George Cukor Papers

Total Page：16

File Type：pdf, Size：1020Kb

http://oac.cdlib.org/findaid/ark:/13030/c8b27wn7 Online items available George Cukor papers Special Collections Margaret Herrick Library© 2013 George Cukor papers 3 1 Descriptive Summary Title: George Cukor papers Date (inclusive): 1905-1981 Date (bulk): 1933-1976 Collection number: 3 Creator: Cukor, George Extent: 31 linear feet of papers.24.8 linear feet of photographs. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. http://digitalcollections.oscars.org/cdm/landingpage/collection/p15759coll13 Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation George Cukor papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of George Cukor, 1979 Biography George Cukor was an American director best known for directing DINNER AT EIGHT (1933), CAMILLE (1936), THE PHILADELPHIA STORY (1940), and A STAR IS BORN (1954), for his allegiance to the written word, and for the remarkable performances he was able to draw from his actors. He was nominated for an Academy Award for directing five times, receiving the Oscar for MY FAIR LADY (1964). Cukor served on the Academy Board of Governors in the 1970s. Collection Scope and Content Summary The George Cukor papers span the years 1905-1981 (bulk 1933-1976) and encompass 55.8 linear feet. The collection consists of production material, including unproduced productions; television files; stage files; story files, primarily in the form of script material submitted to Cukor; correspondence; subject files; personal files; scrapbooks; oversize material; and photographs. Arrangement Arranged in the following series: 1. Production files, subseries A-B as follows: A. Produced; B. Unproduced; 2. Television files, subseries A-B as follows: A. Produced; B. Unproduced; 3. Stage files; 4. Radio files; 5. Story files; 6. Correspondence; 7. Subject files; 8. Personal papers; 9. Scrapbooks; 10. Photographs (Motion picture production) Indexing Terms Cukor, George , 1899-1983--Archives directors George Cukor papers 3 2.

Copy Link

Recommended publications

The Honorable Mentions Movies- LIST 1
The Honorable mentions Movies- LIST 1: 1. A Dog's Life by Charlie Chaplin (1918) 2. Gone with the Wind Victor Fleming, George Cukor, Sam Wood (1940) 3. Sunset Boulevard by Billy Wilder (1950) 4. On the Waterfront by Elia Kazan (1954) 5. Through the Glass Darkly by Ingmar Bergman (1961) 6. La Notte by Michelangelo Antonioni (1961) 7. An Autumn Afternoon by Yasujirō Ozu (1962) 8. From Russia with Love by Terence Young (1963) 9. Shadows of Forgotten Ancestors by Sergei Parajanov (1965) 10. Stolen Kisses by François Truffaut (1968) 11. The Godfather Part II by Francis Ford Coppola (1974) 12. The Mirror by Andrei Tarkovsky (1975) 13. 1900 by Bernardo Bertolucci (1976) 14. Sophie's Choice by Alan J. Pakula (1982) 15. Nostalghia by Andrei Tarkovsky (1983) 16. Paris, Texas by Wim Wenders (1984) 17. The Color Purple by Steven Spielberg (1985) 18. The Last Emperor by Bernardo Bertolucci (1987) 19. Where Is the Friend's Home? by Abbas Kiarostami (1987) 20. My Neighbor Totoro by Hayao Miyazaki (1988) 21. The Sheltering Sky by Bernardo Bertolucci (1990) 22. The Decalogue by Krzysztof Kieślowski (1990) 23. The Silence of the Lambs by Jonathan Demme (1991) 24. Three Colors: Red by Krzysztof Kieślowski (1994) 25. Legends of the Fall by Edward Zwick (1994) 26. The English Patient by Anthony Minghella (1996) 27. Lost highway by David Lynch (1997) 28. Life Is Beautiful by Roberto Benigni (1997) 29. Magnolia by Paul Thomas Anderson (1999) 30. Malèna by Giuseppe Tornatore (2000) 31. Gladiator by Ridley Scott (2000) 32. The Lord of the Rings: The Fellowship of the Ring by Peter Jackson (2001) 33.
[Show full text]
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
[Show full text]
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press.
