Cary Grant

Cary Grant (born Archibald Alec Leach; January 18, 1904 – November 29, 1986) was an English-born American actor, known as one of classic Hollywood's definitive leading men. He was known for his transatlantic accent, debonair demeanor, light-hearted approach to acting, and sense of comic timing.

Grant was born in Horfield, Bristol. He became attracted to theater at a young age and began performing with a troupe known as "The Penders" at age six. At the age of 16, he went as a stage performer with the Pender Troupe for a tour of the US. After a series of successful performances in New York City, he decided to stay there. He established a name for himself in vaudeville in the 1920s and toured the United States before moving to Hollywood in the early 1930s.

Grant initially appeared in crime films or dramas such as Blonde Venus (1932) with Marlene Dietrich and She Done Him Wrong (1933) with Mae West, but later gained renown for his performances in romantic and screwball comedies such as The Awful Truth (1937) with Irene Dunne, Bringing Up Baby (1938) with Katharine Hepburn, His Girl Friday (1940) and The Philadelphia Story (1940) with Hepburn and James Stewart, often with some of the biggest female stars of the day. These films are frequently cited among the greatest comedy films of all time.[2] Other well-known films in which he starred in this period were the adventure Gunga Din (1939) and the dark comedy Arsenic and Old Lace (1944). He also began to move into dramas such as Only Angels Have Wings (1939), Penny Serenade (1941) and Clifford Odets' None but the Lonely Heart (1944); he was nominated for the Academy Award for Best Actor for the latter two.

During the 1940s and 1950s, Grant developed a close working relationship with director Alfred Hitchcock, who cast the popular actor in several of his critically acclaimed films, including Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). The suspense-dramas Suspicion and Notorious both involved Grant showing a darker, more ambiguous nature in his characters. Toward the end of his film career, Grant was praised by critics as a romantic leading man, and he received five nominations for the Golden Globe Award for Best Actor, including Indiscreet (1958) with Ingrid Bergman, That Touch of Mink (1962) with Doris Day, and Charade (1963) with Audrey Hepburn. He is remembered by critics for his unusually broad appeal as a handsome, suave actor who did not take himself too seriously, able to play with his own dignity in comedies without sacrificing it entirely.

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Focusing on the here and now, the ISFP personality type will live life to the full, cherishing the present moment, and finding real pleasure in the more sensory and practical activities such as painting or handicrafts. They need an inner balance, a kind of karma for their lives and this means keeping things as uncomplicated as possible. Planning and control are not for the ISFP, they much prefer to stay in the background doing the things they like, keeping a balance, which includes choosing to remain, happily disorganised. Quiet supporters, rarely will an ISFP be the leader, preferring to remain behind the scenes, observing, understanding, but saying very little.

The ISFP is the astute observer of life, quiet, introspective and kindly. Harmony and respectfulness of values are so important to them. And although trust takes quite some time to establish, once it has been, the ISFP will be a solid and dependable friend. Yes, it will take some time to really get to know the inner values of an ISFP, but the reward will be a friend for life, a friend who will proactively anticipate problems and quietly support others. Conversely if trust is broken, the ISFP will (again quietly) walk away, no fuss, apparently passive but stubbornly refusing to engage again. Gentle supporters, the ISFP will prefer to remain behind the scenes, rather than lead, observing, understanding, but saying very little. There is a stubborn side to the ISFP, but this is more of a passive stubbornness, meaning they may say 'yes,' but mean 'no.' Their gentleness and thoughtfulness means that the ISFP can be an excellent mediator in the team, seeking out the positive and building harmony.

Patient and very flexible ISFPs follow the path of least resistance, rarely criticising the beliefs, actions or attitudes of others. This also means that they will not always stand against change but will instead internalise events and then accommodate for these events rather than trying to control or resist them. The desire for harmony at all costs also means that the ISFP may not voice their concerns, preferring to bottle up their feelings possibly for longer than is good for them. Their view is that to be forthcoming is to put your head above the parapet and the ISFP will not do that readily.

Focusing on the here and now, the ISFP will live life to the full, privately enjoying the present moment, and finding real pleasure in the more sensory and practical activities such as painting or handicrafts. Unlike the INFP who will be intensely future focused, the ISFP wants to remain in the concrete reality present until their need for experience is satiated and they move onto the next, new sensory experience. They need an inner balance, a kind of karma for their lives and this means keeping things as uncomplicated as possible. This need for balance and harmony may mean, however that the ISFP puts off a decision until the decision is made for them. Being so present-oriented they may neglect to plan or even try to glimpse into even the near future preferring to take life as it comes along. Planning and control are not for the ISFP, they much prefer to stay in the background doing the things they like, keeping a balance which also includes choosing to remain happily disorganised.

The downside of this is that the ISFP can be overly laid back and, unless it is important to their values, have 'one speed,' with little acceleration. The ISFP wants, and needs, a cooperative environment, where harmony is a first principle, and confrontation is kept to a minimum. Incredibly perceptive, ISFPs are ahead of the game and are usually the first to tune into the ‘new wave.’ Many ISFPs throw themselves into new fashions, ‘avant garde’ experiences, 'hip' trends, some even setting these trends. Their natural impulse hankers after freedom, and they often push off when others least expect it. The ISFP who continually represses these impulses will lack energy and may eventually push off anyway, towards anything provided it is different. Formal education is difficult for the majority of ISFPs, they prefer experiential learning, at which many excel. ISFPs will practice playing an instrument or honing a favoured skill such as painting for hours on end, not so much as practice as for the sheer joy of the experience.

Often confused with the INFP, ISFPs are less dreamers and less future oriented than INFPs, preferring to live out their sensory experiences and make them happen in real time, rather than enjoying imagining them in the future. They will internalise their feelings so much that they will be difficult to know, although sometimes these feelings will leak out at inappropriate times. The ISFP often project their reactions to their feelings, rather than the feeling itself.