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George Dewey
George Dewey
Cukor (/ˈkjuːkər/; July 7, 1899 – January 24, 1983) was an American film director.[1] He mainly concentrated on comedies and literary adaptations. His career flourished at RKO
RKO
when David O. Selznick, the studio's Head of Production, assigned Cukor to direct several of RKO's major films, including What Price Hollywood? (1932), A Bill of Divorcement (1932), Our Betters
Our Betters
(1933), and Little Women (1933). When Selznick moved to MGM in 1933, Cukor followed and directed Dinner at Eight (1933) and David Copperfield (1935) for Selznick and Romeo and Juliet (1936) and Camille (1936) for Irving Thalberg. He was replaced as the director of Gone with the Wind (1939), but he went on to direct The Philadelphia Story (1940), Gaslight (1944), Adam's Rib
Adam's Rib
(1949), Born Yesterday (1950), A Star Is Born (1954), Bhowani Junction (1956), and My Fair Lady (1964). He continued to work into the 1980s.

Contents

1 Early life 2 Early Hollywood career 3 Later Hollywood career 4 Personal life 5 Death and legacy 6 Filmography 7 Award and nominations

7.1 Academy Awards 7.2 Golden Globe Awards

8 See also 9 References 10 Sources 11 External links

Early life[edit] Cukor was born on the Lower East Side
Lower East Side
of Manhattan
Manhattan
in New York City, the younger child and only son of Hungarian-Jewish immigrants Viktor, an assistant district attorney, and Helén Ilona Gross. His parents selected his middle name in honor of Spanish–American War
Spanish–American War
hero George Dewey. The family was not particularly religious (pork was a staple on the dinner table), and when he started attending temple as a boy, Cukor learned Hebrew
Hebrew
phonetically, with no real understanding of the meaning of the words or what they represented. As a result, he was ambivalent about his faith and dismissive of old world traditions from childhood, and as an adult he embraced Anglophilia
Anglophilia
to remove himself even further from his roots.[2] As a child, Cukor appeared in several amateur plays and took dance lessons, and at the age of seven he performed in a recital with David O. Selznick, who in later years became a mentor and friend.[3] As a teenager, Cukor frequently was taken to the New York Hippodrome
New York Hippodrome
by his uncle. Infatuated with theatre, he often cut classes at DeWitt Clinton High School to attend afternoon matinees.[4][5] During his senior year, he worked as a supernumerary with the Metropolitan Opera, earning 50¢ per appearance, and $1 if he was required to perform in blackface.[6] Following his graduation in 1917, Cukor was expected to follow in his father's footsteps and pursue a career in law. He halfheartedly enrolled in the City College of New York, where he entered the Students Army Training Corps in October 1918. His military experience was limited; Germany surrendered in early November, and Cukor's duty ended after only two months. He left school shortly afterwards.[7]

Bette Davis, aged 23

Cukor obtained a job as an assistant stage manager and bit player with a touring production of The Better 'Ole, a popular British musical based on Old Bill, a cartoon character created by Bruce Bairnsfather.[8] In 1920, he became the stage manager for the Knickerbocker Players, a troupe that shuttled between Syracuse and Rochester, New York, and the following year he was hired as general manager of the newly formed Lyceum Players, an upstate summer stock company. In 1925 he formed the C.F. and Z. Production Company with Walter Folmer and John Zwicki, which gave him his first opportunity to direct.[9][10] Following their first season, he made his Broadway directorial debut with Antonia by Hungarian playwright Melchior Lengyel, then returned to Rochester, where C.F. and Z. evolved into the Cukor-Kondolf Stock Company, a troupe that included Louis Calhern, Ilka Chase, Phyllis Povah, Frank Morgan, Reginald Owen, Elizabeth Patterson and Douglass Montgomery, all of whom worked with Cukor in later years in Hollywood.[11] Lasting only one season with the company was Bette Davis. Cukor later recalled, "Her talent was apparent, but she did buck at direction. She had her own ideas, and though she only did bits and ingenue roles, she didn't hesitate to express them." For the next several decades, Davis claimed she was fired, and although Cukor never understood why she placed so much importance on an incident he considered so minor, he never worked with her again.[12] For the next few years, Cukor alternated between Rochester in the summer months and Broadway in the winter. His direction of a 1926 stage adaptation of The Great Gatsby
The Great Gatsby
by Owen Davis
Owen Davis
brought him to the attention of the New York critics. Writing in the Brooklyn Eagle, drama critic Arthur Pollock called it "an unusual piece of work by a director not nearly so well known as he should be."[13] Cukor directed six more Broadway productions before departing for Hollywood in 1929. Early Hollywood career[edit] When Hollywood began to recruit New York theater talent for sound films, Cukor immediately answered the call. In December 1928, Paramount Pictures
Paramount Pictures
signed him to a contract that reimbursed him for his airfare and initially paid him $600 per week with no screen credit during a six-month apprenticeship. He arrived in Hollywood in February 1929, and his first assignment was to coach the cast of River of Romance to speak with an acceptable Southern accent.[14] In October, the studio lent him to Universal Pictures to conduct the screen tests and work as a dialogue director for All Quiet on the Western Front which was released in 1930. That year he co-directed three films at Paramount, and his weekly salary was increased to $1500.[15] He made his solo directorial debut with Tarnished Lady
Tarnished Lady
(1931) starring Tallulah Bankhead. Cukor was then assigned to One Hour with You
One Hour with You
(1932), an operetta with Maurice Chevalier
Maurice Chevalier
and Jeanette MacDonald, when original director Ernst Lubitsch opted to concentrate on producing the film instead. At first the two men worked well together, but two weeks into filming Lubitsch began arriving on the set on a regular basis, and he soon began directing scenes with Cukor's consent. Upon the film's completion, Lubitsch approached Paramount general manager B.P. Schulberg
B.P. Schulberg
and threatened to leave the studio if Cukor's name wasn't removed from the credits. When Schulberg asked him to cooperate, Cukor filed suit. He eventually settled for being billed as assistant director and then left Paramount to work with David O. Selznick
David O. Selznick
at RKO
RKO
Studios.[16]