[Show full text]
Warner Bros. Retrospective Resumes at Museum
The Museum of Modern Art NO. 2 U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart FOR IMMEDIATE RELEASE WARNER BROS. RETROSPECTIVE RESUMES AT MUSEUM The Museum of Modern Art's major retrospective of Warner Bros, films, interrupted in October by a strike by members of the Museum's professional staff, will resume Sunday, January 6, 1974. Approximately 40 feature films, dating from the 1950s, 1960s and early 1970s and originally scheduled to play during October and November, will be presented daily through January 27. Among the pictures on the program are "Rebel Without a Cause," "A Star is Born," "A Streetcar Named Desire," "The Bad Seed," "Who's Afraid of Virginia Woolf?", "Bonnie and Clyde," "Super Fly," "A Clockwork Orange" and "The New Land." "We are very grateful to Warner Bros, for agreeing to re-schedule the remainder of the program," notes Adrienne Mancia, Associate Curator of Film, who put together the Warners cycle along with Assistant Curator Larry Kardish. "Not only has public response to the Warners series been strong, but a renewed interest in these films has arisen on college campuses and in film societies across the country," Adrienne Mancia adds. The Warners retrospective began July 4, 1973 and over 150 feature films had been presented before the interruption in October. The schedule of films to be shown follows: Sun, Jan 6, 3:00 Jack and the Beanstalk (1952, Jean Yarborough) Sun, Jan 6, 5:30 Rio Bravo (1959, Howard Hawks) Mon, Jan 7, 2:00 The Left-Handed Gun (1958, Arthur Penn) Mon, Jan 7, 5:30 Inside Daisy Clover (1965, Robert Mulligan) Tues, Jan 8, 2:00 The Old Man and the Sea (1958, John Sturges) Wed, Jan 9, 5:30 Rebel Without a Cause (1955, Nicholas Ray) Fri, Jan 11, 2:00 New York Confidential (1955, Russell Rouse) Fri, Jan 11, 5:30 Bonnie and Clyde (1967, Arthur Penn) Sat, Jan 12, Noon The Rise and Fall of Legs Diamond (1960, Budd Boetticher) Sat, Jan 12, 3:00 Seven Men from Now (1956, Budd Boetticher) Sat, Jan 12, 5:30 A Star is Born (1954, George Cukor) (OVER) (OVER) 2.
[Show full text]
Hollywood Modern: Film Design of the 1930S February-March 2011 AFI Silver Theatre and Cultural Center
Hollywood Modern: Film Design of the 1930s February-March 2011 AFI Silver Theatre and Cultural Center In conjunction with the National Building Museum's exhibit, "Designing Tomorrow: America's World's Fairs of the 1930s," AFI Silver presents this series of films featuring an eclectic, and occasionally over-the-top, array of modernist set designs, reflecting the forward-looking design sensibilities of the 1930s. At a time of incredible economic difficulty, Hollywood provided moviegoers in the 1930s with sparkling fantasies of fashion, urban decadence and nights on the town, set within environments offering the most deluxe, most glamorous, most modern styles available. Many of the same design trends seen onscreen were displayed in demonstration homes at the World's Fairs of the 1930s, from chrome accents, modular furnishings and plate glass, to synthetic fabrics and surfaces. Whether it is the appearance of Frank Lloyd Wright's Ennis House in FEMALE, the spiraling lobby of GRAND HOTEL, William Powell's penthouse in STAR OF MIDNIGHT or the glittering Silver Sandal Club in SWING TIME, examples of modern architecture and design can be seen within a long list of films considered classics of Hollywood's golden age. Washington Post film critic Ann Hornaday and National Building Museum curator Deborah Sorensen will introduce the Hollywood Modern series before the screening of Grand Hotel on February 5. This kick-off discussion will focus on how, at a time of great economic difficulty, Hollywood provided moviegoers with glamorous fantasies of modern living filled with fashion, urban decadence, and nights on the town. Grand Hotel (Edmund Goulding, 1932, 112 min.) Female (Michael Curtiz, 1933, 60 min.) The Gay Divorcee (Mark Sandrich, 1934, 107 min.) Trouble in Paradise (Ernst Lubtisch, 1932, 83 min.) Design for Living (Ernst Lubitsch, 1933, 91 min.) The Women (George Cukor, 1939, 133 min.) Swing Time (George Stevens, 1936, 103 min.) A Star is Born (William A.
