FEATURE image: Late afternoon at Leon’s Frozen Custard in Milwaukee, Wisconsin. June 2017.Author’s photograph. (4.53mb, DSC_0728).
Leon’s original sign. By victorgrigas – Own work, CC BY-SA 3.0.
Leon’s is a family-owned drive-in in Milwaukee, Wisconsin, that opened 83 years ago – in 1942. The building was remodeled in the early 50’s and is what is seen today. Leon’s was inspiration for the original Arnold’s Drive-In in the 1970’s ABC television sitcom, Happy Days, that was also set during the 1950’s in Milwaukee, Wisconsin.
The Happy Days season 2 intro settles into the warm glow of Arnold’s Drive‑In, where the cast dances, jokes, and moves through the set like regulars in a familiar hangout. The sequence plays over a freshly recorded version of “Rock Around the Clock”, a choice that instantly anchors the show in a 1950s jukebox mood. The season 2 also marks a shift in the show’s rising star power: Henry Winkler’s Arthur “Fonzie” Fonzarelli steps into the opening credits beside Ron Howard, reflecting what would be his iconic popularity with viewers.
Although the tune is the same one Bill Haley & His Comets first cut in 1954, the version heard in Happy Days wasn’t that original hit. The song had begun modestly as the B‑side of a single that only reached No. 23, but everything changed when it blasted through the opening credits of Blackboard Jungle in 1955. Practically overnight, it became a cultural earthquake, soaring to No. 1 that July and helping ignite the rock‑and‑roll era.
Nearly twenty years later, in the fall of 1973, ABC asked the band to re‑record the song specifically for the new TV series. When Happy Days became an instant sensation, viewers went hunting for the version they heard each week—only to discover it wasn’t sold in stores. Their search sent them back to the original 1954 single instead, giving that two‑decades‑old record an unexpected second wind and pushing it back into the Top 40 in 1974, a rare encore for a rock‑and‑roll classic.
Fonzi played by Henry Winkler was a new character for the ABC TV series. He had just 6 lines in the first episode of “Happy Days” whose debut broadcast was January 15, 1974. In the series, Fonzie’s full name was Arthur Fonzarelli and called that by Richie’s mom. The original family name of series’ creator Garry Marshall (1923-2016) was Masciarelli and changed before Garry was born by his father, a man of Italian descent.“TV Guide #1189” by trainman74 is licensed under CC BY-NC 2.0.
At the 2024 Emmy Awards on September 15, Ron Howard and Henry Winkler reunited to mark Happy Days’ 50th anniversary. The longtime friends presented the award for Outstanding Directing for a Comedy Series from a lovingly recreated Arnold’s Drive‑In set, complete with a vintage jukebox, red‑leather booths, and classic sports pennants.
Leon’s is still owned and operated by the original family. The main focus of the business is, and always has been, to serve the freshest and finest frozen custard available anywhere. The business is open all year round and they have full soda fountain service, a sandwich menu, daily special flavors and take-out service.
June 2017. Late afternoon at Leon’s, Milwaukee, Wisconsin. Leon’s was inspiration for Arnold’s on Happy Days, a popular 1970’s TV series set in Milwaukee in the 1950’s. Author’s photograph. 4.53 mb
Arnold’s was the name of the local Milwaukee drive-in hang out for most of the characters in Happy Days. Fair Use.
Ron Howard Signs On (1973)
At just 19 years old, Ron Howard signed a seven‑year contract to star in Happy Days. At the time, he was juggling an unusually heavy load: filming American Graffiti, attending USC, and mapping out an early directing career.
Becoming Richie Cunningham
Cast as Richie Cunningham, Howard earned $3,500 per episode—roughly $25,000 in 2025 dollars. He had already played Richie once before, in the February 1972 Love, American Style segment that inspired the new series, but still had to audition again for the TV version. At the first read‑through, Howard reunited with Anson Williams (“Potsie”) and Marion Ross (Richie’s mother)—both of whom had appeared with him in the Love, American Style pilot. He also met the rest of the soon‑to‑be iconic cast: Tom Bosley (“Richie’s dad”), Donny Most (“Ralph Malph”), and Henry Winkler, a 28‑year‑old Yale School of Drama graduate who would become “Fonzie”
A 1970s TV Powerhouse
Alongside M*A*S*H, All in the Family, The Mary Tyler Moore Show, and The Bob Newhart Show, Happy Days became one of the defining sitcoms of the 1970s. It aired for 11 seasons from January 15, 1974, to July 19, 1984 on the ABC network. There was a total of 255 half-hour episodes.
