn—yet to them it was a world of freedom and excitement. But both found lasting fame by turning on the charm for Americans who saw them as dapper gentlemen. “Everyone wants to be Cary Grant,” Grant once said. “Even I want to be Cary Grant.