persona to play a grizzled beachcomber who is coerced into serving as a coastwatcher on an uninhabited island in the World War II romantic comedy Father Goose. The film was a major commercial success, and upon its release at Radio City at Christmas 1964 it took over $210,000 at the box-office in the first week, breaking the record set by Charade the previous year. Grant's final film, Walk, Don't Run (1966), a comedy co-starring Jim Hutton and Samantha Eggar, was shot on location in Tokyo, and is set amid the backdrop of the housing shortage of the 1964 Tokyo Olympics. Newsweek concluded: "Though Grant's personal presence is indispensable, the character he plays is almost wholly superfluous. Perhaps the inference to be taken is that a man in his 50s or 60s has no place in romantic comedy except as a catalyst. If so, the chemistry is wrong for everyone". Hitchcock had asked Grant to star in Torn Curtain that year, only to learn that he had decided to retire. Later years Grant retired from the screen in 1966 at the age of 62 when his daughter Jennifer Grant was born to focus on bringing her up and to provide a sense of permanence and stability in her life. He had become increasingly disillusioned with cinema in the 1960s, rarely finding a script of which he approved. He remarked: "I could have gone on acting and playing a grandfather or a bum, but I discovered more important things in life". He knew after he had made Charade that the "Golden Age" of Hollywood was over. He expressed little interest in making a career comeback, and would respond to the suggestion with "fat chance". He did, however, briefly appear in the audience of the video documentary for Elvis's 1970 Las Vegas concert Elvis: That's the Way It Is. In the 1970s, he was given the negatives from a number of his films, and he sold them to television for a sum of over two million dollars in 1975. Morecambe and Stirling argue that Grant's absence from film after 1966 was not because he had "irrevocably turned his back on the film industry", but because he was "caught between a decision made and the temptation to eat a bit of humble pie and re-announce himself to the cinema-going public". In the 1970s, MGM was keen on remaking Grand Hotel (1932) and hoped to