SOURCES:
Ron Howard & Clint Howard , The Boys A Memoir of Hollywood and Family, William Morrow, 2021, pp. 275-277.
FEATURE image: Charles (Charlie) Chaplin (1889-1977), 1918, A Dog’s Life, First National. Public Domain.
Charles (Charlie) Chaplin (1889-1977), 1918, A Dog’s Life, First National.
Twenty-four-year-old Charlie Chaplin was “discovered” in 1913 when he was touring Stateside in an English pantomime, acrobat and clown show troupe. Chaplin signed up to work for $150 a week in Mack Sennett’s Keystone Comedies. It was a definite pay raise at about triple what he was making in vaudeville and music halls. It opened his eyes to movies’ possibilities for popularity and money making. Chaplin made 35 motion pictures in the first year. The norm of one- and two-reels was a perfect foil for Chaplin’s trademark character – “the Tramp” – and he became an overnight sensation among film-hungry audiences.
Though Sennett wanted to keep his surprising new star, Chaplin was lured away by Essanay Film Manufacturing Company of Chicago for $1,250 a week and the option to direct his own pictures. Whereas Chaplin was making 5 and 6 figures with Essanay, the company was making 7 figures with the artist. Chaplin made 14 films for Essanay and exerted a high level of control of these films before he left for Mutual Film Corporation in early 1916.
Charlie Chaplin (1889-1977) and Edna Purviance (1895-1958) in a clip from A Dog’s Life (1918). Granville Redmond (1871-1935) plays the dance hall proprietor. Purviance appeared in over 30 films with Chaplin between 1915 and 1923.
Chaplin’s new salary was $670,000 a year or $10,000 a week (equal to a staggering $300,000 plus per week in 2023 dollars) – plus bonuses that amounted to what had about been his collective total salary over two years at Essenay. By 1916 Charlie Chaplin had become the nation and world’s favorite comedian and a very marketable cultural phenomenon. In 1916 Chaplin made 12 films for Mutual which were all comic masterpieces- The Floorwalker, The Fireman, The Vagabond, One A.M., The Count, The Pawnshop, Behind the Screen and The Rink. In 1917 Chaplin made 4 more films. By the beginning of 1918 twenty-something Chaplin had become a world-renown film artist comic/auteur who found entrée to meeting with other international celebrity cultural artists.
Chaplin was a trouper who churned out the work and Mutual looked to keep Chaplin on for another series of profitable films. They presented a generous offer of $20,000 per week which is about $600,000 per week today. The studio would pick up Chaplin’s production costs as well. But, Charlie Chaplin, wanting to keep fresh as well as share in the profits of his pictures, signed with First National. Their deal included matching Mutual’s per week salary requirements as well as a signing bonus of $15,000. Though Chaplin had to pay his production costs with First National, he received the aforesaid profit-sharing for his next 8 pictures. At this point Chaplin was an independent producer with financing and artistic control over his own pictures as well as a 50% share in its box office. One next logical step would be to increase profit margin.
Chaplin’s first picture release for First National was A Dog’s Life. It was a three-reeler (33 minutes) featuring the Tramp that was released in April 1918 and for which Chaplin was its producer, writer, director, and star.
Main Theme by John Barry of Chaplin, the 1992 biographical film of the legendary English comic and filmmaker starring Robert Downey, Jr. as “the Tramp.” The film was produced and directed by Richard Attenborough (1923-2014) and co-starred Marisa Tomei as silent film actress Mabel Normand (1893-1930), Dan Ackroyd as director and studio head Mack Sennett (1880-1960), Penelope Ann Miller as silent film actress Edna Purviance and Kevin Kline as Douglas Fairbanks Sr. (1883-1939). The film featured Charlie Chaplin’s own daughter, Geraldine Chaplin (b. 1944), playing Chaplin’s mother and her own grandmother, Hannah Chaplin (1865-1928), Maria Pitillo played “America’s Sweetheart,” silent film actress Mary Pickford (1892-1979). Though the film received mixed critical reviews it was nominated for three Academy Awards, including Best Original Score for John Barry whose haunting Main Theme evokes the greatness of the main character in a comedy-drama story from TriStar Pictures (US).