[Show full text]
Greatest Year with 476 Films Released, and Many of Them Classics, 1939 Is Often Considered the Pinnacle of Hollywood Filmmaking
The Greatest Year With 476 films released, and many of them classics, 1939 is often considered the pinnacle of Hollywood filmmaking. To celebrate that year’s 75th anniversary, we look back at directors creating some of the high points—from Mounument Valley to Kansas. OVER THE RAINBOW: (opposite) Victor Fleming (holding Toto), Judy Garland and producer Mervyn LeRoy on The Wizard of Oz Munchkinland set on the MGM lot. Fleming was held in high regard by the munchkins because he never raised his voice to them; (above) Annie the elephant shakes a rope bridge as Cary Grant and Sam Jaffe try to cross in George Stevens’ Gunga Din. Filmed in Lone Pine, Calif., the bridge was just eight feet off the ground; a matte painting created the chasm. 54 dga quarterly photos: (Left) AMpAs; (Right) WARneR BRos./eveRett dga quarterly 55 ON THEIR OWN: George Cukor’s reputation as a “woman’s director” was promoted SWEPT AWAY: Victor Fleming (bottom center) directs the scene from Gone s A by MGM after he directed The Women with (left to right) Joan Fontaine, Norma p with the Wind in which Scarlett O’Hara (Vivien Leigh) ascends the staircase at Shearer, Mary Boland and Paulette Goddard. The studio made sure there was not a Twelve Oaks and Rhett Butler (Clark Gable) sees her for the first time. The set single male character in the film, including the extras and the animals. was built on stage 16 at Selznick International Studios in Culver City. ight) AM R M ection; (Botto LL o c ett R ve e eft) L M ection; (Botto LL o c BAL o k M/ g znick/M L e s s A p WAR TIME: William Dieterle (right) directing Juarez, starring Paul Muni (center) CROSS COUNTRY: Cecil B.
[Show full text]
How to Cite Complete Issue More Information About This Article
Vivat Academia ISSN: 1575-2844 Forum XXI Durán-Manso, Valeriano LOS RASGOS MELODRAMÁTICOS DE TENNESSEE WILLIAMS EN PEDRO ALMODÓVAR: ESTUDIO DE PERSONAJES DE LA LEY DEL DESEO, TACONES LEJANOS Y LA FLOR DE MI SECRETO Vivat Academia, no. 138, 2017, March-June, pp. 96-119 Forum XXI DOI: https://doi.org/doi.org/10.15178/va.2017.138.96-119 Available in: https://www.redalyc.org/articulo.oa?id=525754430006 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Vivat Academia Revista de Comunicación · 15 Marzo-15 Junio 2017 · Nº 138 ISSN: 1575-2844 · pp 96-119 · http://dx.doi.org/10.15178/va.2017.138.96-119 RESEARCH Recibido: 11/06/2016 --- Aceptado: 04/12/2016 --- Publicado: 15/03/2017 THE MELODRAMATIC TRAITS OF TENNESSEE WILLIAMS IN PEDRO ALMODÓVAR: STUDY OF CHARACTERS OF THE LAW OF DESIRE, HIGH HEELS AND THE FLOWER OF MY SECRET Valeriano Durán Manso1: University of Cádiz, Spain. [email protected] ABSTRACT The main film adaptations of the literary production of the American playwright Tennessee Williams premiered in 1950 through 1968, and they settled in the melodrama. These films contributed to the thematic evolution of Hollywood due to the gradual dissolution of the Hays Code of censorship and, furthermore, they determined the path of this genre toward more passionate and sordid aspects. Thus, A Streetcar Named Desire, Cat on a Hot Tin Roof, or Suddenly, Last Summer incorporated sexual or psychological issues through tormented characters that had not been previously dealt with in the cinema.
[Show full text]
Lahr Nichols 2/21.L
TNY—2/21 & 28/00—PAGE 196—LIVE OPI—AVEDON SPREAD-#1—140 SC.—#2 PAGE PROFILES MAKING IT REAL How Mike Nichols re-created comedy and himself. BY JOHN LAHR we do now, Mr. Success?” she said. Nichols, who has a sharp American wit but courtly European manners, bit his tongue. “All those ‘Mr. Success’ years would have been hard to explain to anybody if I tried,” Nichols, now sixty- eight, says. “What I really wanted to say to that envious woman was ‘Don’t worry.There’s still nothing happening in- side me. I’m not experiencing success or anything much.’ ” But feelings aren’t facts. From the moment Nichols made his name, in the late ﬁfties, as the lanky deadpan half of the comedy team Nichols and May, he took up residence in success. As early as 1961, a letter addressed to “Famous Actor, Mike Nichols, U.S.A.” reached him. And, by the seventies, Nichols repre- sented the high-water mark in not just one but three areas of American enter- tainment. As a comedian, he improvised routines with Elaine May which are among the treasures of American humor; as a stage director, beginning in the early nce, in the early seventies, Mike sixties, he had a string of commercial hits ONichols was sitting in a commer- that made him the most successful Broad- cial jet as it took off from J.F.K. Mo- way director since George Abbott; as a ments after it was airborne, the plane ﬁlm director, he made the bold, intelli- went into what Nichols recalls as “an gent “Who’s Afraid of Virginia Woolf?” unnervingly steep bank.
