Hugh Grant
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Hugh John Mungo Grant (born 9 September 1960) is a Golden Globe-winning British actor and film producer.

He achieved international stardom after playing the alter ego of writer-director Richard Curtis in the sleeper hit Four Weddings and a Funeral (1994).[1] He used this breakthrough role as a frequent cinematic persona during the 1990s to deliver comic performances in mainstream films like Mickey Blue Eyes (1999) and Notting Hill (1999). He established himself, by the turn of the 21st century, as a prominent leading man skilled with a satirical comic talent. In recent years, Grant has expanded his oeuvre with critically acclaimed turns as a cad in Bridget Jones's Diary (2001), About A Boy (2002), and American Dreamz (2006
Grant has been criticised by students of cinema for putting emphasis on nuanced mannerisms, for the predictability of his movies, and for his unwillingness to stretch as an actor. Within the film industry, he is cited as a movie star who approaches his roles like a character actor, with the ability to make acting look effortless. Hallmarks of his comic skills include a nonchalant touch of irony/sarcasm and studied physical mannerisms as well as his precisely-timed dialogue delivery and facial expressions.

Widespread media speculation about Grant's reportedly very strong personality and life off the big screen has often overshadowed his work as a thespian. Over years of fame, he has been identified in popular culture as a figure of charisma, charm, sharp tongue,and wit,who is very vocal about his disrespect for the profession of acting and his disdain toward the culture of celebrity. He is equally infamous for his grumpiness, political incorrectness, hostilities with the media, and bad temper. In a career spanning 20 years, Grant has repeatedly claimed that acting is not a true calling but just a job he fell into.
Ancestry and early life
Grant was born at Hammersmith Hospital in London, England, the son of Fynvola Susan (née MacLean) and Captain James Murray Grant. Genealogist Antony Adolph described his family history as "a colourful Anglo-Scottish tapestry of warriors, empire-builders and aristocracy." Grant is a descendant of the Grants of Glenmoriston from a long line of Scots military men, doctors and explorers, including William Drummond and Dr. James Stewart. John Murray, 1st Duke of Atholl, Heneage Finch, 1st Earl of Nottingham, Rt Hon. Sir Evan Nepean, and former British Prime Minister Spencer Perceval are a few of his notable maternal antecedents. Grant's grandfather, Major James Murray Grant, DSO, a native of Inverness in Scotland, was decorated for bravery and leadership at Dunkirk during WWII.

Grant's father, Capt. Grant, was trained at Sandhurst and served with the Seaforth Highlanders for eight years in Malaya, Germany and Scotland.[21] He ran a carpet firm, pursued hobbies such as golf and watercolouring, and raised his family in Chiswick, West London, where the Grants lived next to Arlington Park Mansions on Sutton Lane.In September 2006, a collection of Capt. Grant's paintings was hosted by the John Martin Gallery in a charity exhibition, organised by his famous son, called "James Grant: 30 Years of Watercolours." Fynvola Grant was the great-granddaughter of Sir Evan Colville Nepean (CB), whose father, Rev. Canon Evan Nepean, served as the Canon of Westminster and was Chaplain In Ordinary to Queen Victoria. She worked as a schoolteacher and taught Latin, French and music for more than 30 years in the state schools of West London. She died at the age of 63, after an 18-month battle with pancreatic cancer, in 2001.

Grant's famous RP accent is an inheritance from his mother and, on Inside the Actors Studio in 2002, he credited her with "any acting genes that [he] might have." Both his parents were children of military families, and Grant has referred to his own upbringing as very ordinary middle class. He spent his childhood summers in Scotland, shooting and fishing with his grandfather. Grant's elder brother, James "Jamie" Grant, is a successful banker as Managing Director, head of Healthcare, Consumer, & Retail Investment Banking Coverage, at JPMorgan Chase in New York.


