George Cukor Movies

Narrated by Anjelica Huston, this cable-TV documentary offered an up-close and personal look at the life and career of quintessential movie queen Joan Crawford. From her humble beginnings as MGM contract starlet Lucille LaSeuer, Crawford climbed to the top with a heady combination of talent, tenacity, glamour, hard work -- and obsessive, manipulative ruthlessness, both onscreen and off. Written off as "box-office poison" in the early '40s, Crawford confounded her detractors by changing studios and staging a spectacular comeback, winning the Academy Award for her performance in Warner Bros.' Mildred Pierce. She managed to hold on to her stardom well into the 1970s, plunging headlong into the horror genre with such masterworks as What Ever Happened to Baby Jane? -- not to mention such dogs as Berserk! and Trog. In private life, Crawford married several times (her union with Pepsi Cola executive Alfred Steele briefly but memorably transformed her into a high-pressure businesswoman) and enjoyed the favors of dozens of men along the way. She also "enjoyed" a reputation as a domestic tyrant, allegedly insisting upon an immaculately clean home and holding her children in the grip of horrified fascination. In addition to excerpts from Crawford's classic (and not-so-classic) films, the documentary includes interviews with such interested parties as the actress' first husband, Douglas Fairbanks Jr., her directors (George Cukor and Vincent Sherman), her costars (Anita Page and Cliff Robertson), her biographer Bob Thomas -- and, inevitably, her stepdaughter, Christina Crawford, whose warts-and-all biography Mommie Dearest yielded one of the most campily outrageous biopics in movie history. Joan Crawford: The Ultimate Movie Star debuted August 1, 2002 over the Turner Classic Movies cable service. ~ Hal Erickson, Rovi

Two women find their friendship tested when one rises from obscurity to success in this glossy remake of Old Acquaintance. Liz Hamilton (Jacqueline Bisset) and Merry Noel (Candice Bergen) are close friends who met while they were freshmen at Smith College in the 1950s. Liz has become a highly respected novelist, while Merry wed Doug Blake (David Selby) and raised a family. While Merry is happy, she can't help but envy Liz for her glamorous career as an author. Merry decides to write a novel of her own, and with Liz's help, the book soon finds a publisher. While Merry's trashy potboiler earns few positive reviews, it's a massive best-seller, and Merry's fame and wealth soon outstrips that of Liz, leading to jealousy between the old friends and problems in Merry's marriage. Rich and Famous was the final picture directed by Hollywood legend George Cukor; the guest list at the party sequences include such literary and cinematic notables as Christopher Isherwood, Ray Bradbury, Paul Morrissey, and Roger Vadim. ~ Mark Deming, Rovi

The first official co-production between the United States and the Soviet Union, The Blue Bird was the third screen adaptation of the children's story by Maurice Maeterlinck about a pair of children, Tyltyl (Todd Lookinland) and Mytyl (Patsy Kensit), who leave home to search for the Blue Bird of Happiness. After spending some time wandering through a fantasy world and encountering The Night (Jane Fonda), The Cat (Cicely Tyson), Luxury (Ava Gardner), Father Time (Robert Morley), and The Oak (Harry Andrews), they meet The Queen of Light (Elizabeth Taylor) and discover that true happiness can be found right at home, with your family. As the box-office failure of the first two versions of this story proves, putting this sort of children's fantasy on film is tricky business, and despite a top-notch cast of American and Soviet talent and the directorial expertise of veteran filmmaker George Cukor, The Blue Bird had a notoriously difficult production, with the American and Russian crews not always understanding each other's working methods, the Soviet camera crew not knowing how to light African-American actress Cicely Tyson, and Jane Fonda often trying to engage the Russian crew members in political discussions. ~ Mark Deming, Rovi