Bibliography:
David Robinson, Chaplin: His Life and Art. New York: McGraw-Hill Book Company,1985.
Tino Balio, “Stars in Business: The Founding of United Artists” in The American Film Industry, ed. Tino Balio, University of Wisconsin Press, 1976.
FEATURE image: “Cary Grant” by classic film scans is licensed under CC BY 2.0.
By John P. Walsh
Cary Grant made 72 feature films between 1932 and 1966- 34 in the 1930’s, 20 in the 1940’s, 13 in the 1950’s, and 5 in the 1960’s. (Grant also appeared in 10 more short films between 1932 and 1976). His feature films ranged from all classics of the genre. The debonair English-American actor with boundless energy and superb timing tangled with THRILLERS—Suspicion (1941), To Catch a Thief (1955), North by Northwest (1959)— COMEDIES—Bringing Up Baby (1938), His Girl Friday (1940), The Philadelphia Story (1940)— ROMANCES—Notorious (1946), An Affair to Remember (1957) – and much more. Grant was nominated twice for an Academy Award for Best Actor – in 1941 for Penny Serenade (directed by George Stevens) and None but the Lonely Heart in 1944 – but did not win.
In his 34-year Hollywood career Grant made his last films in the 1960’s. These included That Touch of Mink (1962), Charade (1963), Father Goose (1964), and Walk, Don’t Run (1966). These films became some of his best work. Afterwards, Grant decided to retire at what was a professional – and personal – high note. In June 1965 the 61-year-old Grant married actress Dyan Cannon, 33 years his junior, and they both had their first child, a girl, born in February 1966. It was Dyan Cannon’s first marriage; Grant’s fourth. They divorced in 1968.
With an acting career spanning four decades—Grant’s film debut was in 1932 for Paramount Pictures’ comedy, This is the Night—Grant said good-bye to the silver screen at 62 years old. In 1970 he received his sole Oscar, an honorary one, for which he was pleased and humbled in his acceptance speech before the Academy. It was Hollywood’s Golden Age, and in that time, Cary Grant was a household name synonymous with suavity, comedy, drama, romance, and perpetually fit and tanned-and-pressed good looks.
The 66-year-old leading man and comic actor, whose film career ranged from 1932 to 1966, never won an Oscar. In 1970 he thanked the Academy whose audience that night gave him a standing ovation. Grant, who made over 80 films, including a long list of classic titles, expressed gratitude for “being privileged to be part of Hollywood’s most glorious era.”
“Ours is a collaborative medium—we all need each other,” Cary Grant said as he accepted his honorary Oscar from presenter and friend Frank Sinatra at the 42nd Annual Academy Awards ceremony on April 7, 1970 at the Dorothy Chandler Pavilion in Los Angeles, California.
Grant’s final film came in 1966 with the summer release of the comedy, Walk, Don’t Run. It was one more film made by one of Grant’s new production companies and distributed by Columbia Pictures. Grant’s departure from film coincided with the birth of his daughter, Jennifer— Grant becoming a father for the first time. Grant called her his “best production”— and now wanted to give her all his time and attention. Grant said: “My life changed the day Jennifer was born. I’ve come to think that the reason we’re put on this earth is to procreate. To leave something behind. Not films, because you know that I don’t think my films will last very long once I’m gone. But another human being. That’s what’s important.”
Cary Grant and wife Dyan Cannon with their baby daughter who was born on February 26, 1966.