Scene from Cukor's hit film The Philadelphia Story

Cukor quickly earned a reputation as a director who could coax great performances from actresses and he became known as a "woman's director", a title he resented. Despite this reputation, during his career, he oversaw more performances honored with the Academy Award for Best Actor than any other director: James Stewart
James Stewart
in The Philadelphia Story (1940), Ronald Colman
Ronald Colman
in A Double Life (1947), and Rex Harrison
Rex Harrison
in My Fair Lady (1964). One of Cukor's earlier ingenues was actress Katharine Hepburn, who debuted in A Bill of Divorcement (1932) and whose looks and personality left RKO
RKO
officials at a loss as to how to use her. Cukor directed her in several films, both successful, such as Little Women (1933) and Holiday (1938), and disastrous, such as Sylvia Scarlett
Sylvia Scarlett
(1935). Cukor and Hepburn became close friends off the set. Cukor was hired to direct Gone with the Wind by Selznick in 1936, even before the book was published.[17] He spent the next two years involved with pre-production, including supervision of the numerous screen tests of actresses anxious to portray Scarlett O'Hara. Cukor favored Hepburn for the role, but Selznick, concerned about her reputation as "box office poison", would not consider her without a screen test, and the actress refused to film one. Of those who did, Cukor preferred Paulette Goddard, but her supposedly illicit relationship with Charlie Chaplin
Charlie Chaplin
(they were, in fact, secretly married) concerned Selznick.[18] Between his Wind chores, the director assisted with other projects. He filmed the cave scene for The Adventures of Tom Sawyer (1938)[19], and, following the firing of its original director Richard Thorpe, Cukor spent a week on the set of The Wizard of Oz (1939). Although he filmed no footage, he made crucial changes to the look of Dorothy by eliminating Judy Garland's blonde wig and adjusting her makeup and costume, encouraging her to act in a more natural manner.[20][21] Additionally, Cukor softened the Scarecrow's makeup and gave Margaret Hamilton a different hairstyle for the Wicked Witch of the West as well as altered her makeup and other facial features. Cukor also suggested that the studio cast Jack Haley, on loan from 20th Century Fox, as the Tin Man.

David. O. Selznick

Cukor spent many hours coaching Vivien Leigh
Vivien Leigh
and Olivia de Havilland before the start of filming Wind, but Clark Gable
Clark Gable
resisted his efforts to get him to master a Southern accent. However, despite rumors about Gable being uncomfortable with Cukor on the set, nothing in the internal memos of David O. Selznick
David O. Selznick
indicates or suggests that Clark Gable played any role in Cukor's dismissal from the film. Rather, they show Selznick's mounting dissatisfaction with Cukor's slow pace and quality of work. From a private letter from journalist Susan Myrick to Margaret Mitchell
Margaret Mitchell
in February 1939: "George [Cukor] finally told me all about it. He hated [leaving the production] very much he said but he could not do otherwise. In effect he said he is an honest craftsman and he cannot do a job unless he knows it is a good job and he feels the present job is not right. For days, he told me he has looked at the rushes and felt he was failing...the things did not click as it should. Gradually he became convinced that the script was the trouble...So George just told David he would not work any longer if the script was not better and he wanted the [Sidney] Howard script back...he would not let his name go out over a lousy picture...and bull-headed David said 'OK get out!'"[22] Selznick had already been unhappy with Cukor ("a very expensive luxury") for not being more receptive to directing other Selznick assignments, even though Cukor had remained on salary since early 1937; and in a confidential memo written in September 1938, four months before principal photography began, Selznick flirted with the idea of replacing him with Victor Fleming. "I think the biggest black mark against our management to date is the Cukor situation and we can no longer be sentimental about it.... We are a business concern and not patrons of the arts..." Cukor was relieved of his duties, but he continued to work with Leigh and Olivia de Havilland
Olivia de Havilland
off the set. Various rumors about the reasons behind his dismissal circulated throughout Hollywood. Selznick's friendship with Cukor had crumbled slightly when the director refused other assignments, including A Star is Born (1937) and Intermezzo (1939).[23] Given that Gable and Cukor had worked together before (on Manhattan
Manhattan
Melodrama, 1934) and Gable had no objection to working with him then, and given Selznick's desperation to get Gable for Rhett Butler, if Gable had any objections to Cukor, certainly they would have been expressed before he signed his contract for the film.[24] Yet, writer Gore Vidal, in his autobiography Point to Point Navigation, recounted that Gable demanded that Cukor be fired off Wind because, according to Cukor, the young Gable had been a male hustler and Cukor had been one of his johns.[25] This has been confirmed by Hollywood biographer E.J. Fleming, who has recounted that, during a particularly difficult scene, Gable erupted publicly, screaming: "I can't go on with this picture. I won't be directed by a fairy. I have to work with a real man."[26] Cukor's dismissal from Wind freed him to direct The Women (1939), which has an all-female cast, followed by The Philadelphia Story (1940). He also directed Greta Garbo, another of his favorite actresses, in Two-Faced Woman
Two-Faced Woman
(1941), her last film before she retired from the screen.