In the lively comedy/adventure Travels with My Aunt, adapted from Graham Green's book, Henry (Alec McCowan), a timid, bookish accountant whose life seems to have died stillborn, discovers how to live with gusto thanks to the rough ministrations of his thoroughly eccentric aunt Augusta (Maggie Smith). Aunt Augusta bursts into Henry's life during the funeral for his mother, Augusta's sister. She whisks him to her apartment for a general cheering up, and he is thoroughly bemused by her bohemian ways and her much-younger black Caribbean boyfriend. In the next few hours, she manages to pry him from his dusty life and involve him in a series of incredible adventures involving old love affairs, espionage, kidnappings, and more money than he has ever dreamt of. Before the story ends, Henry has properly gotten into the spirit of his madcap aunt's adventuring. ~ Clarke Fountain, Rovi

At one time the longest-running Broadway musical, My Fair Lady was adapted by Alan Jay Lerner and Frederick Loewe from the George Bernard Shaw comedy Pygmalion. Outside Covent Garden on a rainy evening in 1912, dishevelled cockney flower girl Eliza Doolittle (Audrey Hepburn) meets linguistic expert Henry Higgins (Rex Harrison). After delivering a musical tirade against "verbal class distinction," Higgins tells his companion Colonel Pickering (Wilfred Hyde-White) that, within six months, he could transform Eliza into a proper lady, simply by teaching her proper English. The next morning, face and hands freshly scrubbed, Eliza presents herself on Higgins' doorstep, offering to pay him to teach her to be a lady. "It's almost irresistable," clucks Higgins. "She's so deliciously low. So horribly dirty." He turns his mission into a sporting proposition, making a bet with Pickering that he can accomplish his six-month miracle to turn Eliza into a lady. This is one of the all-time great movie musicals, featuring classic songs and the legendary performances of Harrison, repeating his stage role after Cary Grant wisely turned down the movie job, and Stanley Holloway as Eliza's dustman father. Julie Andrews originated the role of Eliza on Broadway but producer Jack Warner felt that Andrews, at the time unknown beyond Broadway, wasn't bankable; Hepburn's singing was dubbed by Marni Nixon, who also dubbed Natalie Wood in West Side Story (1961). Andrews instead made Mary Poppins, for which she was given the Best Actress Oscar, beating out Hepburn. The movie, however, won Best Picture, Best Director, Best Actor for Harrison, and five other Oscars, and it remains one of the all-time best movie musicals. ~ Hal Erickson, Rovi

Hoping to recapture the success of its 1945 Frederic Chopin biopic A Song to Remember, Columbia Pictures concocted the 1960 Technicolor costume drama Song Without End. Dirk Bogarde is cast as musical genius Franz Liszt. Bogarde's piano scenes are dubbed with another's singing voice, but this hardly matters in that the film is preoccupied with Liszt's infamous romantic entanglements. The crux of the matter is Liszt's desire to wed the already married Russian princess Carolyne (Capucine), which will necessitate an unpleasant breakup with his current lover, Countess Marie (Genevieve Page). Director Charles Vidor died after only a few weeks on the picture; he was replaced by George Cukor, who graciously insisted that Vidor be billed in letters larger than his. The chief selling point of Song Without End is its wall-to-wall music; the film won an Oscar for "best musical arrangement." ~ Hal Erickson, Rovi

Let's Make Love is a breezy comedy about an off Broadway musical production. Jean-Marc Clement (Yves Montand) is the richest man in the world and looking for someone who loves him instead of his money. He reads in Variety he is to be satirized in the new production and tries out for the part. The producers hire him, unaware of his real identity. He hires Bing Crosby, Milton Berle and Gene Kelly to coach him for the role. Amanda (Marilyn Monroe) is the poor aspiring actress who lands a part in the play. Her opening number is the classic "My Heart Belongs To Daddy". Unaware of his fabulous wealth, she falls for the playboy billionaire during the rehearsals for the show. Tony Randall plays Montand's fussy public relations agent and tries to keep his boss from embarassment. ~ Dan Pavlides, Rovi

