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SOUTHERN VOICE
OCTOBER 21/1993
Meet Someone Special
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Cukor’s reign in Hollywood lodged in the closet
Famous gay MGM director subject of
new book about his double life
George Cukor was one of Hollywood’s leading directors, a
man whose career spanned the most glamorous decades of film
production.
When he began directing films in 1930, he was only 30 years
old. That was quite young in those days to be handed the reigns
of a major production. Because he began his career at the begin
ning of Hollywood’s “Golden Years,” he was fortunate to have
access to all of the great stars at the time. Sensitive to actresses’
needs, he quickly became known as a “woman’s director.” He
was the original choice to direct “Gone With The Wind.”
But what the public didn’t know, and what only a few of his
close friends did, was that Cukor was gay. Although gays and
lesbians thrived in the creative crafts such as costume and set
design, and some lesser directors were open and even flamboy
ant, Cukor, an ‘A’ ranked director, did everything he could to
keep his sexuality unknown, believing he had to do so to retain
his prestige and that of his studio, MGM.
In Cukor’s era, studios had “morals” clauses in their con
tracts, and a star or a director could be fired under that all-
encompassing clause for any reason deemed detrimental to the
studio.
Cukor’s life as a director and as a gay man has been chronicled
by author Patrick McGilligan, in a new book, “George Cukor: A
Double Life.”
Bom in 1899, Cukor was an elder statesman in Hollywood
until he died in 1983. He was not only famous for his films, but
also for the “salon” he presided over in his Beverly Hills man
sion. Being a man of great taste, his gatherings attracted all of the
famous and glamorous people of the day. Many of the gay stars,
who were so far in the closet that they could be used as hangers,
felt safe and relaxed at George’s house.
Female stars adored him and clamored to have him guide
their films. They knew that he would get the best performance
out of them. As has been true throughout Hollywood history,
male stars were pampered by the studios, but
there were few directors who knew how to
furndlc the great actresses.
“A Bill of Divorcement” came out in 1932
and introduced the now-lcgcndary Katharine
Hepburn to the screen. Her strange manner of
speaking and her extraordinary looks had per
plexed other movie people, who didn’t know
what to do with her. Cukor knew that Hepburn
was unique, and he is credited with being rc-
•sponsiblc for getting her started.
Katharine Hepburn had this to say about
him in her book, “Me”: “George Cukor was
really my best friend in California. We made
many pictures together—always happily. Must
have had the same set of standards. We both
adored the business—we loved to work—we
admired each other...”
“It was as if George and I had been brought
up together. Total comfort. The same liberal
point of view—the same sense of right or
wrong.”
While at MGM, Cukor directed the great Greta Garbo in one
of her finest films, “Camille,” in 1936. MGM insisted that all of
their stars look perfect and other-worldly. In other words, the
actresses looked like “stars” and not the girl next door. Garbo
always enjoyed being caressed by the camera with loving close-
ups as ordered by Cukor.
He was also the original selection to direct “Gone With The
Wind” in 1939, but a great crisis arose when Clark Gable refused
to work with Cukor and had him fired and replaced with his
buddy, Victor Fleming.
The official reason was that Gable felt that because Cukor
had such a great reputation as a “woman’s director,” Vivien
Leigh would be favored over him in their scenes together. The
truth, according to McGilligan’s book, was that Gable was so
obsessed with his “macho” image that he did not want to work
with a gay director and somehow be “compromised.”
Marcella Rabwin, executive secretary to the film’s producer,
David 0. Selznick, at the time, recalled that “[Gable] and Victor
Cukor guides Audrey Hepburn in “My Fair Lady.”
Fleming were very macho people and they had great intoler
ances. One of the intolerances was for gays, and one was for
Jews. They always referred to Mr. Selznick and Mr. Cukor in
very unflattering terms. They always referred to David Selznick
as ‘that Jewboy up there’ and Cukor as ‘that fag.’”
“That fag” went on to direct some of Hollywood’s most
memorable movies, starring its most memorable leading ladies.
The mid-1940s saw Ingrid Bergman, the highly-touted Swed
ish import of producer Selznick, being directed in the chiller
“Gaslight” by the meticulous Cukor. In 1954, he took on Judy
Garland, with a reputation for being difficult, and managed to gel
a great performance worthy of an Oscar nomination.
Cukorguided Marilyn Monroe’s “Let’s Make Love” at 20th
Century Fox into theaters without any major mishaps,'-and in
1964 George turned the Broadway musical “My Fair Lady” into
a major triumph for Audrey Hepburn and Rex Harrison at Wamcr
Brothers.
JIM HARRISON
Alcohol or Drug Problem?
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