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But in “The Great Gatsby,” when Redford needed to do for Mia Farrow what Streisand had done for him, he couldn’t transcend his immaculate self-absorption.
If he had looked at her with desire, everything else about the movie might have been forgiven.
It makes him glamorous—and, since he is not as available as other men, far more desirable. Men want to be as lucky and enviable as he is—they want to be like him. Like Robert Redford, he’s sexiest in pictures in which the woman is the aggressor and all the film’s erotic energy is concentrated on him, as it was in “Notorious”: Ingrid Bergman practically ravished him while he was trying to conduct a phone conversation.
Redford has never been so radiantly glamorous as in “The Way We Were,” when we saw him through Barbra Streisand’s infatuated eyes.
Cary Grant would not have failed; yearning for an idealized love was not beyond his resources.
One after another, the great ladies courted him—Irene Dunne in “The Awful Truth” and “My Favorite Wife,” Katharine Hepburn in “Bringing Up Baby” and “Holiday,” Jean Arthur and Rita Hayworth in “Only Angels Have Wings,” Ingrid Bergman in “Notorious,” Grace Kelly in “To Catch a Thief,” Eva Marie Saint in “North by Northwest,” Audrey Hepburn in “Charade.” Willing but not forward, Cary Grant must be the most publicly seduced male the world has known, yet he has never become a public joke—not even when Tony Curtis parodied him in “Some Like It Hot,” encouraging Marilyn Monroe to rape.
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“You can be had,” Mae West said to Cary Grant in “She Done Him Wrong,” which opened in January, 1933, and that was what the women stars of most of his greatest hits were saying to him for thirty years, as he backed away—but not too far.