“No one could ever accuse me of being “soft” on Grace Kelly. I find her to be frequently stiff, affected, a hollow actress in dramatic moments but she was a luminous screen presence. Captivating in her beauty and the serenity that she projected, yet she was also hard to cast in roles for these very same positive attributes. She looks out of place in Green Fire, is too haughty and well-bred to play seriously dowdy and suffering in The Country Girl, and is too hysterical in The Bridges at Toko-Ri.
Alfred Hitchcock knew how to use her to grand effects. Her society girl in Rear Window is one of the greatest roles for a Hitchcock blonde, and her icy exterior dissolves into erotic heat in To Catch a Thief. But she was equally grand in the lightweight romantic-comedy/musical High Soc” read more
Amid the regal beauty of Grace Kelly and that wonderful actor known as Alec Guinness, is the smile-wielding, looks-conscious, over-acting Louis Jordan. “The Swan” is about the romance predicaments of royalties, set exclusively under chandeliers, in and out of parlor rooms, and it’s hard to take. And Louis Jordan, with all those sheepish grins and raised eyebrows and wild ideas, helps none.
Somewhere between a sheepish grin and a foolish smile is Louis' lips bourgeois beam."
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