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Ruth Hussey and Hedda Hopper VOICE Journal of the Alex Film Society Vol. 15, No. 1 of theTHEATRE‘‘0909 February 14, 2009, 2 p.m. & 8 THE PHILADELPHIA STORY hen David Selznick replaced George Cukor as By Randy Carter Director during his production of Gone With WThe Wind in 1939 it ruptured a relationship humor of Broadway’s Dinner At Eight (1933). The that had produced a string of hit films for RKO and pair followed this blockbuster with the glossy but Metro-Goldwyn-Mayer. At RKO, Cukor directed quite sincere production of Charles Dickens’s David Constance Bennett in What Price Hollywood (1932) a Copperfield (1935). When Charles Laughton lost faith drama about a broken down director (supposedly based in his ability to portray Micawber, Cukor went to on director Marshall Neilan) that suggested the story line Paramount and got W.C. Fields, who invested a world of fleshed out inA Star is Born (1937). That same year he experience in bringing the insolvent rogue to life. took a very young actress with a thin, bony physique It was during the thirties that Cukor acquired and placed her opposite film legend John Barrymore the reputation of being a woman’s director. Several in a screen version of Clemence Dane’s play A Bill of biographers point out that he was equally at home Divorcement. Awkward and even strange in her manner with leading men and point to performances by Ronald and film presence, audiences were intrigued by the Coleman (A Double Life 1947), Charles Boyer (Gaslight young woman who immediately charmed them again in 1944) and James Mason (A Star is Born 1954) to answer Louisa May Alcott’s Little Women (1933). the conventional wisdom. But there is no denying that Moving to M-G-M in 1933, Cukor and Selznick his direction of Greta Garbo in Camille (1937) brought made themselves at home with the elegant art direction out a performance that most concede was her best work and polished productions that only Louis B. Mayer’s and brought new life to this oft told tale of the dying operation could support. A child of the theatre, Cukor heroine. was right a home with the witty dialogue and acerbic Continued on Page 2 GeorgeGeorge CukorCukor The Women: (l to r) Florence Nash, Phyllis Povah, Rosalind Russell, Joan Crawford, Cukor, Norma Shear, Paulette Goddard, Mary Boland, Joan Fontaine. cont’d from page 1 of the fiery Irish nationalist, was God (1940) before going to work leery of period wardrobe and with Katharine Hepburn on The The next two years from ’37 to accents. He feared doing GWTW Philadelphia Story (1940). ’39, Cukor devoted himself to the and perceived that Cukor was more Cukor and Hepburn had a coming production of Margaret interested in telling the women’s partnership that produced ten Mitchell’s best selling tale of the story. When Cukor suggested that he films over a period of forty-seven Confederacy. He visited the author years. The Philadelphia Story was in Georgia and charmed her with Hepburn’s property. After being his vision of the project. While scorned as “box office poison”, most directors hated doing screen she had retreated to Broadway, tests, Cukor would make tests for scored a major success in the productions he never worked on. Phillip Barry play which ran for 416 He meticulously staged the scenes performances, optioned the screen for dozens of actresses, known and rights (with an assist from Howard unknown, who were up for the part Hughes) and secured the lead role of Scarlet O’Hara. He discovered of Traci Lord. This was their second Susan Hayward and her test for Barry comedy, having produced Scarlett became the basis for her Hepburn & Cukor on the set of Holiday in 1938 for RKO. Hepburn’s The Philadelphia Story. first motion picture contract. His contract called for two high profile direction of Vivien Leigh’s love at least try an accent, the call went leading men to costar. Hoping for scene test with Ashley Wilkes is out to bring in M-G-M contract Gable and Tracy, they got James purported to be far superior to the director Victor Fleming. However Stewart and Cary Grant. final cut that is included in the film. it really went down, Selznick was Cukor’s camera work is stylish The story goes that Clark Gable, certainly a constant and sometimes and elegant and the performances still smarting from his failure in interfering presence on the set and Parnell (1937) a lackluster biography there is ample evidence that he Continued next Column resented Cukor’s handsome salary commitment. Producer Hunt Stromberg immediately signed Cukor to direct Clare Luce’s comedy The Women (1939). The “Woman’s Director” now had a cast that included Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Joan Fontaine, Ruth Hussey and Hedda Hopper. He would team up with Joan Cukor and cast on the set of Crawford the next