By Patrick McGilligan
One of many highest-paid studio agreement administrators of his time, George Cukor used to be nominated 5 occasions for an Academy Award as top Director. In exposure and mystique he used to be dubbed the “women’s director” for directing the main delicate major women to immortal performances, together with Greta Garbo, Ingrid Bergman, Judy Garland, and—in ten movies, between them The Philadelphia tale and Adam’s Rib—his lifelong good friend and collaborator Katharine Hepburn. yet in the back of the “women’s director” label lurked the open mystery that set Cukor except a regularly macho fraternity of administrators: he used to be a gay, a rarity one of the most sensible echelon. Patrick McGilligan’s biography unearths how Cukor persisted inside of a process fraught with bigotry whereas turning into one in every of Hollywood’s consummate filmmakers.
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Additional info for George Cukor: A Double Life
Example text
Now Cukor wrote to Folmer's father. The civic benefits were downplayed and the box-office prospects stressed. Complaining that Rochester was stuck with tattered road-show thespians performing recycled plays, Cukor recommended a cachet of reputable New York actors—some visiting stars re-creating their original roles (such as Mrs. Leslie Carter in The Circle and Pauline Lord in Anna Christie}—an ambitious play list, including some bona fide Broadway-bound tryouts. With good publicity and showmanship—and he allowed that he had plenty of ideas in both departments—Cukor could guarantee success.
When Eastman said no, Cukor turned to Walter Folmer, offering to make him his partner, and asking Folmer to persuade his father to put some money into an altered setup. Now Cukor wrote to Folmer's father. The civic benefits were downplayed and the box-office prospects stressed. Complaining that Rochester was stuck with tattered road-show thespians performing recycled plays, Cukor recommended a cachet of reputable New York actors—some visiting stars re-creating their original roles (such as Mrs.
One story that made its way around the company was that Cukor was going to become the fiance of the Lyceum Theatre owner's daughter. But Cukor didn't think that preposterous joke was very funny. If there was no revelation, up in Rochester there was eventually a Cukor who was more pronounced in his proclivities. " There was no mistaking Cukor's attentions in 1926 toward a wavyhaired actor in the company by the name of Edward Crandall. Crandall had an escalating career on Broadway. His appeal to Cukor was enhanced by the fact that he was educated at Oxford (his clipped accent belied his Brooklyn origins) and that in his spare time he dabbled at writing.