[Show full text]
'See It Big!' Series Celebrates Movie Musicals
FOR IMMEDIATE RELEASE ‘SEE IT BIG!’ SERIES CELEBRATES MOVIE MUSICALS Fourteen spectacular singing/dancing extravaganzas including All That Jazz, The Sound of Music, Pennies from Heaven, The Wiz, and more January 24–February 28, 2014 Astoria, New York, January 2, 2014—The Museum of the Moving Image’s popular series See It Big! will turn its focus to the movie musical with a fourteen-film celebration of the genre, from January 24 through February 28, 2014. Musicals are, by their very nature, filled with spectacle. They are heightened forms of storytelling, in which the narrative is amplified by song and dance, where characters express their innermost feelings in the most extravagant ways imaginable. It is a genre that celebrates excess and stylization, and the best examples of the form can only be truly enjoyed… big! Among the titles are two of the first films produced at the rejuvenated Astoria studio— across the street from the Museum—in the 1970s: Series opener All That Jazz (1979) is choreographer and director Bob Fosse’s largely autobiographical tour de force featuring a lithe and passionate Roy Scheider as Fosse’s alter ego (January 24); The Wiz (1978), directed by Sidney Lumet, reimagines The Wizard of Oz in a gritty urban fantasy land and stars Diana Ross, Michael Jackson, and Nipsey Russell (February 7). Production materials from The Wiz are currently on view at the Museum in Lights, Camera, Astoria!, an exhibition exploring the history of the Astoria studio (on view through February 9), and also in the core exhibition Behind the Screen. Two other 1970s musicals also feature in the series.
[Show full text]
Tyrone Power
Tyrone Power 66638_Kelly.indd638_Kelly.indd i 227/11/207/11/20 11:15:15 PPMM International Film Stars Series Editor: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin Tyrone Power: Gender, Genre and Image in Classical Hollywood Cinema by Gillian Kelly www.euppublishing.com/series/ifs 66638_Kelly.indd638_Kelly.indd iiii 227/11/207/11/20 11:15:15 PPMM Tyrone Power Gender, Genre and Image in Classical Hollywood Cinema Gillian Kelly 66638_Kelly.indd638_Kelly.indd iiiiii 227/11/207/11/20 11:15:15 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance.
[Show full text]
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
[Show full text]
Figuring Jewishness in George Cukor's a Double Life
article Figuring Jewishness in George Cukor’s A Double Life Elyce rae Helford AbstrAct This study considers the ways in which Jewishness figures in the production of the 1947 film A Double Life, contextualized within Hollywood director George Cukor’s personal experience, film oeuvre, and the post–world war ii era in which it was released. issues of cultural assimilation and discourses of gender, race, class, and ethnicity are evident in film form, content, and especially process, including casting, direction, narrative, and visual design. From the film’s mobilization of blackface to its condemnation of “ethnic” femininity, this little-studied, oscar-nominated thriller about a murderous shakespearean actor offers valuable commentary on Jewish identity and anxieties in mid-twentieth-century America. In The American Cinema: Directors and Directions, 1929–1968, Andrew Sarris states, “It is no accident that many of [George] Cukor’s characters are thespians of one form or another.”1 Such insight is echoed and extended by multiple biographers, from Gavin Lambert (1972) and Gene D. Phillips (1982) to Patrick McGilligan (1991) and Emanuel Levy (1994), who find theater and theatricality central to the director’s films as well as his life. Before moving to Hollywood, the young Cukor was a hopeful actor, a stage manager, and a director in New York. Upon arrival in California, his first position was as speech coach to actors entering the new realm of talking pictures. And in films throughout his career, theatrical performance plays a significant role. Cukor is well known for his screen 114 | Jewish Film & New Media, Vol. 1, No.
[Show full text]