The Grass Is Greener *** (1960, Cary Grant, Deborah Kerr, Jean Simmons, Robert Mitchum) – Classic Movie Review 1455

Producer-director Stanley Donen’s 1960 release is a stagey but pleasing and enjoyable, old-style sub-Noel Coward drawing-room comedy of marital infidelity along the lines of Private Lives as Cary Grant’s marriage to Deborah Kerr is threatened by Jean Simmons and Robert Mitchum’s romantic approaches. It’s given a huge lift with a great cast – there’s no arguing with Grant, Kerr, Simmons and Mitchum. Its minor quality was recognised in two Golden Globe nominations – for Best Comedy Motion Picture and Best Comedy Motion Picture Actor – Grant.

Grant and Kerr play the Earl Victor Rhyall and Lady Hilary Rhyalla, who are so hard up they have to open their stately home for guided tours. Mitchum plays suave but obnoxious American millionaire oil tycoon Charles Delacro, who visits the castle and likes what he sees when he barges into Kerr’s private quarters.

He introduces himself, and his subsequent attentions turn Kerr’s head, yet still Grant invites Mitchum to come to visit them. Simmons plays abrasive madcap American heiress Hattie Durant, ex-girlfriend of Earl Rhyall’s, who is also invited to stay and also gets romantically involved in an odd little love quadrangle.

Grant gives an impeccable, delightfully suave performance, and the other three stars are ideal. The vermouth-dry, shaken-but-not-stirred dialogue is fine, but director Stanley Donen has his work cut out bringing a static stage show from the confines of London’s Shaftesbury Avenue theatreland to the huge Technirama screen, even with the help of British interior decorator Felix Harbord, as special consultant for the sets.

Unfortunately Noel Coward didn’t actually write it, or it would have be much wittier, and lesser talents Hugh Williams and Margaret Williams did, but they do provide a polished, civilised screenplay from their own 1956 stage play with some good laughs. But Coward’s music (Mad About the Boy) greatly enlivens the soundtrack and Maurice Binder’s title sequence is a standout. And of course it’s worthwhile just for that great star cast. Moray Watson has a nice little part as the butler and makes the most of it.

© Derek Winnert 2014 Classic Movie Review 1455

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