Devil and the Deep with Tallulah Bankhead, Gary Cooper and Charles Laughton (Cooper and Grant had no scenes together), Hot Saturday opposite Nancy Carroll and Randolph Scott, and Madame Butterfly with Sidney. According to biographer Marc Eliot, while these films did not make Grant a star, they did well enough to establish him as one of Hollywood's "new crop of fast-rising actors". In 1933, Grant gained attention for appearing in the pre-Code films She Done Him Wrong and I'm No Angel opposite Mae West. West would later claim that she had discovered Cary Grant. Of course Grant had already made Blonde Venus the previous year in which he was Marlene Dietrich's leading man. Pauline Kael noted that Grant did not appear confident in his role as a Salvation Army director in She Done Him Wrong, which made it all the more charming. The film was a box office hit, earning more than $2 million in the United States, and has since won much acclaim. For I'm No Angel, Grant's salary was increased from $450 to $750 a week. The film was even more successful than She Done Him Wrong, and saved Paramount from bankruptcy; Vermilye cites it as one of the best comedy films of the 1930s. After a string of financially unsuccessful films, which included roles as a president of a company who is sued for knocking down a boy in an accident in Born to Be Bad (1934) for 20th Century Fox, a cosmetic surgeon in Kiss and Make-Up (1934), and a blinded pilot opposite Myrna Loy in Wings in the Dark (1935), and press reports of problems in his marriage to Cherrill, Paramount concluded that Grant was expendable. Grant's prospects picked up in the latter half of 1935 when he was loaned out to RKO Pictures. Producer Pandro Berman agreed to take him on in the face of failure because "I'd seen him do things which were excellent, and [Katharine] Hepburn wanted him too." His first venture with RKO, playing a raffish Cockney swindler in George Cukor's Sylvia Scarlett (1935), was the first of four collaborations with Hepburn. Though a commercial failure, his dominating performance was praised by critics, and Grant always considered the film to have been the breakthrough for his career. When his contract with Paramount ended in 1936 with the release of Wedding Present, Grant decided not to renew it and wished to work