LYCOS RETRIEVER 
George Cukor: Directing
built 290 days ago
The George Cukor papers span the years 1905–1979 (bulk 1933–1976) and encompass 31 linear feet. The collection consists of production files (including realized, unrealized, television, radio, and stage), story files, correspondence files, subject files, personal files, oversize material, and scrapbooks.
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Planning to start shooting on October 5, Cukor was happy that Star Is Born would be done on a big screen and in glorious Technicolor. The results of the tests Cukor made on the still experimental WarnerScope were "distinctly unpleasing." With Mason, the distortion was distracting; with Judy, disastrous. But Judy's tests in Technicolor were great; she really looked radiant.
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[T]ypical of Cukor: the way the heroine marries the businessman for money. This is the first of numerous liaisons in which a young woman will sell herself to an older, successful man, who will look out for her and try to promote her career or interests. Cukor is unusually sympathetic to such relationships, sometimes suggesting they are good for people, not bad. Usually the man is worldly wise, and the woman is very naive.
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When his family moved to East 68th Street, Cukor became aware that his father, Victor, lived in the shadow of his richer brother, Morris, a prominent New York lawyer. Victor was the elder, but Morris was the family favorite and, like his nephew, George, "outgoing and full of mischievous charm, very funny, a gifted extemporaneous speaker and the life of any crowd." By contrast, Mr. McGilligan concludes, "compared to Morris, Cukor's father seemed colorless, the original two-dimensional man. At large gatherings, Victor seemed to shrink into himself."
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Cukor loves scenes with documentary value. In A Double Life he liked to go backstage, to a wig making shop, and other visually complex locations. This is pushed to an extreme in Pat and Mike, which serves virtually as a documentary on women's sports of that era.
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The acerbity of Alcott’s view of history, when it comes to the making of an artist (or its birth), has precisely the transparency always fancied by Cukor. The lighted screen full of images coming from somewhere you watch in a dark room, “it’s a system, girls,” as Moe Axelrod says.
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