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Constance Bennett
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Constance Bennett is the award winning, best-selling author of twenty contemporary and historical romances. A native of Missouri, she spent four years in Los Angeles performing live theatre and studying film and television acting before returning home to launch her writing career in 1985. Her Harlequin Superromances, PLAYING BY THE RULES and THINKING OF YOU, were both nominated by Romantic Times as Best Superromance in their respective years of publication, and PLAYING BY THE RULES went on to win a Romantic Times achievement award as best Romantic Mystery of 1990. Two years later, Bennett received the first of her two prestigious Rita Award nominations from Romance Writers of America. Her Berkley/Diamond historical, BLOSSOM, was nominated for a Rita in 1992, and in 1995 her Harlequin Superromance SINGLE...WITH CHILDREN was nominated as Best Contemporary Category Romance. That book was ... her first Waldenbooks bestseller.
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Constance Bennett was the eldest of three daughters born to theatrical luminary Richard Bennett and his wife, actress Adrienne Morrison. Though her father did everything he could to discourage her from pursuing an acting career, Constance was willful and rebellious almost from the moment of her birth. She tried to break away from Daddy's influence by marrying at age 16, but the union was quickly annulled. At 17, Constance was signed to a Goldwyn movie contract on the strength of her family name. She treated her silent-film career as a lark, but along the way she developed a superb sense of comic timing and an instinctive gift for heavy dramatics. After her second marriage in 1926, Constance left films in favor of the international "party set"; her third husband was the Marquis de la Falaise de la Coudray, a well-known playboy of questionable royal lineage who'd previously been married to Gloria Swanson.
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As the Kerbys--living and dead-- Constance Bennett & Cary Grant have plenty of star power & charm to spare and their spirits are certainly blithe, but a frank examination of their characters reveals some flaws. There is nothing funny about alcoholism or reckless driving, both of which contribute to their demise, and they are fortunate they kill only their own silly selves and not anyone else. That being said, they certainly do make a pair of great-looking spooks.
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Society girl Constance Bennett goes to work as a reporter for a big-city newspaper. Harried editor Clark Gable fires the flighty socialite, but rehires her when Bennett starts dating the co-respondent (Harvey Stephens) in a major divorce case. Things get sticky when the wife in the case is murdered and Bennett's beau is accused of the crime. More interested in the well-being of Bennett than in making headlines, Gable tracks down the killer and springs the boy friend. The freed man sizes up the situation and courteously steps out of the picture, allowing Gable and Bennett--who of course have been in love all along--to head for the altar. ~ Hal Erickson, All Movie Guide
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In Topper, Cary Grant and Constance Bennett star as George and Marion Kerby, a fun-loving couple who find themselves in limbo as ghosts after an unfortunate auto accident. Deciding that heaven is just one good deed away, they turn their attention toward their dull friend Cosmo Topper. But Topper is one stodgy banker, and it'll take all the high jinks the Kerby's can muster to haunt Topper into loosening up and living it up. In Topper Returns, Cosmo Topper finds himself once again spooked by a ghost. This time, it's the young and beautiful Gail Richards, the accidental victim of a phantom killer whose intended target is wealthy heiress Ann Carrington. Set on finding her killer, Gail enlists the help of Topper with hilarious results in this zany and entertaining murder mystery.
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When the film begins, Mary is a waitress at the Brown Derby and while Bennett is mostly excellent in the movie, this section of the film is probably her weakest. She’s not bad, exactly, it’s just a credibility strain to see her in this profession. If ever someone was suited to be a watiress, it was not Constance Bennett and her natural style could not be tempered to convince otherwise. Much better is her rise to fame and eventual success. This is ideal for her - a description oft applied to Joan Crawford was that her greatest role was as a star, and perhaps the same may be true of Bennett. That being said, she exhibits more range and humanity than usual in the film - in large part because of the relationship with Carey, demonstrating and communicating a convincing, affectionate bond (the histrionics towards the film’s end are ... executed with aplomb).
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Constance Bennett