Greta Garbo
Greta Garbo
and Melvyn Douglas
Melvyn Douglas
in "Two-Faced Woman" (1941)

In 1942, at the age of 43, Cukor enlisted in the Signal Corps. Following basic training at Fort Monmouth, he was assigned to the old Paramount studios in Astoria, Queens
Astoria, Queens
(where he had directed three films in the early 1930s), although he was permitted to lodge at the St. Regis Hotel in Manhattan. Working with Irwin Shaw, John Cheever and William Saroyan, among others, Cukor produced training and instructional films for army personnel. Because he lacked an officer's commission, he found it difficult to give orders and directions to his superiors. Despite his efforts to rise above the rank of private—he even called upon Frank Capra
Frank Capra
to intercede on his behalf—he never achieved officer's status or any commendations during his six months of service. In later years, Cukor suspected his homosexuality impeded him from receiving any advances or honors,[27] although rumors to that effect could not be confirmed.[28] The remainder of the decade was a series of hits and misses for Cukor. Both Two-Faced Woman
Two-Faced Woman
and Her Cardboard Lover
Her Cardboard Lover
(1942) were commercial failures. More successful were A Woman's Face
A Woman's Face
(1941) with Joan Crawford and Gaslight (1944) with Ingrid Bergman
Ingrid Bergman
and Charles Boyer. During this era, Cukor forged an alliance with screenwriters Garson Kanin and Ruth Gordon, who had met in Cukor's home in 1939 and married three years later. Over the course of seven years, the trio collaborated on seven films, including A Double Life (1947) starring Ronald Colman, Adam's Rib
Adam's Rib
(1949), Born Yesterday (1950), The Marrying Kind (1952), and It Should Happen to You
It Should Happen to You
(1954), all featuring Judy Holliday, another Cukor favorite, who won the Academy Award for Best Actress for Born Yesterday. Later Hollywood career[edit]

Judy Garland, star of A Star is Born

In December 1952, Cukor was approached by Sid Luft, who proposed the director helm a musical remake of A Star is Born (1937) with his then-wife Judy Garland
Judy Garland
in the lead role. Cukor had declined to direct the earlier film because it was too similar to his own What Price Hollywood? (1932), but the opportunity to direct his first Technicolor film, first musical, and work with screenwriter Moss Hart
Moss Hart
and especially Garland appealed to him, and he accepted.[29] Getting the updated A Star Is Born (1954) to the screen proved to be a challenge. Cukor wanted Cary Grant
Cary Grant
for the male lead and went so far as to read the entire script with him, but Grant, while agreeing it was the role of a lifetime, steadfastly refused to do it, and Cukor never forgave him. The director then suggested either Humphrey Bogart
Humphrey Bogart
or Frank Sinatra tackle the part, but Jack L. Warner
Jack L. Warner
rejected both. Stewart Granger was the front runner for a period of time, but he backed out when he was unable to adjust to Cukor's habit of acting out scenes as a form of direction.[30] James Mason
James Mason
eventually was contracted, and filming began on October 12, 1953. As the months passed, Cukor was forced to deal not only with constant script changes but a very unstable Garland, who was plagued by chemical and alcohol dependencies, extreme weight fluctuations, and real and imagined illnesses. In March 1954, a rough cut still missing several musical numbers was assembled, and Cukor had mixed feelings about it. When the last scene finally was filmed in the early morning hours of July 28, 1954, Cukor already had departed the production and was unwinding in Europe.[31] The first preview the following month ran 210 minutes and, despite ecstatic feedback from the audience, Cukor and editor Folmar Blangsted trimmed it to 182 minutes for its New York premiere in October. The reviews were the best of Cukor's career, but Warner executives, concerned the running time would limit the number of daily showings, made drastic cuts without Cukor, who had departed for Pakistan
Pakistan
to scout locations for the epic Bhowani Junction in 1954-1955. At its final running time of 154 minutes, the film had lost musical numbers and crucial dramatic scenes, and Cukor called it "very painful."[32] He was not included in the film's six Oscar nominations.

Rehearsing with Lee Remick
Lee Remick
in 1962

Over the next ten years, Cukor directed a handful of films with varying success. Les Girls
Les Girls
(1957) won the Golden Globe Award for Best Motion Picture – Musical or Comedy, and Wild Is the Wind
Wild Is the Wind
(1957) earned Oscar nominations for Anna Magnani
Anna Magnani
and Anthony Quinn, but neither Heller in Pink Tights
Heller in Pink Tights
nor Let's Make Love
Let's Make Love
(both 1960) were box office hits. Another project during this period was the ill-fated Something's Got to Give, an updated remake of the comedy My Favorite Wife (1940). Cukor liked leading lady Marilyn Monroe
Marilyn Monroe
but found it difficult to deal with her erratic work habits, frequent absences from the set, and the constant presence of her acting coach Paula Strasberg. After 32 days of shooting, the director had only 7½ minutes of usable film.[33] Then Monroe travelled to New York to appear at a birthday celebration for John F. Kennedy
John F. Kennedy
at Madison Square Garden, where she serenaded the president. Studio documents released after Monroe's death confirmed that her appearance at the political fundraising event was approved by Fox executives. The production came to a halt when Cukor had filmed every scene not involving Monroe and the actress remained unavailable. 20th Century Fox
20th Century Fox
executive Peter Levathes fired her and hired Lee Remick
Lee Remick
to replace her, prompting co-star Dean Martin
Dean Martin
to quit because his contract guaranteed he would be playing opposite Monroe.[34] With the production already $2 million over budget[33] and everyone back at the starting gate, the studio pulled the plug on the project. Less than two months later, Monroe was found dead in her home. Two years later, Cukor achieved one of his greatest successes with My Fair Lady (1964). Throughout filming there were mounting tensions between the director and designer Cecil Beaton, but Cukor was thrilled with leading lady Audrey Hepburn, although the crew was less enchanted with her diva-like demands.[35] Although several reviews were critical of the film – Pauline Kael
Pauline Kael
said it "staggers along" and Stanley Kauffmann thought Cukor's direction was like "a rich gravy poured over everything, not remotely as delicately rich as in the Asquith-Howard 1937 [sic] Pygmalion" —[36] the film was a box office hit which won him the Academy Award for Best Director, the Golden Globe Award for Best Director, and the Directors Guild of America Award
Directors Guild of America Award
after having been nominated for each several times. Following My Fair Lady, Cukor became less active. He directed Maggie Smith in Travels with My Aunt (1972) and helmed the critical and commercial flop The Blue Bird (1976), the first joint Soviet-American production. He reunited twice with Katharine Hepburn
Katharine Hepburn
for the television movies Love Among the Ruins (1975) and The Corn Is Green (1979). He directed Rich and Famous (1981), his final film, with Jacqueline Bisset
Jacqueline Bisset
and Candice Bergen, at the age of 82. In 1976, Cukor was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.[37] Personal life[edit]

