By Patrick McGilligan
One of many highest-paid studio agreement administrators of his time, George Cukor was once 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 prime 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 buddy and collaborator Katharine Hepburn. yet in the back of the “women’s director” label lurked the open mystery that set Cukor except a more often than not macho fraternity of administrators: he was once a gay, a rarity one of the most sensible echelon. Patrick McGilligan’s biography finds how Cukor persisted inside a method fraught with bigotry whereas turning into considered one of Hollywood’s consummate filmmakers.
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Extra info for George Cukor: A Double Life
He would yell, scream, at the actors if they didn't do it the way he wanted them to. If they happened to be friends of his, so what? Anderson Lawler—one of his close chums—and Cukor had a tremendous argument about an interpretation one day, which ended, in front of the entire cast, with a typical torrent of Cukor vulgarity. " The actresses were not immune to his tantrums. He might call a veteran actress an old biddy or worse if she didn't cooperate. Nobody seemed to mind, however, for Cukor was funny besides being charming, and he had an adorable way of being insulting.
He always had quips and funny remarks to make about people, that sort of thing. He was vital 30 to the show and everybody liked him. " Hayes found the stage manager of the play to be a boon companion, always "up" and ebullient. She and he used to go dancing a lot together after rehearsals and performances. "His laugh was enough to send you flying high," Hayes remembered. "It was a wonderful, merry, infectious laugh. We laughed a lot and we danced a lot and we palled a lot. Danced together and palled together.
Calhern had been approached by Vaughan Glaser with a leading-man contract for the 1924 summer season, but Calhern and Cukor were friends, so Calhern was hedging his reply. Because Calhern was so phenomenally popular with Rochester audiences, his loyalty to Cukor would prove crucial. Cukor told Calhern that he was considering starting up his own Rochester troupe. In prospect, he was going to call it the Rochester Theatre Guild, an honorary nod to the Theatre Guild of New York 33 City, whose influential productions Cukor attended faithfully.