Education
Grant started his education at the pre-preparatory Wetherby School. From 1969 to 1978, he attended Latymer Upper School on scholarship and played 1st XV rugby, cricket and football for the school He also represented Latymer on the popular quiz show, Top of the Form, an academic competition between two teams of four secondary school students each. Chris Hammond, his form teacher in 1975 and later the assistant head of Latymer, told People magazine that Grant was "a clever boy among clever boys." In 1979, he won the Galsworthy scholarship to New College, Oxford where he studied English literature and graduated with 2:1 honours. Grant is remembered as a famous face at Oxford, with actress Anna Chancellor recalling, "I first met Hugh at a party at Oxford. There was something magical about him. He was a star even then, without having done anything."Viewing acting as nothing more than a creative outlet, he joined the Oxford University Dramatic Society and starred in a successful touring production of Twelfth Night.


Young earner
After making his debut as Hughie Grant in the Oxford-financed Privileged (1982), Grant dabbled in a variety of jobs: he wrote book reviews,[39] worked as assistant groundsman at Fulham Football Club,[40] tried his hand at tutoring, wrote comedy sketches for TV shows,[41] and was hired by Talkback Productions to write and produce radio commercials for products such as Mighty White bread and Red Stripe lager.[42] To obtain his equity card, he joined the repertory theatre Nottingham Playhouse and lived for a year at Park Terrace in The Park Estate, Nottingham.[43] Bored of small acting parts, he created his own comedy revue called The Jockeys of Norfolk with friends Chris Lang and Andy Taylor. The group toured London’s pub comedy circuit with stops at The George IV in Chiswick, Canal Cafe Theatre in Little Venice and The King's Head in Islington.[44] Starting on a low note, The Jockeys of Norfolk eventually proved a hit at the Edinburgh Festival after their sketch on the Nativity, told as an Ealing comedy, garnered them a spot on the BBC2 TV show called Edinburgh Nights.[45] During this time, Grant also appeared in theatre productions of plays such as An Inspector Calls, Lady Windermere's Fan, and Coriolanus.


Movie career
Grant's first leading role came in Merchant-Ivory's 1987 Edwardian drama, Maurice, adapted from E.M. Forster's namesake novel. He and co-star James Wilby shared the Volpi Cup for best actor at the Venice Film Festival for their portrayals of Cantabrigian collegians Clive Durham and Maurice Hall, respectively. During the late 1980s and early 1990s, Grant balanced small roles on television with rare film work, which included a supporting role in The Dawning (1988) and a turn as Lord Byron in a Spanish production called Remando Al Viento (1988).

In 1992, he appeared in Roman Polanski's film Bitter Moon, portraying a fastidious and proper British tourist who is married to Kristin Scott Thomas but finds himself enticed by the sexual hedonism of a seductive French woman and her embittered, paraplegic American husband. The film was called an "anti-romantic opus of sexual obsession and cruelty" by the Washington Post.[46] His other work in period pieces such as Ken Russell’s The Lair of the White Worm (1988), award-winning Merchant-Ivory drama The Remains of the Day (1993) and (as Frédéric Chopin in) Impromptu (1991) was largely unnoticed. He later called this phase of his career "hilarious," referring to his early movies as "Europuddings, where you would have a French script, a Spanish director, and English actors. The script would usually be written by a foreigner, badly translated into English. And then they'd get English actors in, because they thought that was the way to sell it to America."[47]

At 32, Grant claimed to be on the brink of giving up the acting profession but was surprised by the script of Four Weddings and a Funeral (FWAAF).[2] "If you read as many bad scripts as I did, you'd know how grateful you are when you come across one where the guy actually is funny," he later recalled.[1] Released in 1994, FWAAF became the highest-grossing British film of all time with a worldwide box office in excess of $244 million,[48] making Grant an overnight international star. The film was nominated for two Academy Awards, and among numerous awards won by its cast and crew, it earned Grant his first and only Golden Globe Award for Best Performance by an Actor in a Motion Picture - Musical Or Comedy and a BAFTA Award for Best Actor in a Leading Role. It also temporarily typecast him as the lead character, Charles, a bohemian and debonair bachelor. Grant and Curtis saw it as an inside joke that the star, due to the parts he played, was assumed to have the personality of the screenwriter, who is known for writing about himself and his own life.[47][49] Grant later expressed:

 
Grant in his breakthrough performance as Richard Curtis's alter ego, Charles, in Four Weddings and a Funeral.“ Although I owe whatever success I've had to 'Four Weddings and a Funeral,' it did become frustrating after a bit that people made two assumptions: One was that I was that character - when in fact nothing could be further from the truth, as I'm sure Richard would tell you - and the other frustrating thing was that they thought that's all I could do. I suppose, because those films happened to be successful, no one, perhaps understandably, ... bothered to rent all the other films I'd done.[2] ”

1995 saw the release of Grant's first studio-financed Hollywood project, Chris Columbus's comedy Nine Months. Though a hit at the box office, it was almost universally panned by critics. The Washington Post called it a "grotesquely pandering caper" and singled out Grant's performance, as a child psychiatrist reacting unfavourably to his girlfriend's unexpected pregnancy, for his "insufferable muggings."[50] The same year, he played supporting parts as Emma Thompson's suitor in Ang Lee’s Academy Award-winning adaptation of Jane Austen's Sense and Sensibility and as a cartographer in early twentieth-century Wales in The Englishman Who Went Up a Hill But Came Down a Mountain.

Grant then reunited with the director of FWAAF, Mike Newell, for the tragicomedy An Awfully Big Adventure that was labeled a "determinedly offbeat film" by the New York Times.[51] Grant portrayed a bitchy, supercilious director of a repertory company in post-World War II Liverpool. Critic Roger Ebert wrote, "It shows that he has range as an actor,"[52] but the San Francisco Chronicle disapproved on grounds that the film "plays like a vanity production for Grant."[53] Janet Maslin, praising Grant as "superb" and "a dashing cad under any circumstances," commented, "For him this film represents the road not taken. Made before Four Weddings and a Funeral was released, it captures Mr. Grant as the clever, versatile character actor he was then becoming, rather than the international dreamboat he is today."[51]

Grant made his debut as a film producer with the 1996 thriller Extreme Measures, a commercial and critical failure. After a three year hiatus, in 1999, he paired with Julia Roberts in Notting Hill, which was brought to theatres by much of the same team that was responsible for FWAAF. This new Working Title production displaced FWAAF as the biggest British hit in the history of cinema, with earnings equalling $363 million worldwide.[48] As it became exemplary of modern romantic comedies in mainstream culture, the film was also received well by critics. CNN reviewer Paul Clinton said, "Notting Hill stands alone as another funny and heartwarming story about love against all odds."[54] Reactions to Grant's Golden Globe-nominated performance were varied, with Salon's Stephanie Zacharek criticizing that, "Grant's performance stands as an emblem of what's wrong with Notting Hill. What's maddening about Grant is that he just never cuts the crap. He's become one of those actors who's all shambling self-caricature, from his twinkly crow's feet to the time-lapsed half century it takes him to actually get one of his lines out."[55] The movie provided both its stars a chance to satirize the woes of international notoriety, most noted of which was Grant's turn as a faux-journalist who sits through a dull press junket with, what the New York Times called, "a delightfully funny deadpan."[56] Grant also released his second production output, a fish-out-of-water mob comedy Mickey Blue Eyes, that year. It was dismissed by critics, performed modestly at the box office, and garnered its actor-producer mixed reviews for his starring role. Roger Ebert thought, "Hugh Grant is wrong for the role [and] strikes one wrong note and then another,"[57] whereas Kenneth Turan, writing in the Los Angeles Times, said, "If he'd been on the Titanic, fewer lives would have been lost. If he'd accompanied Robert Scott to the South Pole, the explorer would have lived to be 100. That's how good Hugh Grant is at rescuing doomed ventures."[56]

While promoting Woody Allen’s Small Time Crooks on NBC’s The Today Show in 2000, Grant told host Matt Lauer, “It's my millennium of bastards.”[58]

 
Giving his most critically acclaimed performance to date, Grant plays Snooker as Will Freeman in About a Boy.Small Time Crooks starred Grant, in the words of film critic Andrew Sarris, as "a petty, petulant, faux-Pygmalion art dealer, David, [who] is one of the sleaziest and most unsympathetic characters Mr. Allen has ever created."[59] In a role devoid of his comic attributes, the New York Times wrote: "Mr. Grant deftly imbues his character with exactly a perfect blend of charm and nasty calculation."[60] A year later, his turn as a charming but womanising book publisher Daniel Cleaver in Bridget Jones's Diary (2001) was proclaimed by Variety to be "as sly an overthrow of a star's polished posh - and nice - poster image as any comic turn in memory."[61] The movie, adapted from Helen Fielding's novel of the same name, was an international hit, earning $281 million worldwide.[48] Grant was, according to the Washington Post, fitting as "a cruel, manipulative cad, hiding behind the male god's countenance that he knows all too well."[62]

