attract the laughter of the audience without lines, remarking that "In this film, most of the gags play off him. It is his reaction, blank, startled, etc., always underplayed, that creates or releases the humor". The film was major box office success, and in 1973, Deschner ranked the film as the highest earning film of Grant's career at the US box office, with takings of $9.5 million. 1960–1966: Final film roles In 1960, Grant appeared opposite Deborah Kerr, Robert Mitchum, and Jean Simmons in The Grass Is Greener, which was shot in England at Osterley Park and Shepperton Studios. McCann notes that Grant took great relish in "mocking his aristocratic character's over-refined tastes and mannerisms", though the film was panned and was seen as his worst since Dream Wife. In 1962, Grant starred in the romantic comedy That Touch of Mink, playing suave, wealthy businessman Philip Shayne romantically involved with an office worker, played by Doris Day. He invites her to his apartment in Bermuda, but her guilty conscience begins to take hold. The picture was praised by critics, and it received three Academy Award nominations, and won the Golden Globe Award for Best Comedy Picture, in addition to landing Grant another Golden Globe Award nomination for Best Actor. Deschner ranked the film as the second highest grossing of Grant's career. Producers Albert R. Broccoli and Harry Saltzman originally sought Grant for the role of James Bond in Dr. No (1962) but discarded the idea as Grant would be committed to only one feature film; therefore, the producers decided to go after someone who could be part of a franchise after James Mason would only agree to commit to three films. In 1963, Grant appeared in his last typically suave, romantic role opposite Audrey Hepburn in Charade. Grant found the experience of working with Hepburn "wonderful" and believed that their close relationship was clear on camera, though according to Hepburn, he was particularly worried during the filming that he would be criticized for being far too old for her and seen as a "cradle snatcher". Author Chris Barsanti writes: "It's the film's canny flirtatiousness that makes it such ingenious entertainment. Grant and Hepburn play off each other like the pros that they are". The film, well received by the critics, is often called "the best Hitchcock film Hitchcock never made". In 1964, Grant changed from his typically suave, distinguished screen