Grant starting wooing Dyan Cannon in 1962. Within a three-year whirlwind courtship, she became pregnant with Grant’s baby so that, in1965, the 28-year-old actress wanted a marriage proposal. Cary Grant was the epitome of cinema’s best and most important actors. After their marriage, Dyan Cannon discovered that their relationship turned polite and frostier than she had expected with Hollywood’s quintessential leading man. On March 20, 1968 — less than three years after tying the knot in a secret wedding ceremony in Las Vegas, Nevada followed by a honeymoon in England taking a private jet supplied Howard Hughes – Cannon sought and got a divorce. While Cannon received alimony from Grant to raise their daughter, the young mother and up-and-coming actress had to sort things out more completely after their break-up. Theirs had been a love affair with many memorable romantic moments. But what Grant told her when they were still dating was remembered by Cannon after the marriage failed. Grant said: “I don’t know what it is, but something happens to love when you formalize it. It cuts off the oxygen.”
Grant appears in character as an angel named Dudley in this promotional photograph for the 1947 fantasy romance film, The Bishop’s Wife. By seductively playing a certain song on the harp, Dudley convinces a rich woman to support the bishop’s cathedral building project. In real life, Grant was an ardent piano player.
CHARADE (1963):
When Grant first asked to meet Dyan Cannon, she assumed it was for an acting part. Grant began his romance with then-25-year-old Dyan Cannon in 1962. That fall the couple flew from California to New York where Cannon began rehearsing for The Fun Couple, a Broadway comedy play starring Jane Fonda and directed by Andreas Voutsinas. Grant meanwhile worked with film director Stanley Donen on Charade, a romantic-comedy pseudo-Hitchcock mystery thriller that Grant co-starred in with Audrey Hepburn. Hepburn had been filming another romantic comedy, Paris When it Sizzles, with William Holden.
Promotional poster for Stanley Donen’s Hitchcock-inspired suspense thriller, Charade. The 1963 hit film was made in Paris in 1962 and 1963 and released during Christmas 1963. It starred Cary Grant and Audrey Hepburn.
Charade’s animated Main Title and music follow a widescreen shot of a pre-dawn countryside in Europe as a speeding train finally approaches and screeches past. A body is dumped out of the moving train, plunges down the ravine and stops in a ditch, the camera providing a close-up of the dead victim’s face. Colorful animation follows of pinwheels as the wood-block-driven music heighten tension for what will be two charming lovers, Grant and Hepburn, caught in a mysterious web of criminals after money.
The Main Title for Charade with its punchy animated titles by Maurice Binder (1918-1991) was composed by Henry Mancini (1924-1994). The Main Theme from Charade was the first of a number of successful film score collaborations Mancini had with film director Stanley Donen in the 1960’s.
Stills montage of Maurice Binder’s Main Title for Charade that accompanies Henry Mancini’s music.
Grant reluctantly left Cannon and the comforts of his suite at the Plaza Hotel in New York City to make his way to Paris to shoot Charade (Hepburn lived near Paris). Many Paris locations were used in the film: near Notre Dame is the Pont au Double bridge, just below the Quai de Montebello. During the filming of Charade, Cary Grant and Audrey Hepburn walked along the riverbank below this bridge as they discussed who the killer is. Another location was the Musée Cernuschi just outside of Parc Monceau on the Avenue Velasquez. The museum is featured in Charade where it is used as Reggie’s apartment which she finds ransacked after returning from a holiday ski trip. Finally, the Palais Royal near the Louvre appears in Charade in its final scenes when the real Carson Dyle is revealed and shooting begins.
Shooting scenes for Charade involved many locations in Paris.
When Dyan Cannon had her first holiday break from Broadway rehearsals at Christmas 1962, she hopped on a flight to Paris. Arriving on December 26, Grant and Cannon spent the next several days together in his hotel. On New Year’s Eve, the couple were the special guests of Audrey Hepburn and her husband Mel Ferrer at their castle where a sumptuous dinner and many flights of crisp and creamy French champagne were served. Cannon flew back to the States on January 2, 1963, after a most pleasant holiday. She resumed her theater work in New York City while Grant and Hepburn stayed behind in Paris to continue filming Charade.
Cary Grant, making his 70th film, was reluctant to leave the U.S. in late 1962 for Paris to film Charade. The film premiered at Radio City Music Hall in New York City on Christmas Day 1963.