Cukor at home in 1973

It was an open secret in Hollywood that Cukor was gay, at a time when society was against it, although he was discreet about his sexual orientation and "never carried it as a pin on his lapel," as producer Joseph L. Mankiewicz
Joseph L. Mankiewicz
put it.[38] He was a celebrated bon vivant whose luxurious home was the site of weekly Sunday afternoon parties attended by closeted celebrities and the attractive young men they met in bars and gyms and brought with them.[39] At least once, in the midst of his reign at MGM, he was arrested on vice charges, but studio executives managed to get the charges dropped and all records of it expunged, and the incident was never publicized by the press.[40] In the late 1950s, Cukor became involved with a considerably younger man named George Towers. He financed his education at the Los Angeles State College of Applied Arts and Sciences and the University of Southern California, from which Towers graduated with a law degree in 1967.[41] That fall Towers married a woman, and his relationship with Cukor evolved into one of father and son, and for the remainder of Cukor's life the two remained very close.[42] By the mid-1930s, Cukor was not only established as a prominent director but, socially, as an unofficial head of Hollywood's gay subculture. His home, redecorated in 1935 by gay actor-turned-interior designer William Haines with gardens designed by Florence Yoch & Lucile Council, was the scene of many gatherings for the industry's homosexuals. The close-knit group reputedly included Haines and his partner Jimmie Shields, writer Somerset Maugham, director James Vincent, screenwriter Rowland Leigh, costume designers Orry-Kelly
Orry-Kelly
and Robert Le Maire, and actors John Darrow, Anderson Lawler, Grady Sutton, Robert Seiter and Tom Douglas. Frank Horn, secretary to Cary Grant, was also a frequent guest.[43] Cukor's friends were of paramount importance to him and he kept his home filled with their photographs. Regular attendees at his famed soirées included Katharine Hepburn
Katharine Hepburn
and Spencer Tracy, Joan Crawford and Douglas Fairbanks, Jr., Lauren Bacall
Lauren Bacall
and Humphrey Bogart, Claudette Colbert, Marlene Dietrich, Laurence Olivier
Laurence Olivier
and Vivien Leigh, actor Richard Cromwell, Stanley Holloway, Judy Garland, Gene Tierney, Noël Coward, Cole Porter, director James Whale, costume designer Edith Head, and Norma Shearer, especially after the death of her first husband Irving Thalberg. He often entertained literary figures like Sinclair Lewis, Theodore Dreiser, Hugh Walpole, Aldous Huxley, Lesley Blanch, Ferenc Molnár, and close friend Somerset Maugham.[44][45] Frances Goldwyn, second wife of studio mogul Sam Goldwyn, long considered Cukor to be the love of her life, although their relationship remained platonic. According to biographer A. Scott Berg, Frances even arranged for Cukor's burial to be adjacent to her own plot at Forest Lawn Memorial Park Cemetery.[46] The PBS series American Masters
American Masters
produced a comprehensive documentary about his life and work titled On Cukor directed by Robert Trachtenberg in 2000. Death and legacy[edit] Cukor died of a heart attack on January 24, 1983, and was interred in Grave D, Little Garden of Constancy, Garden of Memory (private), Forest Lawn Memorial Park (Glendale), California.[47] Records in probate court indicated his net worth at the time of his death was $2,377,720.[48] In 2013, The Film Society of Lincoln Center
Lincoln Center
presented a comprehensive weeks-long retrospective of his work entitled "The Discreet Charm of George Cukor."[49] Filmography[edit]

Year Title Studio Genre Cast Notes

1930 Grumpy Paramount Pictures Drama Cyril Maude Co-directed with Cyril Gardner

1930 The Virtuous Sin Paramount Pictures Drama Kay Francis, Walter Huston, Kenneth MacKenna Co-directed with Louis J. Gasnier

1930 The Royal Family of Broadway Paramount Pictures Comedy Fredric March, Ina Claire Co-directed with Cyril Gardner

1931 Tarnished Lady Paramount Pictures Drama Tallulah Bankhead, Clive Brook, Alexander Kirkland

1931 Girls About Town Paramount Pictures Comedy Kay Francis, Lilyan Tashman, Joel McCrea

1932 One Hour with You Paramount Pictures Musical Maurice Chevalier, Jeanette MacDonald Directed part of the film when Ernst Lubitsch
Ernst Lubitsch
took ill and was credited as dialogue director

1932 Une heure près de toi Paramount Pictures Musical Maurice Chevalier, Jeanette MacDonald French version of One Hour with You
One Hour with You
/ Co-directed with Ernst Lubitsch

1932 What Price Hollywood? RKO Drama Constance Bennett, Lowell Sherman, Neil Hamilton

1932 A Bill of Divorcement RKO
RKO
Radio Pictures Drama Katharine Hepburn, John Barrymore, Billie Burke

1932 Rockabye RKO
RKO
Radio Pictures Drama Constance Bennett, Joel McCrea, Paul Lukas David O. Selznick
David O. Selznick
hired Cukor to film two weeks of retakes after the initial film by George Fitzmaurice
George Fitzmaurice
did not meet expectations

