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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Follow Cukor's Example and Take Your Time, March 11, 2001
This platter is full of many good pieces: enlightenment, gossip, display, speculation and journalistic integrity. Before recommending it for immediate consumption, however, one should ponder the notion that while some bites are indeed chunky and tasty, some have been diced into inedibly large pieces; and while at times the meal is juicy and succulent, at others it is bland and overcooked. More than anything, it is FAR too much to digest in one sitting. It might be better to eat as leftovers than as a buffet.I could not think of a more comprehensive text about Cukor's interesting existence; however some people and relationships (especially with Katherine Hepburn) seem cnspicuously more fleshed-out than others that are teased upon (to this reviewer, it is most obvious with Cukor's father, Spencer Tracy and George Towers, all very influnetial people in Cukor's life with mere paragraphs describing them). The text also suffers at times from trying TOO hard to be fair to Cukor. Certainly, to the author's credit, nasty and contradictory elements are introduced, but it seems that just as much effort is placed on balancing this with excuses or possible alternatives. Cuko was not universally popular, and very few attended his funeral (not even Hepburn was there); so the fairness seems a bit of a disguise. I would recommend a grain of salt to make this tastier; and I would also recommend less than a chapter a day. The book is long on filmography, can be slow reading, and takes time to digest. Overall, it is pleasing, as are Cukor's films, for the most part; but they all took lots of time, according to most accounts. Do the same.
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3 of 4 people found the following review helpful:
3.0 out of 5 stars
George Cukor: Gentleman Director of Hollywood's Golden Age, July 20, 2006
George Cukor (1899-1983) grew up in a lawyer's middle class
and cosy home in New York. Cukor's family heritage was Hungarian and Jewish (Cukor was a secular Jew). All of his life Cukor
fought an inferiority complex based on his ugliness, weight and
life in Anti-Semetic America. His biggest secret was his overt
and active homosexuality. Among the major directors of the glory years of Hollywood he was the only one who was gay.
Cukor directed several blockbusters such as The Philadelphia Story; Adam's Rib; Pat and Mike' The Women; Camille; Born Yesterday Holiday and My Fair Lady (for which he won his only
Oscar for best director) This book contains a complete Filmography of Cukor's oeuvre as well as several vintage photographs.
Cukor was a kind man who could show his temper. His famed
Hollywood parties drew the likes of Garbo, Kate Hepburn, Spencer
Tracy (who lived in a home on Cukor's estate); Vivien Leigh;
Laurence Olivier; Humphrey Bogart and a large contingent of his
gay friends and lovers. Cukor was a man of wit, intelligence,
culture and artistic proclivity.
The best chapters deal with his complex relationship with David O. Selznick who fired Cukor as director of Gone With the
Wind. Another intriguing chapter deals with the disaster than
was A Star is Born the comeback vehicle for the tortured Judy Garland. Cukor
was the director of Marilyn Monroe's last film Something's Got to
Give until she was fired for failing to show up on time. Cukor
was kind to her.
The book is a typical Hollywood biography where the films and
the backstage life of the personality are discussed in length.
Many readers might find this dull. For the classic movie buff,
however, this McGilligan biography is well researched and written.
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3 of 4 people found the following review helpful:
4.0 out of 5 stars
Spotlight on another slice of Hollywood History, November 25, 1997
Very solid biography of the director, George Cukor, covering his long life and career. McGilligan does well covering the dual nature of Cukor's personality, how his homosexuality both colored and hindered his film projects. Very well researched, the book vividly portrays the Hollywood gay society of the 30's - 50's and does well analyzing the strengths and weaknesses of both Cukor and his films. McGilligan is not balanced in his judgments on the films, however. He denigrates many of Cukor's more popular works ("The Women") and lavishes praise on the director's own favorites (the overrated "Adam's Rib"). His assessment of the much-debated firing of Cukor from "Gone With The Wind" also seems simplistic. Overall, a worthwhile read and a fine overview of a major Hollywood career and an important figure in film history.
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