Word: cukor
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...Tracy and Hepburn, whatever the social benefits of their friendship with Kramer, the creative harvest has been disaster. Always a good actor, Tracy emerged from a post-war recharging period literally the top. In George Cukor's Pat and Mike ('52), he gave the best of a memorable series of comedy performances opposite Hepburn, conclusively reconciling his own considerable presence ("treelike" to extend a comparison of Hepburn's) with acting. Bad Day at Black Rock ('55), though not a great movie, gave Tracy the chance to show off his genius freely and create a hero good for all violent communities...
...direction attributed solely to Victor Fleming, much of the picture was actually directed by Hollywood master George Cukor (Philadelphia Story, A Star Is Born) and, to Fleming's credit, it is impossible to see where Cukor left off. The shooting has a kind of gutsiness without equal today: that they dared to punch over three climactic scenes with nearly identical sweeping pans of sil-houettes-against-sunset is only a little less hard to believe than that all three shots are profoundly stirring...
...Certainly some of the isolated shots in the racing sequences are excellent, a triumph of MGM's technical facilities. But as soon as Grand Prix leaves the track, it becomes an ugly film. There are eight directors in Hollywood who know how to use wide screen. They are George Cukor, Nicholas Ray, Otto Preminger, Douglas Sirk, John Ford, Fritz Lang, Frank Tashlin, and Budd Boetticher. Not John Frankenheimer...
Finest Hours. In fact, assistance was something that Selznick always felt he could dispense with. "Your ideas may be right," he once explained to Director George Cukor while in the process of firing him, "but if I'm going to fall on my face, it is going to be entirely my own mistake." What Selznick did be lieve in was quality, talent and free-spending, and it turned out to be a formula that gave Hollywood some of its finest hours. Selznick's Bill of Divorcement introduced Katharine Hepburn to films; Freddy Bartholomew was discovered for David Copperfield...
Guided by Director George Cukor, who had played Pygmalion to many a Hollywood Galatea (Garbo in Camille, Ingrid Bergman in Gaslight), she exquisitely personifies "a squashed cabbage leaf" transformed into an English rose. Her comedy scenes are delectable, her charm ineluctable, and her first appearance among society folk at Ascot-in a gown created by Designer Cecil Beaton, whose art nouveau sets and costumes are a splendid show in themselves-is one of those great movie moments seldom accomplished without the help of brass bands and fireworks. And Hepburn tops that when she begins describing, in precise Mayfair accents...