The young Cukor pursued a career in the theater, initially as a stage manager, and eventually became one of the leading directors on Broadway in the mid-1920s. With the advent of the talkies, Cukor was invited to Hollywood in 1929 to serve as a dialogue coach. After co-directing three films, he got solo credit for the first time on TARNISHED LADY (1931), with Tallulah Bankhead. Through the 30s Cukor's stature grew, partly thanks to his personal style but also as a result of his collaborative capacities; Cukor truly embraced the collective nature of theater and film, actively fostering enthusiasm and mutual respect among actors, writers and technicians alike. He also worked with the strengths, and around the drawbacks of, the studio system. Cukor was particularly skillful in bringing classic costume novels and stage plays to the screen while respecting the integrity of the originals.
In 1933 he directed Katharine Hepburn in Louisa May Alcott's LITTLE WOMEN and an all-star MGM cast, including Jean Harlow and Marie Dressler, in George S. Kaufman's DINNER AT EIGHT. The former brought Cukor the first of five Oscar nominations for best director. DAVID COPPERFIELD followed two years later and was nominated for Best Picture. In 1936 Cukor directed Greta Garbo in CAMILLE, perhaps her most memorable role. The film is emblematic of Cukor's work; a flawlessly crafted costume piece which underscores his respect and affection for the cultural dichotomy women must endure. Style and substance would take a humorous turn the following year in HOLIDAY, one of the classic examples of screwball comedy so popular with Depression-era movie audiences.
Cukor's successes were rewarded when David O. Selznick hired him to direct GONE WITH THE WIND (1939). Soon after shooting began, however, he was replaced by Victor Fleming. (Ironically, Fleming had just finished THE WIZARD OF OZ, which Cukor had turned down, in part because he was eager to prepare for the filming of the Margaret Mitchell bestseller.) Although Cukor declined comment at the time, he later admitted that his firing had something to do with Clark Gable's fear that Cukor's favored status among actresses might diminish Gable's performance in the role of Rhett Butler. Cukor's impact on GONE WITH THE WIND was significant, in that virtually all of the footage shot under his direction made it to the final cut. Additionally, actresses Vivien Leigh and Olivia De Havilland continued to receive private coaching from Cukor long after he left the picture.
Of all Cukor's films, none embrace his trademark of glamour and feminine awareness more than THE WOMEN (1939), which MGM offered him following his firing from GONE WITH THE WIND (1939). In 1940 he renewed his working relationship with Hepburn in THE PHILADELPHIA STORY.
The 1940s brought major changes to the studio system but, unlike other directors, Cukor adapted. In 1947 he commenced a successful collaboration with Garson Kanin and Ruth Gordon, the husband-and-wife writing team. During these years Cukor directed a string of critical and commercial successes that included ADAM'S RIB (1949), with Hepburn and Spencer Tracy, and BORN YESTERDAY (1950), with Oscar-winner Judy Holliday and William Holden. Cukor's knack for handling difficult actresses was put to the test while directing Judy Garland in a musical remake of A STAR IS BORN (1954), Cukor's second musical and his first film in color. His next musical was MY FAIR LADY, released in 1964. Although a box-office disappointment, the film earned Oscars for best picture and director, the latter Cukor's first after five nominations.
Cukor continued to work for the next 15 years in both film and TV; his final collaboration with Katharine Hepburn was the TV movie, "Love Among the Ruins" (1975), which earned him an Emmy. In 1981 he made his 50th and final picture as a director, RICH AND FAMOUS.
Frances Goldwyn, wife of mogul Samuel Goldwyn, is buried next to Cukor at Forest Lawn in the Garden of Honor at her request because of her long, but unrequited love for him.
Nominated for Directing 1932-33: LITTLE WOMEN
Nominated for Directing 1940: THE PHILADELPHIA STORY
Nominated for Directing 1947: A DOUBLE LIFE
Nominated for Directing 1950: BORN YESTERDAY
Directing 1964: MY FAIR LADY
5 nominations, 1 Award