2002 saw Grant paired with Sandra Bullock in Warner Bros.'s Two Weeks Notice, which made $199 million internationally but was judged poorly by professional reviewers.[48] The Village Voice concluded that Grant's creation of a spoiled billionaire fronting a real estate business was "little more than a Britishism machine."[63] His "immaculate comic performance" (BBC) as the trust-funded womaniser, Will Freeman, in the film adaptation of Nick Hornby's best-selling novel About a Boy received raves from critics.[64] Almost universally praised, with an Academy Award-nominated screenplay, About a Boy (2002) was determined by the Washington Post to be "that rare romantic comedy that dares to choose messiness over closure, prickly independence over fetishized coupledom, and honesty over typical Hollywood endings."[65] Rolling Stone wrote, "The acid comedy of Grant's performance carries the film [and he] gives this pleasing heartbreaker the touch of gravity it needs,"[66] while Roger Ebert observed that "the Cary Grant department is understaffed, and Hugh Grant shows here that he is more than a star, he is a resource."[67] Released a day after the blockbuster Star Wars Episode II: Attack of the Clones, About a Boy was a more modest box office grosser than other successful Grant films, making all of $129 million globally.[48] The film earned Grant his third Golden-Globe nomination, while the London Film Critics Circle named Grant its Best British Actor and GQ honoured him as one of the magazine's men of the year 2002.[68] "His performance can only be described as revelatory," wrote critic Ann Hornaday, adding that "Grant lends the shoals layer upon layer of desire, terror, ambivalence and self-awareness."[65] The New York Observer concluded: "[The film] gets most of its laughs from the evolved expertise of Hugh Grant in playing characters that audiences enjoy seeing taken down a peg or two as a punishment for philandering and womanizing and simply being too handsome for words-and with an English accent besides. In the end, the film comes over as a messy delight, thanks to the skill, generosity and good-sport, punching-bag panache of Mr. Grant's performance."[69]

 
Billy Bob Thornton (right) and Grant hold a press conference in Love Actually.This was followed by the 2003 ensemble comedy, Love Actually, headlined by Grant as the British Prime Minister. A Christmas release by Working Title Films, the movie was promoted as "the ultimate romantic comedy" and accumulated $246 million at the international box office.[48] It marked the directorial debut of Richard Curtis, who told the New York Times that Grant adamantly tempered the characterization of the role to make his character more authoritative and less haplessly charming than earlier Curtis incarnations.[70] Roger Ebert claimed that "Grant has flowered into an absolutely splendid romantic comedian" and has "so much self-confidence that he plays the British prime minister as if he took the role to be a good sport."[71] Film critic Rex Reed, on the contrary, called Grant's performance "an oversexed bachelor spin on Tony Blair" as the star "flirted with himself in the paroxysm of self-love that has become his acting style."[72]

A speech delivered by Grant in Love Actually - where he extols the virtues of Great Britain and refuses to cave to the pressure of its longstanding ally, the United States - was etched in the transatlantic memory as a satirical, wishful statement on the concurrent Bush-Blair relationship.[73] Tony Blair responded by saying, "I know there's a bit of us that would like me to do a Hugh Grant in Love Actually and tell America where to get off. But the difference between a good film and real life is that in real life there's the next day, the next year, the next lifetime to contemplate the ruinous consequences of easy applause."[74]