1932 The Animal Kingdom RKO
RKO
Radio Pictures Drama Leslie Howard, Ann Harding, Myrna Loy Uncredited

1933 Our Betters RKO
RKO
Radio Pictures Drama Constance Bennett

1933 Dinner at Eight Metro-Goldwyn-Mayer Drama John Barrymore, Jean Harlow, Marie Dressler, Lionel Barrymore, Billie Burke, Wallace Beery

1933 Little Women RKO
RKO
Radio Pictures Drama Katharine Hepburn, Joan Bennett, Frances Dee, Douglass Montgomery

1934 Manhattan
Manhattan
Melodrama Metro-Goldwyn-Mayer, Cosmopolitan Pictures Crime Clark Gable, William Powell, Myrna Loy Directed additional scenes after production

1935 David Copperfield Metro-Goldwyn-Mayer Drama Freddie Bartholomew, W. C. Fields, Lionel Barrymore

1935 No More Ladies Metro-Goldwyn-Mayer Comedy Joan Crawford, Robert Montgomery, Franchot Tone Completed filming when Edward H. Griffith
Edward H. Griffith
took ill

1935 Sylvia Scarlett RKO
RKO
Radio Pictures Comedy Katharine Hepburn, Cary Grant, Brian Aherne

1936 Romeo and Juliet Metro-Goldwyn-Mayer Romance Norma Shearer, Leslie Howard, John Barrymore, Basil Rathbone

1936 Camille Metro-Goldwyn-Mayer Romance Greta Garbo, Robert Taylor, Lionel Barrymore

1938 I Met My Love Again Walter Wanger
Walter Wanger
Productions Romance Joan Bennett, Henry Fonda Assisted Joshua Logan in directing parts of the film

1938 The Adventures of Tom Sawyer David O. Selznick Adventure Tommy Kelly, Jackie Moran Shot some retakes after production completed

1938 Holiday Columbia Pictures Drama Katharine Hepburn, Cary Grant

1939 Zaza Paramount Pictures Drama Claudette Colbert, Herbert Marshall

1939 The Women Metro-Goldwyn-Mayer Drama Norma Shearer, Joan Crawford, Rosalind Russell

1939 Gone With the Wind David O. Selznick Drama Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard Fired in the early stages of production, but a few of his scenes remain in the finished film

1940 Susan and God Metro-Goldwyn-Mayer Comedy Joan Crawford, Fredric March

1940 The Philadelphia Story Metro-Goldwyn-Mayer Comedy Katharine Hepburn, Cary Grant, James Stewart Nominated for six Oscars, including Best Picture

1941 A Woman's Face Metro-Goldwyn-Mayer Drama Joan Crawford, Melvyn Douglas, Conrad Veidt

1941 Two-Faced Woman Metro-Goldwyn-Mayer Comedy Greta Garbo, Melvyn Douglas, Constance Bennett

1942 Her Cardboard Lover Metro-Goldwyn-Mayer Comedy Norma Shearer, Robert Taylor, George Sanders

1943 Keeper of the Flame Metro-Goldwyn-Mayer Drama Spencer Tracy, Katharine Hepburn

1943 Resistance and Ohm's Law Army Signal Corps Documentary

short film[50]

1944 Gaslight Metro-Goldwyn-Mayer Thriller Ingrid Bergman, Charles Boyer, Joseph Cotten Nominated for seven Oscars, including Best Picture

1944 I'll Be Seeing You David O. Selznick Drama Ginger Rogers, Joseph Cotten, Shirley Temple Replaced by William Dieterle
William Dieterle
during production

1947 Desire Me Metro-Goldwyn-Mayer Drama Greer Garson, Robert Mitchum Contributed to the film along with four other directors

1947 A Double Life Garson Kanin Film noir Ronald Colman, Signe Hasso, Shelley Winters

1949 Edward, My Son Metro-Goldwyn-Mayer Drama Spencer Tracy, Deborah Kerr

1949 Adam's Rib Metro-Goldwyn-Mayer Comedy Spencer Tracy, Katharine Hepburn, Judy Holliday

1950 A Life of Her Own Metro-Goldwyn-Mayer Drama Lana Turner, Ray Milland

1950 Born Yesterday Columbia Pictures Comedy Judy Holliday, Broderick Crawford, William Holden Nominated for five Oscars including Best Picture

1951 The Model and the Marriage Broker 20th Century Fox Comedy Thelma Ritter, Jeanne Crain, Scott Brady

1952 The Marrying Kind Columbia Pictures Comedy Judy Holliday, Aldo Ray

1952 Pat and Mike Metro-Goldwyn-Mayer Comedy Spencer Tracy, Katharine Hepburn, Aldo Ray

1953 The Actress Metro-Goldwyn-Mayer Comedy Jean Simmons, Spencer Tracy, Teresa Wright

1954 It Should Happen to You Columbia Pictures Comedy]] Judy Holliday, Peter Lawford, Jack Lemmon

1954 A Star Is Born Warner Bros., Transcona Enterprises Drama Judy Garland, James Mason Partially lost film

1956 Bhowani Junction Metro-Goldwyn-Mayer Drama Ava Gardner, Stewart Granger

1957 Les Girls Metro-Goldwyn-Mayer Musical Gene Kelly, Mitzi Gaynor, Kay Kendall

1957 Wild Is the Wind Paramount Pictures Drama Anna Magnani, Anthony Quinn

1958 Hot Spell Paramount Pictures Drama Shirley Booth, Anthony Quinn, Shirley MacLaine Uncredited

1960 Heller in Pink Tights Paramount Pictures Western Sophia Loren, Anthony Quinn, Steve Forrest The final film was disavowed by Cukor

