The films of the 1940s of George Cukor

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Arguably, Cukor’s most lasting contribution to cinema history was the romantic comedy The Philadelphia Story (1940), in which Hepburn repeated her role from the stage play that had been written especially for her by Barry. She played a socialite, Grant portrayed her ex-husband, and James Stewart was a reporter; together they created screen magic. The film was nominated for the Academy Award for best picture, Cukor was nominated for best director, and Hepburn was nominated for best actress, while Stewart won the award for best actor.

Less distinguished were the other films that Cukor directed before enlisting in the U.S. Army in 1942: Susan and God (1940), A Woman’s Face (1941), Two-Faced Woman (1941), Her Cardboard Lover (1942), and Keeper of the Flame (1942). Cukor entered the Signal Corps as a private, where he made unadorned instructional films (including one about latrines and another about electricity). He was never promoted to the officer status he desired, and he finally applied for a discharge.

Back in Hollywood, Cukor filmed Gaslight (1944), his acclaimed adaptation of the Broadway success Angel Street, which he fashioned into a Gothic thriller that received an Academy Award nomination for best picture and which was a showcase for Ingrid Bergman, who won the Academy Award for best actress for her portrayal of a socialite whose husband (Charles Boyer) tries to drive her mad. Angela Lansbury (in her film debut) also received a nomination, for best supporting actress. Cukor’s next noteworthy film, A Double Life (1947), brought Ronald Colman his only Academy Award, for best actor for his portrayal of a high-strung actor whose role as Othello in Shakespeare’s play of the same name begins to take over his real life. Ruth Gordon and Garson Kanin wrote the Academy Award-nominated screenplay, inaugurating a series of collaborations between them and Cukor, who was nominated again for the best director award. Yet another performer, Deborah Kerr, earned an Academy Award nomination for best actress under Cukor’s direction in Edward, My Son (1949). Kanin and Gordon provided Cukor with an especially engaging story for Adam’s Rib (1949), which the director turned into a riotously funny battle of the sexes that many critics believe was the strongest Spencer Tracy-Hepburn collaboration.

Films of the 1950s

Cukor’s direction of Lana Turner in A Life of Her Own (1950) created few sparks, but he guided Judy Holliday to a best actress Academy Award for her performance of a role that she had played on Broadway in Born Yesterday (also 1950), which also earned a nomination for best picture and one for Cukor for best director. Kanin and Gordon’s script for The Marrying Kind (1952) was far darker, as Holliday and Aldo Ray played a couple poised on the brink of divorce. That was followed by the sunny, hilarious Pat and Mike (1952), with Tracy and Hepburn again splendid as a sports promoter and a high-class multitalented athlete, respectively. Its Kanin-Gordon screenplay earned an Academy Award nomination. Cukor’s next projects were built on screenplays that Gordon and Kanin wrote independently of each other. The Actress (1953) was based on Gordon’s autobiographical play about growing up in Massachusetts. It Should Happen to You (1954) starred Holliday in Kanin’s modern fairy tale about an ambitious model’s extraordinary efforts to get noticed in New York City.

Not only was the musical drama A Star Is Born (1954) plagued by a surfeit of production problems, but Warner Brothers cut 27 minutes after its premiere. Nevertheless, that re-exploration of a story line that Cukor had first examined in What Price Hollywood? featured what is generally regarded as star Judy Garland’s strongest screen performance and one that earned her an Academy Award nomination for best actress. Cukor worked with screenwriter Moss Hart to transform the 1937 version of A Star Is Born into a harrowing Hollywood odyssey. That was Cukor’s first Technicolor (and Cinemascope) production. In addition to a memorable collection of songs by Harold Arlen and Ira Gershwin, it boasted excellent work from Jack Carson and James Mason, the latter of whom earned an Academy Award nomination for best actor.

Cukor traveled to Pakistan to make Bhowani Junction (1956), with Ava Gardner and Stewart Granger. He then directed the highly stylized musical Les Girls (1957), featuring Mitzi Gaynor, Henry Daniell, and Gene Kelly. Heller in Pink Tights (1960), which starred Sophia Loren, was notable as Cukor’s only western. Let’s Make Love (1960) offered Marilyn Monroe the opportunity to sing, dance, and romance costar Yves Montand, and Cukor extracted one of her best performances.

Last films

Cukor worked with Monroe again in 1962 on Something’s Got to Give; however, insoluble problems with the troubled actress (who would soon be dead) culminated in her firing, and 20th Century-Fox eventually shut down the production entirely. My Fair Lady (1964), with Audrey Hepburn in the role that Julie Andrews had created onstage, enjoyed a much better fate, winning the Academy Award for best picture. Rex Harrison also won the award for best actor, and Cukor was finally recognized with the award for best director. Though few would consider it Cukor’s best film or even his best musical, My Fair Lady was his first box-office triumph in many years.

Over the next 17 years Cukor made only a handful of films, two of them for television. Despite Maggie Smith’s nomination for an Academy Award for best actress for her performance in a role originally intended for Katharine Hepburn, Travels with My Aunt (1972) was unexceptional. Only Love Among the Ruins (1975), a made-for-television romantic comedy shot in England with Hepburn and Laurence Olivier, and The Corn Is Green (1979), also made for television, with Katharine Hepburn in the role of a spinster schoolteacher in Wales, were on par with Cukor’s earlier work. His last film—Rich and Famous (1981), a remake of the 1943 melodrama Old Acquaintance, with Jacqueline Bisset and Candice Bergen—was not without its merits, but it was met with generally unkind reviews, which convinced Cukor that the strain was no longer worth the reward, and he retired.

Cukor’s was not a flashy style. Although he put a great deal of faith in his cinematographers, he was not indifferent to camera placement and movement. Nonetheless, his films were not distinguished by bravura camera work. Cukor’s best films are remembered not for their look but for their feel, which was a product of his deft pacing—regardless of genre—and of his sympathetic relationship with his actors, his fascination with human interaction, and his exquisite sense of taste.