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December 01, 1986 - Image 8

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Publication:
The Michigan Daily, 1986-12-01

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Page 8 - The Michigan Doily - Monday, December 1, 1986

Film I
LOS ANGELES (AP) - Cary
Grant, whose masculine elegance
and darkly handsome features made
him an unrivaled star of both
sophisticated comedy and chilling
intrigue for more than 30 years, has
died of a massive stroke at the age
of 82.
The debonair leading man with
the dimpled chin and clipped accent
died at 11:22 p.m. CST Saturday at
St. Luke's Hospital in Davenport,
Iowa, where he was to appear in a
90-minute program that included a
talk and clips from his movies.
He had appeared well at re -
hearsals that afternoon, then seemed
to weaken, said Lois Jecklin,
director of Visiting Artists, which
sponsored A Conversation with
Cary Grant. His condition deter -
iorated rapidly.
"There was nothing that could be
done. There's no intervention when
something like this happens," said
James Gilson, the cardiologist who
treated him.
His body reportedly was returned
early yesterday to California.
There was no immediate word on

rC
~egend C
funeral plans.
Grant was one of the biggest
names in movie history, starring in
such classics as The Philadelphia
Story, Bringing Up Baby, and
North by Northwest. But his only
Oscar came after his retirement. He
seemed to have been born as
aristocrat, but his father was a
presser in a garment factory. He
was the idol of millions of women
around the world, but his private
life often was troubled.
"I pretended to be somebody I
wanted to be, and I finally became
that person," Grant once said. "Or
he became me. Or we met at some
point. It's a relationship."
It was a singularly successful
relationship, one that began in
1932 and filled the big screen with
72 movies until 1966, when his
last film, Walk, Don't Run, was
released.
Grant, wrote film critic Pauline
Kael, "had the longest romantic
reign in the short history of
movies." He was paired with
Katharine Hepburn, Myrna Loy,
Audrey Hepburn, and Grace Kelly.

~ary Grant dead

To him Mae West tendered the
most famous, and frequently mis -
quoted, proposition in movie
history: "Why don't you come up
sometime and see me?"
He was born Archibald Leach on
January 18, 1904, in Bristol, Eng -
land, the only child of an unhappy
marriage. His father often was
withdrawn and his mother filled
him with dreams of wealth and
taught him to sing and dance.
When he was nine, his mother
was placed in a mental institution,
and the boy did not see her for 20
years. When he was 13, Archie ran
away from home to join a boys'
troupe, but his father retrieved him.
He later rejoined the group, but left
it in 1922 in New York, taking on
a variety of jobs, including stilt-
walker at Coney Island, a slapstick
mime on the vaudeville circuit and
a straight man for comedy acts. He
began dressing with conservative
elegance and was a hit with New
York hostesses.
By 1931 he had a movie contract
with Paramount and a new name:
Cary, for a part he'd had in a play,

and Grant, chosen from a list
prepared by the studio.
He made seven films in his first
year, including Blonde Venus, with
Marlene Dietrich. Then he caught
the eye of Mae West, who cast him
opposite her in She Done Him
Wrong, and I'm No Angel. Both
were box office smashes.
In 1937 he left Paramount, and
the most memorable roles of his
career followed. The danger that
seemed to lurk beneath the charm
made him the perfect lead for such
Hitchcock thrillers as Suspicion and
To Catch a Thief. His accent made
him a favorite with impressionists,
but he never said, "Judy, Judy,
Judy."
He was nominated for Academy
Awards for Penny Serenade, and
None but the Lonely Heart, and in
1970 he received an honorary Oscar
for "his unique mastery of the art of
screen acting."
Grant, who became a U.S.
citizen in 1942. amassed a fortune
estimated as high as $40 million.

The late Cary Grant with Mae West in 'Blue Angel.'

I

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UM News in
The Daily
764-0552

Records

The
Giant

Woodentops

ALL YOU
CAN EAT!1
Beef, Chicken or
Bean Burito,
with Mexican rice
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at4.75
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Columbia
So here it is, 1987, a world full
of gloom 'n' doom 'n' materialism
galore, and the Woodentops are here
to make everything swell. And by
golly, it's just impossible not to
like 'em. Honest.
The Woodentops are a happy
band. Or at least that's what they
want us to think. Songtitles on this
LP include "Get it On," "Good
Thing," "So Good Today," and
"Love Affair With Everyday
Livin'," the last of which is the
catchy single and would probably
have done well as the album title.
See, in addition to their happy
lyrics, the Woodentops write
smooth, warm, bouncy, gentle
bubbles of pop music - at times
reminiscent of some of the Jazz
Butcher's lightest moments -
which float along merrily, and then
evaporate easily once the record's
been returned to its sleeve.
But the Woodentops do have

personality, too, as evidenced by
their use of accordions, marimbas,
and lots of acoustic guitars, which
add a refreshing dose of sincerity to
their act. Once in a while, though,
it's a little hard to take now and
then, as on "History," which is
overloaded with cutsie percussive
effects and noises.'
Overall, the Woodentops are a
winning act. Once an indie pop
fave, they've become one of the
most often noted up-and-comings
among the major lables now, and
deserve their success so long as
they don't get too cute.
Meanwhile, Giant is meant to be
enjoyed; no problem there.
-Beth Fertig
Jesse Johnson
Shockadelica
A&M
Jesse Johnson was once a
member of The Time, a Prince-
produced band that injected wicked
style and Cab Calloway-inspired

showmanship into His Royal
Badness' funk formulae. According.
to the liner notes, The Time will be
reuniting soon. This is probably a
good idea, as the whole is greater
than the sum of the parts.
Jesse Johnson's guitar work
smacks heavily of both Prince and
The Time, and that is both the best
thing about it and the worst. In the.
abscence of a better record by the
other groups, Shockadelica makes
a good B-grade substitute. But
Johnson's work is so strongly
rooted in the Minneapolis sound
that one is constantly wondering
why the writing isn't more
original, or funnier.
On his own, Jesse is O.K., but
he really doesn't belong alone in the
spotlight. He's a sideman, and that
is why the best cut on this record is
the duet with Sly Stone, "Crazay."
The rest of the album is filled with
borderline material that hovers at
the edge of success. Shockadelica
won't drive anyone off the dance
floor, but it might not bring
anyone onto the dance floor, either.
-John Logie

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I

I

- ~........*.W..~.':..W... .

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