Nearly a century ago, the renowned actor Cary Grant shared a residence in Greenwich Village with an Australian individual who later achieved significant acclaim, winning three Oscars. This intriguing revelation is featured in the documentary ‘Women He’s Undressed,’ which delves into the life of celebrated costume designer Orry-Kelly. The film, available on DVD and video on demand since August 9, sheds light on Grant’s enigmatic persona and adds a fresh perspective to the ongoing discussions about his personal life and sexuality.
Combining insights from the documentary with details from Kelly’s recently published memoir, ‘Women I’ve Undressed,’ a compelling narrative emerges, portra
ying Grant as a determined young artist who crafted a new identity while concealing his authentic self
Kelly, who was seven years older, writes in his memoir that he met the struggling performer Archibald Leach — who would change his name to Cary Grant in 1931 — just before his 21st birthday in January 1925.
n his memoir, Kelly, who was seven years older, recounts meeting the aspiring artist Archibald Leach shortly before his 21st birthday in January 1925. This encounter marked the beginning of a transformative journey for Leach, who would later adopt the name Cary Grant in 1931.
Leach’s arrival at Kelly’s artist studio at 21 Commerce St. in the West Village marked a turning point, as he had been evicted from a boarding house due to nonpayment and carried all his belongings in a tin box. He moved in with Kelly, who recalls in his book that Leach was unwell during their early days together, and he took care of Leach’s medical expenses.According to the documentary, film historian William J. Mann asserts that Kelly and Leach were a couple, noting that New York City in that era was home to many openly living lifestyles that were unconventional elsewhere.
During this time, Leach, described as “devastatingly handsome,” struggled to make ends meet. He had migrated from England to America as a teenager and performed as part of a stilt-walking troupe. In New York, he worked sporadically as a carnival barker in Coney Island and occasionally escorted women for pay, all while pursuing opportunities in vaudeville.
Kelly, who was involved in painting murals for speakeasies and aspiring to break into show business as a set designer, had established a profitable side business of handcrafted ties. Leach joined in by assisting with stencil designs and selling these ties backstage at vaudeville venues in exchange for a share of the profits.
Expanding their ventures, the duo ventured into operating their own speakeasy in Manhattan a few years later. Additionally, they briefly operated a casino in Nevada, but their enterprise was swiftly shut down by gangsters who demanded money under threat of harm, prompting them to cease operations.
Kelly’s memoirs and the documentary detail his tumultuous relationship with the actor over a span of three decades. Although Kelly refrains from explicitly stating that Leach was his boyfriend, the documentary asserts this fact. However, Kelly’s writings unmistakably convey the sense of someone who experienced heartbreak multiple times throughout their relationship.
Leach’s fascination with blond women often irked Kelly, although he noted that Leach would always return to him. Kelly recounted an incident where Leach knocked him unconscious for three hours after Kelly criticized him for neglecting their vaudeville guests at a party. This physical altercation was not uncommon among homosexual men during that era, often stemming from a mix of self-loathing and confusion.
In 1931, both men made their way to Hollywood to pursue their respective careers. Grant, now under his new name, had secured a $350-a-week contract with Paramount, while Kelly embarked on a 12-year tenure leading the Warner Bros. costume department, which included designing Ingrid Bergman’s iconic wardrobe for “Casablanca.” They briefly shared living quarters again in Hollywood, enjoying inexpensive meals at drugstores each night.
As Grant transitioned into his new persona, tensions grew between him and Kelly regarding Grant’s relationships with women, as well as his meticulous tracking of expenses and demands for reimbursement. Kelly settled the bills and even suggested that Grant live with Randolph Scott, another handsome actor under contract with Paramount.
The debate surrounding Grant’s sexual orientation has persisted for decades, largely centered on his on-and-off living arrangement with Scott in a Malibu beach house, famously captured in a series of domestic photographs. When Grant married actress Virginia Cherrill in 1934, it reportedly led to Scott’s attempted suicide. However, they resumed living together after Grant’s divorce in 1935 and again after Scott’s first marriage ended in 1939.
Their close relationship was further evidenced by Grant listing Scott as a witness on his 1942 US citizenship application, where they shared an address. Grant also took legal action against gossip columnists and comedians who insinuated or joked about his sexual orientation, demonstrating his efforts to protect his public image and privacy.
Grant and Kelly gradually grew apart, with Kelly noting that Grant was adapting to his Cary Grant persona, which became synonymous with his career success.
Their paths crossed again in 1941 during the making of “Arsenic and Old Lace” at Warner Bros., where tension was palpable between them. Mann recalls a specific incident from the documentary where Grant made a disparaging remark about Kelly’s situation, showcasing a strained dynamic between the two once-intimate partners.
Kelly faced personal struggles, including a drinking problem that led to losing his job at Warner Bros. and seeking rehabilitation. However, he made a remarkable comeback, winning Oscars for his costume designs in films like “An American in Paris” (1951), “Les Girls” (1957), and “Some Like It Hot” (1959), the latter featuring iconic dresses worn by Marilyn Monroe.
Grant made a reappearance in Kelly’s life in the late 1950s, expressing interest in purchasing paintings from Kelly’s studio as gifts. However, Kelly’s memoir suggests that Grant’s visits may have been motivated by a desire to dissuade Kelly from writing about their relationship. The documentary also hints that Grant may have used his influence to prevent the publication of Kelly’s memoir. The manuscript was discovered in an Australian relative’s home in 2014 during the production of the documentary and is currently available only as an audio book in the US.
In his book, Kelly reflects on Grant’s advice to keep their relationship private, stating that there was never anything to hide. However, Grant’s involvement in discouraging the publication of Kelly’s memoir adds complexity to their dynamic and raises questions about Grant’s motives.
In the final pages of his book, Kelly shares a poignant anecdote about Grant’s frugality. During their last encounter, Kelly, who was designing costumes for “Auntie Mame” (1957) starring Rosalind Russell, Grant’s close friend and co-star in “His Girl Friday” (1940), mentioned Grant’s luxurious Rolls Royce parked outside.
Grant casually mentioned that he had another identical Rolls Royce in London and offered to lend it to Russell for her upcoming trip to London. Excited, Russell agreed until Grant added a surprising condition: she would need to cover the rental fee and chauffeur costs through his agents upon arrival in London. This unexpected stinginess from Grant left Russell and Kelly bemused, highlighting a quirky facet of the actor’s personality.
Kelly reflects on the complex nature of Grant’s relationships, noting instances where Grant’s old friends were let down by him. He quotes Russell, who describes Grant as someone who flits around, avoiding his own shadow and hoping to maintain the image he has crafted for himself.
Despite their close bond, Grant never publicly acknowledged his relationship with Kelly. However, when Kelly passed away from liver cancer in 1964, Grant served as one of the pallbearers, showcasing a quieter, more private expression of their connection. Grant later retired from acting in 1966, coinciding with the birth of his only child from his fourth marriage to Dyan Cannon.
Grant’s enigmatic persona persisted until his death, which occurred five years into his fifth and final marriage. Interestingly, Randolph Scott, Grant’s former roommate and close friend, who had a notably enduring second marriage and a family, passed away just two months after Grant’s death, marking the end of an era for two iconic figures.
