Howard Hawks and Katharine Hepburn look over their scripts on the set of Bringing Up Baby (1938)—while Cary Grant takes a nap.
I’ve been trying to go in chronological order with these pictures, but I just discovered this one in an old movie magazine and it was too adorable not to share.
Image scanned from the May 1938 issue of Photoplay. You should know that I’m cheating a bit today because I didn’t personally scan this image—the fine team behind the Media History Digital Library did that for me! However, I did edit and enhance it.
Cary Grant and Joan Fontaine in a still for Suspicion (1941), the first of four collaborations between Grant and Hitchcock.
The film originally ended on a much darker note, with Fontaine’s character knowingly drinking poison prepared by her husband—but sending a note to the police that will condemn him after her death.
Grant preferred this version to the more ambiguous finale that the studio demanded. As he explained, “I thought the original was marvelous. It was a perfect Hitchcock ending. But the studio insisted that they didn’t want to have Cary Grant play a murderer.”
Image scanned from A World of Movies by Richard Lawton (Delacorte Press, 1974).
Cary Grant and Rosalind Russell in His Girl Friday (1940).
On the subject of the movie’s famous overlapping dialogue, Grant recalled, “When I first started in pictures, an actor didn’t have the freedom to interrupt the dialogue. But in His Girl Friday, Rosalind Russell and I were constantly interrupting each other. The sound men would say, ‘We can’t hear you.’ And we’d say, ‘Well, you’re not supposed to hear us. People do interrupt each other, you know.'”
Image scanned from Hollywood Picks the Classics by Afton Fraser (Bullfinch Press, 2004).
And, by the way, I’m getting many of my quotes from or about Cary from Nancy Nelson’s beguiling Evenings with Cary Grant (Citadel Press, 1991), which I highly recommend for all fans.