Radio City Music Hall in 2008. Charade opened on December 25, 1963 at Radio City Music Hall. The film made six million dollars while the reviews, though mixed, were mainly positive. Critics did remark on the age difference between the romantic leads –Cary Grant was 59 years and Audrey Hepburn, at 34, was almost half his age. In early 1964 the suave and likeable leading man of the last 30 years was thinking about retirement. But there were still some things he hoped to accomplish first.
The film Charade is well-known for its Hitchcock-style inspiration and screenplay by the original story’s author Peter Stone (1930-2003). From Stone’s 1961 short story, The Unsuspecting Wife, the film Charade offers witty lines and a head-knocking, heart-pounding whodunit. In Charade, Regina “Reggie” Lampert (Hepburn) is on winter holiday in the French Alps. Returning to her home in Paris, she is shocked to find that it has been ransacked of everything of value. The mysterious victim thrown off the train in the Main Title and the mysterious man Reggie met on holiday in Grenoble– Peter Joshua, alias Alexander Dyle, alias Adam Canfield, alias Brian Cruikshank (Cary Grant) –converge into her life to help her solve the mystery of why these crimes have occurred and what they mean. Charade is about hidden money, spies and larcenists, double-crossing and being on the run. In addition to all that, it’s a love story. Charade was one of the last of the suspense-screwball comedy films –a staple of the Hollywood film genre since the 1930’s that faded in the gritty realist films of the 1960’s and 1970’s until its reemergence in the 1980’s.
Father Goose (1964):
With Charade in the rear-view mirror, Grant came home just as Cannon became mostly absent. Throughout 1964 and much of 1965 Cannon had done no film work yet but continued a busy theater career as she was touring the country in the musical How to Succeed in Business Without Really Trying. Looking for something to do with his time, Grant formed a production company and made Father Goose.
Grant’s character, Walter Eckland, played against Grant’s film type. Ecklund was a bedraggled loner in the South Pacific during World War II who reluctantly takes under his protection an unmarried French school teacher (Leslie Caron) and her seven grade school students. They were suddenly made refugees from the war during a Japanese bombing raid. The heart-warming Father Goose was a mega-hit at its release during Christmas 1964 and made millions of dollars. Receipts, however, were significantly less than in each of Grant’s three previous films — Operation Petticoat in 1959 with Tony Curtis, That Touch of Mink in 1962 with Doris Day, and Charade. Despite a lot of pre-Oscar buzz, Grant wasn’t nominated for his performance. Father Goose was one more disappointment for Grant as he worked to possibly be given an Academy Award before he might retire.
Photographs above and below: Cary Grant in Operation Petticoat (1959).
That Touch of Mink (1962):
Cary Grant and Doris Day in the hit romantic comedy, That Touch of Mink. Grant was dismayed that his 1964 romantic comedy adventure film Father Goose made less money than Charade and almost $6 million less than That Touch of Mink in 1962 and Operation Petticoat in 1959 combined.
That Touch of Mink co-starred Doris Day and Cary Grant. It was the hit movie of summer of 1962 though outshined in the movie world by Lawrence of Arabia and The Longest Day later that year. The romantic-comedy is great fun—it won a Golden Globe award for Best Comedy Picture-—and became a popular rerun on TV for the next decade.
Cary Grant was cast as wealthy businessman Philip Shane, a role originally meant for Rock Hudson. That Touch of Mink was, above all, intended to be a Doris Day vehicle. From 1962 to 1964 Doris Day was the top box office star in Hollywood. Her presence definitely contributed to Universal Pictures’ bottom line since That Touch of Mink was the fourth biggest money maker of the year.
Playing working girl Cathy Timberlake, the movie is basically a stylish “boy meets girl, boy loses girl, boy gets girl back”—and given a chance to learn his lesson, they get married. American audiences loved the concept as well as Day and Grant together on the big screen. The film was the fastest million-dollar earner of 1962 and set a record at the time for the highest gross earnings in an initial theatrical release.
For Grant it was his second highest grossing film of his 30-year career, which was especially prosperous since the 58-year-old actor was a co-producer. Grant made $4 million for That Touch of Mink (around $35 million in today’s money). Three weeks after its opening, Betsy Drake, Grant’s third wife, filed for divorce.
