The caption from TIME Magazine read as follows: Audrey Hepburn and Grace Kelly Backstage, 1956. The two most elegant stars of their era are photographed backstage at the RKO Pantages Theatre, as they wait to present: Hepburn gave Best Picture to Marty, and Kelly awarded the Best Actor statue to Ernest Borgnine for the same film.
I’m not sure if they ever met again or had any further interaction but this image always fascinated me because I would say unequivocally that Audrey Hepburn and Grace Kelly are my two favorite actresses of all time, from any era, any decade, bar none.
That third spot undoubtedly changes often between the likes of Catherine Deneuve, Teresa Wright, Natalie Portman, Gene Tierney, Joan Fontaine, Paulette Goddard, Brie Larson or any number of other talented stars but the bottom line is that my deep admiration for Princess Grace and Ms. Hepburn has remained unwavering.
I think it’s been a little over 10 years ago that I saw Roman Holiday for the first time and I was initially struck by Audrey Hepburn even though I knew very little about classic movies. Living under a rock as I did, I probably didn’t even know her name. But I didn’t need that to be affected by the film. I think it only took a couple more films to realize that I had a slight crush on her.
What followed soon thereafter was a viewing of Rear Window, followed by High Noon, To Catch a Thief, and then, of course, the inevitable happened and I had a crush on Grace Kelly too. Rear Window is still my go to film when people ask me my personal favorite. There are so many wonderful aspects to enjoy and one of those is Kelly’s performance as Lisa Fremont.
Though in some ways Grace Kelly and Audrey Hepburn couldn’t be more different, there are a couple luminous qualities that undoubtedly tie them together. First, they both performed in some wonderful films as already mentioned and they are both renowned as style icons and women of immense beauty.
They shared some of the same leading men including William Holden, Gary Cooper, and perhaps most notably Cary Grant. They both were taken from us far too soon but their lives even after Hollywood were marked by their efforts as global goodwill ambassadors.
All of these things are certainly true but beyond that, there’s something about the way they carried themselves that’s so iconic. It’s the kind of thing that you can hardly teach and seems even harder to categorize. It’s grace, it’s humility, it’s good humor and it’s a spellbinding presence. It’s both onscreen and off it. I could watch their movies over and over again and part of that is because they are such special individuals who were imbued with innumerable traits like the aforementioned that are so easy to admire.
Though the tabloids devoured their every move, they seemed less inclined to care about the spotlight. Though they both won Oscars on the biggest stage, they still maintained a civility that would put other stars to shame.
I think it’s only fair to end with some viewing recommendations. Some possible Double Features might be High Noon and Love in the Afternoon, Sabrina and The Country Girl, or even The Bridges at Toko-Ri and Paris When it Sizzles. But there’s a particular pairing that’s perhaps the most obvious.
For your viewing pleasure check out the Double Feature of To Catch a Thief (1955) and Charade (1963).
To Catch a Thief is, of course, Alfred Hitchcock’s famed romantic thriller starring Grace Kelly and Cary Grant about a reformed cat burglar living on the Riviera. It has that textbook Hitchcockian blend of mystery, romance, and wit with Kelly as the quintessential Hitchcock blonde.
Meanwhile, a few years down the road, Stanley Donen developed his own homage to “The Master of Suspense” long dubbed in many circles as “the best Hitchcock picture that Hitchcock never made.” It too is a lithe thriller that juggles its romantic interludes and snappy repartee with a genuinely tense spy plot throughout France.
I will end with one moment in the film that seems especially pertinent to this discussion. Crucial to some of the film’s storyline is a stamp collector who provides invaluable information to our hero Regina (Audrey Hepburn). In a brief passing moment, he nonchalantly mentions a batch of stamps including, “12 Princess Grace Commemorative stamps.” This is, of course, in reference to her marriage of Prince Rainer of Monaco in 1956 which became an international sensation. It’s a reassuring note.
So though we might have wished that they shared more moments together or even that they could have shared the silver screen together, this throwaway line in Charade reminded me, even briefly, how iconic these two ladies were. And though it’s really only in spirit, this slight nod allows them to share the screen as much as it simultaneously acknowledges their rightful place in our popular culture.
Many people will remember them as royalty for years to come. Audrey Hepburn of course famously coming to public attention as Princess Ann in Roman Holiday and Grace Kelly leaving her Hollywood career behind at the height of stardom to become Princess Grace of Monaco.
This is my entry in the Grace Kelly Blogathon hosted by The Wonderful World of Cinema!