year in Susan and Louis B. Mayer, Paulette Goddard, Cukor The Philadelphia Story. and Joan Crawford in 1939. www.AlexFilmSociety.org – – Vol. 15, No. 1 February 14, 009 GEORGE CUKOR Cukor acquired the (1899-1983) reputation of being a woman’s director. of all his principals are legendary. Ruth Hussey would be nominated for a Best Supporting Oscar® for her role as the wisecracking photojournalist. She is quoted describing Cukor standing behind the camera mouthing her part: “If I was supposed to be smiling, he was smiling. If I was frowning, he was frowning. He just acted the whole Jean Harlow, on the set of A partial list of feature films he directed thing. He was the only director I Dinner at Eight (1933). in the course of a fifty year Hollywood ever knew who did that.” career. The Philadelphia Story was completed on August 14, 1940 and Rich and Famous (1981), The Blue Bird opened on Christmas Day at Radio (1976), Travels with My Aunt (1972), City Music Hall. A perfect holiday Justine (1969), My Fair Lady (1964), show for the 6,000 seat movie The Chapman Report (1962), showcase, it quickly broke the all Something’s Got to Give (1962), time attendance record that was held Let’s Make Love (1960), Heller in Pink by Walt Disney’s Snow White (1937). Tights (1960), Wild is the Wind (1958), Only a commitment to exhibit Alfred Les Girls (1957), Bhowani Junction (1956), Hitchcock’s Rebecca (1940) ended the A Star Is Born (1954), The Actress (1953), run after six weeks, but until then, Pat and Mike (1952), The Marrying Kind every performance was sold out and (1952), Born Yesterday (1950), Adam’s 850, 000 patrons saw the movie Rib (1949), A Double Life (1947), Gaslight during the New York opening. (1944), Two-Faced Woman (1941), The Philadelphia Story (1940), Susan and God The following books provided (1940), The Women (1939), Holiday (1938), background for this article: GEORGE Camille (1936), Sylvia Scarlett (1935), CUKOR Master of Elegance, Directing Greta Garbo while Little Women (1933), Dinner at Eight making Two-Faced Woman Eugene Levy (William Morrow (1941) (1933), A Bill of Divorcement (1932), What and Company), ON CUKOR, Gavin Price Hollywood? (1932), The Royal Family Lambert (Putnam), GEORGE CUKOR, of Broadway (1930) A Double Life, Patrick McGilligan (St. Martins Press). Randy Carter These actors received Academy Award is the President of the Alex Film Nominations under the direction of Society. George Cukor: Basil Rathbone, Norma Shearer, Greta Garbo, James Stewart(*), Katherine Hepburn, Ruth Hussey, Ingrid Bergman(*), Charles Boyer, Angela Lansbury, Ronald Coleman(*), Deborah Kerr, Judy Holliday(*), James Mason, Judy Garland, Anthony Quinn, Anna Magnani, Rex Harrison (*), Stanley Holloway, Gladys Cooper, and Maggie Smith. (*won) Rex Harrison, Audrey Hepburn, and Cukor, The Philadelphia Story My Fair Lady (1964) Vol.Vol. 15, 15, No. No. 1 1 February February 14, 14, 009009 – – – – www.AlexFilmSociety.orgVOICE of the THEATRE George Cukor’s The Philadelphia Story Black and White – 1940 – 112 minutes Metro-Goldwyn-Mayer Presents A Loew’s Incorporated Production Print Courtesy of Warner Bros Distributing Inc. Cast Cary Grant .......................C.K. Dexter Haven Directed by .............................. George Cukor Katharine Hepburn ......Tracy Lord James Stewart ...............Macaulay Connor Screenplay by ......................... Donald Ogden Stewart Ruth Hussey ...................Elizabeth Imbrie From a Play by........................ Philip Barry & Waldo Salt* John Howard ...................George Kittredge Produced by ............................ Joseph L. Mankiewicz Roland Young .................Uncle Willie John Halliday ..................Seth Lord Original Music by .................. Franz Waxman Mary Nash .......................Margaret Lord Director Of Photography ..... Joseph Ruttenberg Virginia Weidler .............Dinah Lord Edited by .................................. Frank Sullivan Henry Daniell ..................Sidney Kidd Art Director ............................. Cedric Gibbons Lionel Pape ......................Edward Associate Art Director ........ Wade B. Rubottom Rex Evans ........................Thomas Set Decorator ......................... Edwin B. Willis Costume Designer ................. Adrian (gowns) Hair Stylist .............................. Sydney Guilaroff * Uncredited Makeup Artist......................... Jack Dawn* Assistant Director .................. Edward Woehler* Recording Director ................ Douglas Shearer Re-Recording Mixer ............ Tom Gunn* information from Internet Movie Database: IMDB.com Oscar® nominations in bold, winners in color. Including Short Subjects A WILD HARE Hearst Movietone News Parade of 1940 Leon Schlesinger Studios/Warner Bros, Technicolor – 1940
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