Wild Is the Wind represents a (perhaps deliberate) reversal of the situation in The Rose Tattoo (1955). Whereas in Tattoo, Anna Magnani played a widow who could never find a man to measure up to her late husband, in Wind her character, Giola, marries widowed rancher Gino (Anthony Quinn), who is haunted by the memory of his first spouse. The situation is dicier in Wind, since Italian immigrant Gino's deceased wife was Giola's sister. Eventually tiring of her husband's mood swings, Giola turns to his son, Bene (Anthony Franciosa), for emotional and sexual gratification. A Hollywood approximation of the Italian neorealist school of filmmaking, Wild Is the Wind was based on Furia, a story by Vittorio Nino Novarese. ~ Hal Erickson, Rovi

Ava Gardner was never more alluring than as the half-caste heroine of Bhowani Junction. Set during India's battle for independence from Britain, the film begins with Gardner returning to her native land after spending several years in England. Her true loyalties, and her own sense of who she really is, are put to the test by the two men in her life: Stewart Granger, whose job it is to prevent saboteurs from destroying the trains at Bhowani Junction, and Bill Travers, another half-caste. When she kills a potential rapist in self-defense, Gardner is given comfort by Communist insurrectionist Peter Illing, further dividing her fidelities. A climactic attempt on the life of Mahatma Gandhi provides a rousing finish to this romantic melodrama. Bhowani Junction was adapted from the novel by John Masters. ~ Hal Erickson, Rovi

The 1954 musical remake of A Star is Born could have been titled A Star is Reborn, in that it represented the triumphal return to the screen of Judy Garland after a four-year absence. The remake adheres closely to the plotline of the 1937 original: An alcoholic film star, on his last professional legs, gives a career boost to a unknown aspiring actress. The two marry, whereupon her fame and fortune rises while his spirals sharply downward. Unable to accept this, the male star crawls deeper into the bottle. The wife tearfully decides to give up her own career to care for her husband. To spare her this fate, the husband chivalrously commits suicide. His wife is inconsolable at first, but is urged to go "on with the show" in memory of her late husband. In the original, Janet Gaynor played Esther Blodgett, who with no training or contacts came to Hollywood hoping for stardom. The remake, scripted by Moss Hart, is a shade more realistic: Garland's Esther, though far removed from fame, is a working professional singer/dancer when first we meet her. Both Gaynor and Garland are transformed from "Esther Blodgett" to "Vicki Lester" after being screen-tested, though Gaynor goes on to star in fluffy costume dramas while Garland more logically headlines big-budget musicals. The 1937 Star is Born costarred Fredric March as Norman Maine, Esther/Vicki's sponsor-cum-spouse. March patterned his performance after the tragic John Barrymore, reining in his emotions in favor of pure technique; James Mason's interpretation is more original, more emotional, and far more effective (who can forget the scene where Norman sobbingly overhears Vicki planning to give up her career for his sake?) As the studio's long-suffering publicist, the 1937 version's Lionel Stander is more abrasive and unpleasant than the 1954 version's introspective, intellectual Jack Carson; on the other hand, Adolphe Menjou and Charles Bickford are fairly evenly matched in the role of the studio head. Several important omissions are made in the remake. The 1937 Star is Born included Esther's indomitable old grandma (May Robson), a helpful assistant director (Andy Devine) and a soft-hearted landlord (Edgar Kennedy); all three characters are missing from the 1954 version, though elements of each can be found in the "best friend/severest critic" character played by Tommy Noonan. Wisely, both versions end with the grieving Vicki Lester coming out of her shell at a public gathering, greeting the audience with a proud, defiant "Good evening, everybody. This is Mrs. Norman Maine". Though directors William Wellman (1937 version) and George Cukor (1954 version) handle this finale in their own distinctive manners, the end result is equally effective emotionally. What truly sets the 1954 A Star is Born apart from other films of its ilk is its magnificent musical score by Harold Arlen and Ira Gershwin. The songs include The Man Who Got Away (brilliantly performed by Garland in one long take, sans dubbing), It's a New World, Somewhere There's a Someone, I Was Born in a Trunk, Lose That Long Face and Gotta Have Me Go With You. When originally previewed in 1954, the film ran well over three hours, thanks to the lengthy-and thoroughly disposable-Born in a Trunk number, added to the film as an afterthought without the approval or participation of director George Cukor. The Warner Bros. executives trimmed the film to 154 minutes, eliminating three top-rank musical numbers and several crucial expository sequences (including Norman's proposal to Vicki). At the instigation of the late film historian Ronald Haver, the full version was painstakingly restored in 1983, with outtakes and still photos bridging the "lost" footage. Though nominated in several categories, A Star is Born was left empty-handed at Academy Award time, an oversight that caused outrage then and still rankles Judy Garland fans to this day (Footnote: Judy Garland had previously played Vicki Lester in a 1942 Lux Radio Theatre adaptation of the original A Star is Born). ~ Hal Erickson, Rovi