1960 Song Without End William Goetz Drama Dirk Bogarde, Capucine, Geneviève Page Completed the film when Charles Vidor died during production

1960 Let's Make Love The Company of Artists Musical Marilyn Monroe, Yves Montand, Tony Randall

1962 Something's Got to Give 20th Century Fox Comedy Marilyn Monroe, Dean Martin, Cyd Charisse The film was abandoned after Monroe's death / 37 minutes of footage survives

1962 The Chapman Report DFZ Productions Drama Shelley Winters, Jane Fonda, Claire Bloom, Glynis Johns

1964 My Fair Lady Warner Bros. Musical Audrey Hepburn, Rex Harrison Winner of eight Oscars, including Best Picture

1969 Justine 20th Century Fox Drama Michael York, Anouk Aimée, Dirk Bogarde Replaced Joseph Strick shortly after production began

1972 Travels with My Aunt Metro-Goldwyn-Mayer Comedy Maggie Smith, Alec McCowen, Cindy Williams

1975 Love Among the Ruins ABC Drama Katharine Hepburn, Laurence Olivier Television film

1976 The Blue Bird 20th Century Fox, Lenfilm Studio, Tower International, Wenks Films Drama Elizabeth Taylor, Jane Fonda, Ava Gardner

1979 The Corn Is Green Warner Bros.
Warner Bros.
Television Drama Katharine Hepburn, Bill Fraser, Ian Saynor Television film

1981 Rich and Famous Metro-Goldwyn-Mayer Drama Jacqueline Bisset, Candice Bergen

Award and nominations[edit] Academy Awards[edit]

Year Category Film Result Lost to

1932/33 Best Director Little Women Nominated Frank Lloyd
Frank Lloyd
for Cavalcade

1940 Best Director The Philadelphia Story Nominated John Ford
John Ford
for The Grapes of Wrath

1947 Best Director A Double Life Nominated Elia Kazan
Elia Kazan
for Gentleman's Agreement

1950 Best Director Born Yesterday Nominated Joseph L. Mankiewicz
Joseph L. Mankiewicz
for All About Eve

1964 Best Director My Fair Lady Won N/A

Golden Globe Awards[edit]

Year Category Film Result Lost to

1950 Best Director Born Yesterday Nominated Billy Wilder
Billy Wilder
for Sunset Boulevard

1962 Best Director The Chapman Report Nominated David Lean
David Lean
for Lawrence of Arabia

1964 Best Director My Fair Lady Won N/A

See also[edit]

Biography portal LGBT portal

References[edit]

^ Obituary Variety, January 26, 1983. ^ McGilligan, pp. 5–6. ^ McGilligan, p. 11. ^ Kipen, David. "Flawed look at career of blacklisted director", San Francisco Chronicle, August 29, 2001. Accessed September 14, 2009. "The American 20th century went to high school at DeWitt Clinton High in the Bronx. Multicultural before there was a name for it – at least a polite one --Clinton nurtured such diverse and influential figures as Bill Graham, James Baldwin, George Cukor, Neil Simon and Abraham Lincoln Polonsky." ^ McGilligan, p. 10. ^ Levy, Emanuel, George Cukor: Master of Elegance. New York: William Morrow & Company, Inc. 1994. ISBN 0-688-11246-3, pp. 26–27. ^ McGilligan, p. 19. ^ McGilligan, p. 21. ^ Levy, pp. 33–34. ^ McGilligan, pp. 34–35. ^ McGilligan, pp. 36–41. ^ Levy, pp. 36–37. ^ McGilligan, p. 53. ^ McGilligan, p. 61. ^ McGilligan, pp. 67–69. ^ McGilligan, pp. 69–71. ^ McGilligan, p. 134. ^ McGilligan, pp. 137–38. ^ McGilligan, pp. 139–40. ^ "The Wizard of Oz at Turner Classic Movies". Tcm.com. Retrieved 2010-05-03.  ^ McGilligan, p. 145. ^ Myrick, Susan White (1986), Columns in Hollywood: Reports from the Gwtw Sets, Mercer University Press. ^ McGilligan, p. 139. ^ Hollywood Studio Magazine, "The Great Directors" September 1986. ^ Vidal, Gore (2007). Point to Point Navigation: A Memoir. New York: Random House. p. 135. ISBN 978-0-307-27501-1.  ^ Fleming, E. J. (2005). The Fixers: Eddie Mannix, Howard Strickling, and the MGM Publicity Machine. Jefferson NC: McFarland. p. 182. ISBN 978-0-7864-2027-8.  ^ McGilligan, pp. 171–75. ^ Levy, p. 150. ^ McGilligan, 217-18. ^ McGilligan, pp. 219–20. ^ McGilligan, pp. 224–26. ^ McGilligan, pp. 236–37. ^ a b Levy, p. 271. ^ McGilligan, p. 272. ^ Levy, p. 289. ^ Levy, p. 293. ^ The George Eastman Award Archived April 15, 2012, at the Wayback Machine. ^ McGilligan, p. 113. ^ McGilligan, pp. 186–87. ^ McGilligan, p. 133. ^ McGilligan, pp. 277–78. ^ McGilligan, pp. 307, 347–48. ^ Mann, William J.; Wisecracker: The Life and Times of William Haines, Hollywood's first Openly Gay Star; New York: Viking, 1998; pp. 253, 255, 256. ^ McGilligan, pp. 124–25. ^ Hart-Davis, Rupert (1985). Hugh Walpole. Hamish Hamilton. pp. 349, 360, 365, 369. ISBN 0-241-11406-3.  ^ Berg, A. Scott (1989). Goldwyn: A Biography. New York, NY: Riverhead Books. pp. 135–139, etc. ISBN 9780394510590.  ^ Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons, 3d ed.: 2 (Kindle Locations 10585-10586). McFarland & Company, Inc., Publishers. Kindle Edition. ^ McGilligan, p. 343. ^ Farber, Stephen (26 December 2013). "Elegant Provocateur in a Puritanical Era". The New York Times. Retrieved 30 December 2013.  ^ McGilligan, p. 175.