The court proceedings of the high-profile couple after over a decade of marriage were followed closely in the press. The settlement for Drake who told the papers: “I was always in love with him and I still am…but…he left me long ago,” included more than one million dollars in cash and profit sharing in every Cary Grant film ever made up to that time.
That Touch of Mink, a film thick with early 1960’s conventional sensibilities, was nominated for 3 Academy Awards. Both Grant and Doris Day never won an Academy Award. The story goes that after her exit from films Doris Day was offered the Honorary Oscar multiple times but always turned it down. Grant won and accepted his Honorary Academy Award in 1970. In 1962 That Touch of Mink was nominated for Best Sound, Best Art Direction and Best Screenplay. In the first two categories Oscar went to Lawrence of Arabia and in the third to Divorce Italian Style.
That Touch of Mink was the fastest million-dollar earner of 1962 and set a record at the time for the highest gross earnings in an initial theatrical release. It was mainly a Doris Day vehicle that co-starred Cary Grant who co-produced.
Newly married in June 1965 to Dyan Cannon who was expecting their baby, Grant announced he was flying to Japan to make another movie. Grant returned to California permanently just in time to drive his wife to the hospital to deliver their first child, a baby daughter, born on February 26, 1966.
In June 1965, with Father Goose and the Oscars behind him and Dyan Cannon’s national tour ended—Grant and Cannon, who was now pregnant, got married. After a secret marriage ceremony in Las Vegas and a honeymoon, their news was eventually publicized. As the excitement began to settle down, Grant informed Cannon he would be making another film—and was traveling to Japan by himself for the next many months.
Walk, Don’t Run (1966):
Grant formed another production company and, with producer Sol C. Siegel, signed with Columbia Pictures to distribute his new film. Buying the rights to The More the Merrier, a World War II-era comedy, Grant took the role that had been nominated in the early 1940’s for an Academy Award. Grant’s 1966 remake was called Walk, Don’t Run in which he played a British industrialist, Sir William Rutland.
The music is by Quincy Jones including its main title, “Happy Feet.”
Grant’s mid 1960’s romantic-comedy vehicle is familiar territory that allowed the now-married father to continue to cash in on his popularity. The film is light fare even when compared to other such Grant vehicles such as Dream Wife (1953), Houseboat (1955), and, more recently, Father Goose (1964). Walk, Don’t Run was a safe remake of an Oscar-nominated World War II-era comedy, The More the Merrier, directed by George Stevens, and starring Jean Arthur, Joel McCrea, and Charles Coburn with Grant taking the Coburn part, a role which was Oscar-nominated in 1943 for Best Supporting Actor. Transferred to the 1964 Summer Olympics in Tokyo during a housing shortage, the story is about three strangers who come to share an apartment — industrial magnate Sir William Rutland (Grant), American Olympian Steve Davis (Jim Hutton), and young single British expat Christine Easton (Samantha Eggar). For Grant’s last film he intentionally worked it so he did not get the girl. Instead, Sir William plays matchmaker to Christine, engaged to boring British diplomat Julius Haversack (John Standing), so that she goes for Hutton. Grant personally cast Hutton and Eggar for their roles. Very predictable fare with stodgy stage direction, the decent performances by the leads bestride what amounts to an anachronistic production, despite its contemporary setting and delightful score from Quincy Jones, his first big break in films.
In the film, Christine, whose tiny apartment it is, would prefer a female roommate. She sublets to Sir William because he is pushy, charming and a fellow Brit in need. But he immediately sublets half of his portion to Hutton, making for three. Comedy results from three outsized adults sharing a very small living space as they pursue their lives’ conflicting schedules as normally as possible.
Samantha Eggar glows in each of her scenes in Walk, Don’t Run though she hasn’t much to work with in terms of a script as evidenced here.
Walk, Don’t Run was one of Quincy Jones’s first big breaks. The 33-year-old Chicago-born Jones came to score the film after its star and Executive Producer, Cary Grant, recommended him for the job. Grant met him briefly through their mutual friend, singer Peggy Lee. From that meeting Grant felt Jones’ style would be perfect for the film and he made sure he was hired. Jones went on to enormous success as the composer of numerous film scores such as In the Heat of the Night in 1967 and The Color Purple in 1985 as well as the producer of successful pop rock recordings such as Michael Jackson’s bestselling albums and the 1985 global recording phenomenon, We Are The World. In 2013, Quincy Jones was inducted into the Rock and Roll Hall of Fame.
