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George Cukor was one of Hollywood's top film directors whose confident, stylish professionalism enabled him to thrive in the Hollywood studio system for 50 years. He was born George Dewey Cukor on the Lower East Side of New York City, the younger child and only son of Hungarian Jewish immigrants Victor, an assistant district attorney, and Helen Ilona (née Gross) Cukor.
Following his graduation in 1917, Cukor was expected to follow in his father's footsteps and pursue a career in law.
Cukor obtained a job as an assistant stage manager and bit player with a touring production of The Better 'Ole, a popular British musical based on Old Bill, a cartoon character created by Bruce Bairnsfather. For the next few years, Cukor alternated between Rochester in the summer months and Broadway in the winter. When Hollywood began to recruit New York theater talent for sound films, Cukor immediately answered the call.
Cukor moved to RKO studios to join the rising star, David O Selznick, and in 1932 he started a long association and friendship with Katharine Hepburn when he directed her in her first film, A Bill of Divorcement. Still restless, Cukor followed Selznick to MGM Studios where their first collaboration was Dinner at Eight, in 1933, starring Jean Harlow. Cukor's next Academy Award nomination was in 1936 for Romeo and Juliet and in 1937 he directed the Hollywood legend, actress Greta Garbo, in Camille.
Cukor spent many hours coaching Vivien Leigh and Olivia de Havilland prior to the start of filming Wind, but Clark Gable resisted his efforts to get him to master a Southern accent. Cukor's dismissal from Wind did not harm his career for as soon as he became available he was snapped up by Hunt Stromberg, producer of The Women, which was scheduled to begin filming within a month of Cukor's dismissal. Cukor served for a brief period in the Army Signal Corps during WWII, and during the 1940's, made several blockbuster movies. In the 1970's he made the television films Love Among the Ruins and The Corn Is Green, both with his old friend, Katharine Hepburn. In addition to his reputation as a womana€™s director, Cukor is also known as Hollywooda€™s most successful adaptor of books and plays to the screen. The attempt of individuals to reconcile their cherished dreams with the sober realities of life continues in films as superficially different as Dinner at Eight, The Philadelphia Story, and A Double Life. While it is true that Cukor was often drawn to stories about show people, his films also suggest that everyone leads a double life that moves between illusion and reality, and that everyone must seek to sort out fantasy from fact if they are to cope realistically with their problems - something Cukora€™s characters frequently fail to do. Though Cukor must have harbored some degree of affection and sympathy for the world of romantic illusion - for there is always a hint of regret in his films when actuality inevitably asserts itself in the life of one of his dreamers - his movies nonetheless remain firmly rooted in, and committed to, the workaday world of reality. Directing his last film, Rich and Famous, merited Cukor the distinction of being one of the oldest filmmakers ever to direct a major motion picture. He became renowned as a perfectionist and subtle innovator who helped define the look and style of witty and elegant Hollywood classics such as Camille, The Philadelphia Story, Adam's Rib, A Star is Born and My Fair Lady. He halfheartedly enrolled in the City College of New York, where he entered the Students Army Training Corps in October 1918. In 1920, he became the stage manager for the Knickerbocker Players, a troupe that shuttled between Syracuse and Rochester, New York, and the following year he was hired as general manager of the newly-formed Lyceum Players, an upstate summer stock company.
His direction of a 1926 stage adaptation of The Great Gatsby by Owen Davis brought him to the attention of the New York critics. In December 1928, Paramount Pictures signed him to a contract that reimbursed him for his airfare and initially paid him $600 per week with no screen credit during a six-month apprenticeship. He was now one of Hollywood's top directors and was beginning to get a reputation for coaxing brilliant performances from his actors and in particular, his actresses.

