In my view, Grace Kelly was a serviceable, though lackluster, actress. If she hadn’t married a prince and retired at the peak of her career, I doubt she would have been remembered, let alone become an icon.
So what exactly drew me into reading a biography about her? Mainly it was my interest in Classic Hollywood. I only knew the basic facts about Grace Kelly (her marriage into royalty, her premature retirement from acting, her gruesome death in a car accident), and after watching three of her films and reading that she was much more complex than she seemed, I became curious.
Robert Lacey’s book has been criticized for being salacious, and there are indeed some details about Grace’s love life I could have done without and more about her acting career and charity work he should have included (the focus on her affairs irritated me so much that at one point I stamped a note on one of the pages). He almost made it seem as though her career, on which she worked hard, was just an excuse to have sex. Nevertheless, he doesn’t shy away from the ugly truth, like the fact that her father (an Olympic champion) was emotionally abusive, controlling, and anti-Semitic. Grace spent all her life trying to win his approval and was never able to step away from his shadow.
Lacey posits the theory that her film career has endured because she was in the right place at the right time. Ingrid Bergman, the resident cool blonde of Hollywood, had shattered the illusion of inaccessibility by having an affair with director Roberto Rossellini and getting pregnant out of wedlock. Audiences needed a substitute, an actress whose sex appeal was enticing precisely because it was only hinted at, the opposite of Marilyn Monroe. And then Grace caught the eye of Alfred Hitchcock, who cast her in Dial M for Murder (1954), the first of the three films they would make together.
Although Grace loved Rainier in the beginning, she hadn’t seen his worst qualities when she married him, and because there was a Grimaldi family law that dictated their children would remain with him if they divorced, she wasted the rest of her life posing as a decorative princess, looking composed in public while struggling with her demons in private (frustrated creativity, loneliness, marital difficulties, the rebelliousness of her daughters, and a possible drinking problem).
Grace Kelly’s life can be summed up with the final speech of her film The Swan (1956), when her character, also a princess, chooses duty over freedom:
Think what it means to be a swan: to glide like a dream on the smooth surface of the lake, and never go on the shore. On dry land, where ordinary people walk, the swan is awkward, even ridiculous. When she waddles up the bank, she painfully resembles a goose. So there she must stay, out on the lake: silent, white, majestic. Be a bird, but never fly. Know one song, but never sing it until the moment of her death. And so it must be for you, Alexandra: head high, cool indifference to the staring crowds along the bank. And the song? Never.
I guess people don’t like it when fairytales are spoilt.