A master blend of comedy, domestic drama and sudden tragedy, The Marrying Kind remains one of the best collaborations between star Judy Holliday, screenwriters Garson Kanin and Ruth Gordon, and director George Cukor. The film begins at the end, with married couple Florence and Chet Keefer (Judy Holliday and Aldo Ray) seeking a divorce. Both parties state their cases before understanding judge Carroll (Madge Kennedy)--whereupon the story of their marriage unfolds in a series of revelatory flashbacks. After an amusing recap of their courtship days, the film details the many major and minor trials and tribulations of married life. In the film's most unforgettable sequence, one of the couple's children dies by drowning while Florence and Chet are obliviously engaged in one of their petty squabbles. Throughout the testimony, the Judge gives equal time to both parties, and in so doing demonstrates that all aspects of marriage work both ways. In the final scenes, the Judge allows the Keefers to reconsider their impending divorce, but not before offering a few understanding and unobtrusive words of advice. Judy Holliday is in top form, while Aldo Ray delivers what may be his finest performance. Featured in the cast as Ray's sister-in-law is Peggy Cass in her film debut. ~ Hal Erickson, Rovi

The model (Jeanne Crain) is stuck in an unhappy relationship with a married man. The marriage broker (Thelma Ritter) doesn't like this and tries to match the model with a lonely x-ray technician (Scott Brady). The model is so grateful that she tries to find an eligible bachelor for the broker. The broker resists this largesse, but then realizes that the only reason she meddles in other people's lives is to make up for the emptiness of her own. The Model and the Marriage Broker resists the temptation of poking fun at the less attractive clients of the marriage broker; this is especially true in the case of Frank Fontaine, whose performance as a lovesick Swede is quite moving. ~ Hal Erickson, Rovi

Lana Turner stars as an ambitious model who seeks her fortune in New York City. She is befriended by over-the-hill cover-girl Ann Dvorak, whose performance carries the story until she commits suicide twenty minutes into the film. Turner promises herself that she won't end up burned out like Dvorak, but as her fame grows, she is inexorably drawn into the hectic social whirl that sealed Dvorak's doom. Enjoying the favors of wealthy Ray Milland, Turner seeks out Milland's wife (Margaret Phillips), hoping to convince the woman to give up her husband. When she meets the crippled Mrs. Milland, Turner is made painfully aware of the length and breadth of the woman's love for her husband. Turner pulls out of the relationship, and we are encouraged to believe that hers will be a much happier and more fulfilling life than that of the unfortunate Ann Dvorak (ironically, in real life Ann Dvorak's final days were relatively contented ones, while Lana Turner spent her twilight years wondering where the looks, the men and the money had gone). Though not so noted in the credits, A Life of Her Own was inspired by The Abiding Vision, a novel by Rebecca West. Bronislau Kaper's musical score was later recycled for the 1951 MGM romantic drama Invitation. ~ Hal Erickson, Rovi