Cukor spent the next two years actively involved with pre-production duties, including supervision of the numerous screen tests of actresses anxious to portray Scarlett O'Hara.
However, despite rumors about Gable being uncomfortable with Cukor on the set, nothing in the internal memos of David O. Cukor took up the challenge and made a successful and popular film with the strong, all female cast. After The Philadelphia Story in 1940 which brought together the top class talents of Katherine Hepburn, Cary Grant and James Stewart at their peak, he directed Ingrid Bergman's Oscar-winning performance in Gaslight in 1944 and the Tracy-Hepburn classic comedy Adam's Rib in 1949. In 1954, Cukor made his first film in color, Judy Garland's come-back movie, A Star Is Born. From Dinner at Eight (1933) to Travels with My Aunt (1972), he demonstrated his ability to capture the essence of his sources without being slavishly devoted to the original material. Ronald Colman earned an Academy Award in the last as an actor who becomes so identified with the parts he plays that, while enacting Othello, he develops a murderous streak of jealousy which eventually destroys him. His work on that film likewise marked him as a man who had enjoyed the longest continuous career of any director in film or television. They are such beautiful people both inside and out, and their emotion and love for each other only made the night even more perfect.
Throughout his long career, he was known as the consummate actor's director who elicited dazzling performances from his cast. As a child, Cukor appeared in several amateur plays and took dance lessons, and at the age of seven he performed in a recital with David O.
His military experience was limited; Germany surrendered in early December, and Cukor's duty ended after only two months. He arrived in Hollywood in February 1929, and his first assignment was to coach the cast of River of Romance to speak with an acceptable Southern accent. Cukor had made his mark in a big way and he won his first Academy Award nomination for his direction. He, in fact, became known as the 'woman's director', a label which he always refuted, pointing out that he actually had more Oscar successes with male actors than actresses. Cukor favored Hepburn for the role, but Selznick, concerned about her reputation as 'box office poison', would not consider her without a screen test, and the actress refused to film one. Selznick indicates or suggests that Clark Gable played any role in Cukor's dismissal of the film. In 1964, he won an Academy Award himself, for Best Director, for My Fair Lady, for which Rex Harrison won a Best Actor Oscar also.
Yet, "he has always chosen material that has been consistent with his view of reality.
Here the same events are told from four different points of view at a libel trial, each version differing markedly from the others.
Some of the satisfaction which he derived from his long career was grounded in the fact that few directors have commanded such a large portion of the mass audience. It’s no surprise that the result is completely spell-bounding with design by Todd Events and Belle Of The Ball behind the planning and coordination.
He twice directed Marilyn Monroe, had a 47-year working relationship with Katharine Hepburn, and worked with most of the other important stars of the day including Joan Crawford, James Stewart and Spencer Tracy and he directed twenty-one performers in Oscar nominated roles.
In October, the studio lent him to Universal Pictures to conduct the screen tests and work as a dialogue director for All Quiet on the Western Front.

It is certainly true, however, that Cukor was a sensitive filmmaker who simply understood women in an industry that lacked female directors.
Of those who did, Cukor preferred Paulette Goddard, but her supposedly illicit relationship with Charles Chaplin (they were, in fact, secretly married) concerned Selznick. Rather, they show Selznick's mounting dissatisfaction with Cukor's slow pace and quality of work. Because Cukor allows each narrator 'equal time', he is sympathetic to the way each of them has subconsciously revised their common experiences in a manner that enables him or her to live with the past in the present.
Todd Events did a great job capturing the bohemian floral feel while the Hotel Zaza provided a lot of romance and dark elegance. He himself was nominated for Best Director Academy Awards a total of five times and won once, for My Fair Lady in 1964. Production Company with Walter Folmer and John Zwicki, which gave him his first opportunity to direct.
In 1930, he co-directed three films at Paramount, and his weekly salary was increased to $1500. It is no wonder, then, that once he demonstrated his ability to work with strong actresses, he was usually the first to be called on to direct them. Selznick's friendship with Cukor had crumbled slightly when the director refused other assignments, including A Star is Born (1937) and Intermezzo (1939). The chief characters in his films are frequently actors and actresses, for they, more than anyone, run the risk of allowing the world of illusion with which they are constantly involved to become their reality. As Sarris remarks, Cukor does not imply that people necessarily are liars, but rather that they tell the truth in their own fashion. One of my favorite parts of the event (besides Stephanie’s STUNNING dress by Inbal Dror) was the table numbers on the mirror and vases of blooming cherry blossoms leading into the reception. Infatuated with theatre, he often cut classes at De Witt Clinton High School to attend afternoon matinees. Following their first season, he made his Broadway directorial debut with Antonia by Hungarian playwright Melchior Lengyel, then returned to Rochester, where C.F. In 1931, he made his solo directorial debut with Tarnished Lady starring Tallulah Bankhead. Given that Gable and Cukor had worked together before, in Manhattan Melodrama and Gable had no objection to working with him then, and given Selznick's desperation to get Gable for Rhett Butler, if Gable had any objections to Cukor, certainly they would have been expressed before he signed his contract for the film. This theme is obvious in many of Cukora€™s best films and appears in some of his earliest work, including The Royal Family of Broadway, which he co-directed.
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During his senior year, he worked as a supernumerary with the Metropolitan Opera, earning 50¢ per appearance, and $1 if he was required to perform in blackface. In effect he said he is an honest craftsman and he cannot do a job unless he knows it is a good job and he feels the present job is not right. In it he portrays a family of troupers, based on the Barrymores, who are wedded to their world of fantasy in a way that makes a shambles of their private lives.

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