Sources[edit]

Hillstrom, Laurie Collier, International Dictionary of Films and Filmmakers. Detroit: St. James Press, 1997. ISBN 1-55862-302-7. Katz, Ephraim, The Film Encyclopedia. New York: HarperCollins, 2001. ISBN 0-06-273755-4. McGilligan, Patrick, George Cukor: A Double Life. New York: St. Martin's Press 1991. ISBN 0-312-05419-X Myrick, Susan, White Columns in Hollywood: Reports from the GWTW Sets. Macon, Georgia: Mercer University Press, 1982 ISBN 0-86554-044-6. Wakeman, John, World Film Directors. New York: H. W. Wilson Company 1987. ISBN 0-8242-0757-2.

External links[edit]

Wikimedia Commons has media related to George Cukor.

George Cukor
George Cukor
on IMDb George Cukor
George Cukor
at the Internet Broadway Database
Internet Broadway Database
George Cukor
George Cukor
at the TCM Movie Database Cukor bibliography at UC Berkeley Media Resources Center Senses of Cinema: Great Directors Critical Database Literature on George Cukor George Cukor
George Cukor
papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

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Films directed by George Cukor

Grumpy (1930) The Virtuous Sin
The Virtuous Sin
(1930) The Royal Family of Broadway
The Royal Family of Broadway
(1930) Tarnished Lady
Tarnished Lady
(1931) Girls About Town (1931) What Price Hollywood?
What Price Hollywood?
(1932) A Bill of Divorcement (1932) Rockabye (1932) Our Betters
Our Betters
(1933) Dinner at Eight (1933) Little Women (1933) David Copperfield (1935) Sylvia Scarlett
Sylvia Scarlett
(1935) Romeo and Juliet (1936) Camille (1936) Holiday (1938) Zaza (1939) The Women (1939) Susan and God
Susan and God
(1940) The Philadelphia Story (1940) A Woman's Face
A Woman's Face
(1941) Two-Faced Woman
Two-Faced Woman
(1941) Her Cardboard Lover
Her Cardboard Lover
(1942) Keeper of the Flame (1942) Gaslight (1944) Winged Victory (1944) A Double Life (1947) Edward, My Son
Edward, My Son
(1949) Adam's Rib
Adam's Rib
(1949) A Life of Her Own
A Life of Her Own
(1950) Born Yesterday (1950) The Model and the Marriage Broker
The Model and the Marriage Broker
(1951) The Marrying Kind
The Marrying Kind
(1952) Pat and Mike
Pat and Mike
(1952) The Actress
The Actress
(1953) It Should Happen to You
It Should Happen to You
(1954) A Star Is Born (1954) Bhowani Junction (1956) Les Girls
Les Girls
(1957) Wild Is the Wind
Wild Is the Wind
(1957) Heller in Pink Tights
Heller in Pink Tights
(1960) Let's Make Love
Let's Make Love
(1960) Something's Got to Give
Something's Got to Give
(1962) The Chapman Report
The Chapman Report
(1962) My Fair Lady (1964) Justine (1969) Travels with My Aunt (1972) Love Among the Ruins (1975) The Blue Bird (1976) The Corn is Green (1979) Rich and Famous (1981)

Awards for George Cukor

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Academy Award for Best Director

1927–1950

Frank Borzage
Frank Borzage
(1927) Lewis Milestone
Lewis Milestone
(1928) Frank Lloyd
Frank Lloyd
(1929) Lewis Milestone
Lewis Milestone
(1930) Norman Taurog
Norman Taurog
(1931) Frank Borzage
Frank Borzage
(1932) Frank Lloyd
Frank Lloyd
(1933) Frank Capra
Frank Capra
(1934) John Ford
John Ford
(1935) Frank Capra
Frank Capra
(1936) Leo McCarey (1937) Frank Capra
Frank Capra
(1938) Victor Fleming
Victor Fleming
(1939) John Ford
John Ford
(1940) John Ford
John Ford
(1941) William Wyler
William Wyler
(1942) Michael Curtiz
Michael Curtiz
(1943) Leo McCarey (1944) Billy Wilder
Billy Wilder
(1945) William Wyler
William Wyler
(1946) Elia Kazan
Elia Kazan
(1947) John Huston
John Huston
(1948) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1949) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1950)

1951–1975

George Stevens
George Stevens
(1951) John Ford
John Ford
(1952) Fred Zinnemann
Fred Zinnemann
(1953) Elia Kazan
Elia Kazan
(1954) Delbert Mann
Delbert Mann
(1955) George Stevens
George Stevens
(1956) David Lean
David Lean
(1957) Vincente Minnelli
Vincente Minnelli
(1958) William Wyler
William Wyler
(1959) Billy Wilder
Billy Wilder
(1960) Jerome Robbins
Jerome Robbins
and Robert Wise
Robert Wise
(1961) David Lean
David Lean
(1962) Tony Richardson
Tony Richardson
(1963) George Cukor
George Cukor
(1964) Robert Wise
Robert Wise
(1965) Fred Zinnemann
Fred Zinnemann
(1966) Mike Nichols
Mike Nichols
(1967) Carol Reed
Carol Reed
(1968) John Schlesinger
John Schlesinger
(1969) Franklin J. Schaffner
Franklin J. Schaffner
(1970) William Friedkin
William Friedkin
(1971) Bob Fosse
Bob Fosse
(1972) George Roy Hill (1973) Francis Ford Coppola
Francis Ford Coppola
(1974) Miloš Forman
Miloš Forman
(1975)