 
Grant as the gratuitously nasty TV personality, Martin Tweed, in American Dreamz.In 2004, Grant reprised his role as Daniel Cleaver for a small part in Bridget Jones: The Edge of Reason, which, like its predecessor, made more than $262 million commercially.[48] Gone from the screen for two years, Grant next reteamed with Paul Weitz (About a Boy) for the black comedy American Dreamz (2006). Grant starred as the acerbic host of an American Idol-like reality show where, according to Caryn James of the New York Times, "nothing is real ... except the black hole at the centre of the host's heart, as Mr. Grant takes Mr. Cowell's villainous act to its limit."[75] American Dreamz failed financially but Grant was generously praised. He played his self-aggrandizing character, an amalgam of Simon Cowell and Ryan Seacrest, with smarmy self-loathing. The Boston Globe proposed that this "just may be the great comic role that has always eluded Hugh Grant,"[76] and critic Carina Chocano said, "He is twice as enjoyable as the preening bad guy as he was as the bumbling good guy."[77]

In 2007, Grant starred opposite Drew Barrymore in a parody of pop culture and the music industry called Music and Lyrics. The Associated Press described it as "a weird little hybrid of a romantic comedy that's simultaneously too fluffy and not whimsical enough."[78] Though he neither listens to music nor owns any CDs,[28] Grant learned to sing, play the piano, dance (a few mannered steps) and studied the mannerisms of prominent musicians to prepare for his role as a has-been pop singer, based loosely on Andrew Ridgeley.[12] The Star-Ledger dismissed the performance, writing that "paper dolls have more depth."[79] The movie, with its revenues totalling $145 million, allowed Grant to mock disposable pop stardom and fleeting celebrity through its washed-up lead character. According to the San Francisco Chronicle, "Grant strikes precisely the right note with regard to Alex's career: He's too intelligent not to be a little embarrassed, but he's far too brazen to feel anything like shame."[80]


 Filmmaker
In July 1994, Grant signed a two-year production deal with Castle Rock Entertainment and by October, he became founder and director of the UK-based Simian Films Limited.[81] He appointed his then-girlfriend, Elizabeth Hurley, as the head of development to look for prospective projects. Simian Films produced two Grant vehicles in the 1990s and lost a bid to produce About a Boy to Robert De Niro's TriBeCa Productions.[82] The company closed its U.S. office in 2002 and Grant resigned as director in December 2005.[83] He has since said that his primary interest remains in filmmaking because: "Acting is at best an interpretative thing. It's like being a musician and playing someone else's music. I've always wanted to write the music."[12] In 2000, Grant joined the Supervisory Board of IM Internationalmedia AG, the powerful Munich-based film and media company.[84] He has also served on the advisory board of Mark Milln and Kami Naghdi's U.K. Production company, Hogarth Pictures.[85]


 Attitude towards acting
Grant has called being a successful actor a mistake and has repeatedly talked of his hope that film stardom would just be "a phase" in his life, lasting no more than ten years.[47] A self-confessed "committed and passionate" perfectionist on a film set,[14] Grant has constantly opted to describe himself as a reluctant actor, who chooses to be neutral about his career and works mostly with friends from previous collaborations.[86] Telling the New York Times that he must truly love something before he can do it, he revealed that he chooses projects based on how well they are written and whether the character he is being asked to play constitutes a comic angle to his personality.[87]

odlican je bio u '4 vencanja i sahrana' sa endi mekdauel     

   jeste duso

on je sve samo ne frajer. Nekako mi je poružan i tužnjikav.

Ma jeste , sav nekako kockast i koscat...ali ima ono nesto simpa u pogledu...i neke gestove...meni se jaaaaakooo svideo u onom filmu sa Juliom Roberts...secas se?

Uostalom jedan vise za mene...

gledala sam i taj sa dzulijom i jos neke... al '4 vencanja i sahrana' su mi the best od njega 
i romanticno, i smesno, i zabavno 
sa nekoliko nezaboravnih scena, tipa onom kada endi nabraja svoje ljubavnike   

    jeste...ma nekako je bas simpatican...mislim...ne odvaljuje odmah nego onako na drugi pogled...

meni je ok...

Da, kao glumac i simpa lik je ok. Više kao komšija sa drugog sprata nego kao frajer.

Četiri venčanja i sahrana je jedan od boljih filmova i boljih scenarija ikad. Nesumnjivo je tom svojom tužnjikavo bezazlenom pojavom doprineo mnogo uspehu filma, ali i dalje nije frajer nego najbolji ortak. 

 

Divno Munka hvala!