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Directed by GEORGE CUKOR Screenplay by HUGH WHITEMORE and ALFRED HAYES...

Author: /time Magazine | Title: Cinema: Gilded Cage | 6/14/1976 | See Source »

...movie gives evidence of having been heavily edited, probably in a Cuisinart. A lot of individual shots do not match. Once in a while, someone breaks into song, suggesting that The Blue Bird may once have been a musical. Director George Cukor is one of the most urbane American film makers (Adam's Rib, Holiday), but here both his good taste and characteristic sophistication have lapsed. Elizabeth Taylor (who plays four roles, including Maternal Love), Ava Gardner (Luxury) and Jane Fonda (who, as Night, is decked out in a costume that makes her look like Ming the Merciless) camp...

Author: /time Magazine | Title: Cinema: Gilded Cage | 6/14/1976 | See Source »

...BLESSINGS: Laurence Olivier (68), Katharine Hepburn (66) under the direction of George Cukor (76) in the delicious Love Among the Ruins...

Author: /time Magazine | Title: Show Business: Show Business, Dec. 29, 1975 | 12/29/1975 | See Source »

...classics like David Copperfteld and Great Expectations show, Dickens may be the easiest of the great novelists to dramatize in the movies. But George Cukor, who directed Copperfield in 1935, was right when he pointed out that "the toughness, the edge that Dickens had, must be preserved." More recently we have come to think that children cannot stand, or understand, the writer's true craggy spirit. What an irony, considering the televised garbage they are constantly exposed to. And what a disservice to them as well as to Dickens...

Author: /time Magazine | Title: Cinema: Curiosity Slop | 12/8/1975 | See Source »

...E.D.T.) that Hepburn's amnesia is a ploy, that Writer James Costigan will find a way for old love to conquer all. But who cares? His nostalgic Edwardian romance is just a charming conceit designed to bring Hepburn, 65, and Olivier, 67, together. The director is Veteran George Cukor, 75, whose cutting and camera placements impart a subtle tension (and an air of elegant craftsmanship) above and beyond the call of television duty. Indeed, all three conspire to make Costigan seem a much wittier writer than he is. Olivier can get laughs by snuffling or shuffling the papers...

Author: /time Magazine | Title: Show Business: Viewpoints: Love and the Bomb | 3/10/1975 | See Source »

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