After Grant returned from Asia and the baby was born, in private and public he insisted that Walk, Don’t Run was his last film. It proved to be true. Grant stated he would not make a film with his wife, Dyan Cannon, a talented actress whose career had just begun. Instead, Grant insisted Cannon should retire from acting and be a stay-at-home mother. Dyan Cannon did not welcome these stay home ideas. Even in 1966 Cannon began to wonder if—following an exciting courtship and a 33-year age difference they barely mentioned—her marriage to Cary Grant was on the rocks.
NOTES:
Best production— “Hollywood loses a legend”. Montreal Gazette. December 1, 1986. p. 1.
That’s what’s important— McCann, Graham (1997). Cary Grant: A Class Apart. Columbia University Press, 1998.
Fastest million-dollar earner of the year and record for highest gross earnings in an initial theatrical release – “Million-$ Gross In 5 Weeks; ‘Mink’ A Radio City Wow”. Variety, July 18, 1962. p.1. and “B’way as Spotty as Weather; ‘Town’ Big $41,000, ‘Guns’ Only Okay $20,000, ‘Grimm’ Giant 59G, ‘Mink’ 151G, 10th” Variety, August 22, 1962. p.9.
Betsy Drake settlement – Eliot, Marc, Cary Grant A Biography, Harmony Books, NY 2004, p 337.
Last film and would not make a film with his wife— Ibid., p. 352.
Might be in trouble—Cannon, Dyan, Dear Cary: My Life with Cary Grant, 2011, p. 217 ff.
PHOTO CREDITS:
FEATURE image-Cary Grant by classic film scans is licensed under CC BY 2.0.
2-Cary Grant by classic film scans is licensed under CC BY 2.0.
3-Fair use.
4-Cary Grant by twm1340 is licensed under CC BY-SA 2.0.
5-CHARADE by Laurel L. Russwurm is marked with CC0 1.0.
6-Public domain published in a collective work i.e. periodical in the US between 1925 and 1977 and no Copyright.
7-Bond Films Openings Montage (Amalgamation) by avhell is licensed under CC BY-SA 2.0.
8-Charade titles by Maurice Bender by Stewf is licensed under CC BY-NC-SA 2.0.
9-Charade_1963_Audrey_Hepburn_and_Cary_Grant public domain because it was published in the United States between 1925 and 1963 and although there may or may not have been a copyright notice, the copyright was not renewed.
10- Cary Grant, in Charade 1963 by Movie-Fan is licensed under CC BY-NC-SA 2.0.
11- Let’s continue this little Charade by Thiophene_Guy is licensed under CC BY-NC-SA 2.0.
12-Radio City Music Hall (2008) by jpellgen (@1179_jp) is licensed under CC BY-NC-ND 2.0.
13-Cary Grant by classic film scans is licensed under CC BY 2.0.
14-MM008600-39 by Florida Keys–Public Libraries is licensed under CC BY 2.0.
15- Cary Grant and Doris Day by classic film scans is licensed under CC BY 2.0,
16-1947 Bristol-born Hollywood film star Cary Grant alighting from Bristol Freighter G-AGVC at Los Angeles, 13 Jan 1947. by Gary Danvers is licensed under CC BY-SA 2.0.
17- Walk, Don’t Run poster. Fair use.
18-Fair use.
CARY GRANT HOLLYWOOD FILMOGRAPHY (1962-1966):
1962:
That Touch of Mink Cary Grant as Philip Shayne Directed by Delbert Mann Released June 14, 1962 Universal Pictures
1963:
Charade Peter Joshua / Alexander Dyle / Adam Canfield / Brian Cruikshank Directed by Stanley Donen Released December 5,1963 Universal Pictures
1964:
Father Goose Walter Christopher Eckland Directed by Ralph Nelson Released December 10, 1964 Universal Pictures
1966:
Walk, Don’t Run Sir William Rutland Charles Walters Released June 29, 1966 Columbia Pictures
This explanatory article may be periodically updated.
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