1976–2000

John G. Avildsen
John G. Avildsen
(1976) Woody Allen
Woody Allen
(1977) Michael Cimino
Michael Cimino
(1978) Robert Benton (1979) Robert Redford
Robert Redford
(1980) Warren Beatty
Warren Beatty
(1981) Richard Attenborough
Richard Attenborough
(1982) James L. Brooks
James L. Brooks
(1983) Miloš Forman
Miloš Forman
(1984) Sydney Pollack
Sydney Pollack
(1985) Oliver Stone
Oliver Stone
(1986) Bernardo Bertolucci
Bernardo Bertolucci
(1987) Barry Levinson
Barry Levinson
(1988) Oliver Stone
Oliver Stone
(1989) Kevin Costner
Kevin Costner
(1990) Jonathan Demme
Jonathan Demme
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Robert Zemeckis
Robert Zemeckis
(1994) Mel Gibson
Mel Gibson
(1995) Anthony Minghella
Anthony Minghella
(1996) James Cameron
James Cameron
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Steven Soderbergh
Steven Soderbergh
(2000)

2001–present

Ron Howard
Ron Howard
(2001) Roman Polanski
Roman Polanski
(2002) Peter Jackson
Peter Jackson
(2003) Clint Eastwood
Clint Eastwood
(2004) Ang Lee
Ang Lee
(2005) Martin Scorsese
Martin Scorsese
(2006) Joel Coen and Ethan Coen (2007) Danny Boyle
Danny Boyle
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) Tom Hooper
Tom Hooper
(2010) Michel Hazanavicius
Michel Hazanavicius
(2011) Ang Lee
Ang Lee
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Alejandro G. Iñárritu (2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro
(2017)

v t e

Directors Guild of America Award
Directors Guild of America Award
for Outstanding Directing – Feature Film

1948–1975

Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1948) Robert Rossen
Robert Rossen
(1949) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1950) George Stevens
George Stevens
(1951) John Ford
John Ford
(1952) Fred Zinnemann
Fred Zinnemann
(1953) Elia Kazan
Elia Kazan
(1954) Delbert Mann
Delbert Mann
(1955) George Stevens
George Stevens
(1956) David Lean
David Lean
(1957) Vincente Minnelli
Vincente Minnelli
(1958) William Wyler
William Wyler
(1959) Billy Wilder
Billy Wilder
(1960) Jerome Robbins
Jerome Robbins
and Robert Wise
Robert Wise
(1961) David Lean
David Lean
(1962) Tony Richardson
Tony Richardson
(1963) George Cukor
George Cukor
(1964) Robert Wise
Robert Wise
(1965) Fred Zinnemann
Fred Zinnemann
(1966) Mike Nichols
Mike Nichols
(1967) Anthony Harvey (1968) John Schlesinger
John Schlesinger
(1969) Franklin J. Schaffner
Franklin J. Schaffner
(1970) William Friedkin
William Friedkin
(1971) Francis Ford Coppola
Francis Ford Coppola
(1972) George Roy Hill (1973) Francis Ford Coppola
Francis Ford Coppola
(1974) Miloš Forman
Miloš Forman
(1975)

1976–2000

John G. Avildsen
John G. Avildsen
(1976) Woody Allen
Woody Allen
(1977) Michael Cimino
Michael Cimino
(1978) Robert Benton (1979) Robert Redford
Robert Redford
(1980) Warren Beatty
Warren Beatty
(1981) Richard Attenborough
Richard Attenborough
(1982) James L. Brooks
James L. Brooks
(1983) Miloš Forman
Miloš Forman
(1984) Steven Spielberg
Steven Spielberg
(1985) Oliver Stone
Oliver Stone
(1986) Bernardo Bertolucci
Bernardo Bertolucci
(1987) Barry Levinson
Barry Levinson
(1988) Oliver Stone
Oliver Stone
(1989) Kevin Costner
Kevin Costner
(1990) Jonathan Demme
Jonathan Demme
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Robert Zemeckis
Robert Zemeckis
(1994) Ron Howard
Ron Howard
(1995) Anthony Minghella
Anthony Minghella
(1996) James Cameron
James Cameron
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Ang Lee
Ang Lee
(2000)

2001–present

Ron Howard
Ron Howard
(2001) Rob Marshall
Rob Marshall
(2002) Peter Jackson
Peter Jackson
(2003) Clint Eastwood
Clint Eastwood
(2004) Ang Lee
Ang Lee
(2005) Martin Scorsese
Martin Scorsese
(2006) Joel Coen and Ethan Coen (2007) Danny Boyle
Danny Boyle
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) Tom Hooper
Tom Hooper
(2010) Michel Hazanavicius
Michel Hazanavicius
(2011) Ben Affleck
Ben Affleck
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Alejandro G. Iñárritu (2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro
(2017)

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Primetime Emmy Award for Outstanding Directing for a Limited Series, Movie, or Dramatic Special

Fielder Cook (1971) Tom Gries (1972) Joseph Sargent
Joseph Sargent
(1973) John Korty (1974) George Cukor
George Cukor
(1975) Daniel Petrie
Daniel Petrie
(1976) Daniel Petrie
Daniel Petrie
(1977) David Lowell Rich (1978) David Greene (1979) Marvin J. Chomsky (1980) James Goldstone (1981) Marvin J. Chomsky (1982) John Erman (1983) Jeff Bleckner (1984) Lamont Johnson (1985) Joseph Sargent
Joseph Sargent
(1986) Glenn A. Jordan (1987) Lamont Johnson (1988) Simon Wincer (1989) Joseph Sargent
Joseph Sargent
(1990) Brian Gibson (1991) Joseph Sargent
Joseph Sargent
(1992) James Steven Sadwith (1993) John Frankenheimer
John Frankenheimer
(1994) John Frankenheimer
John Frankenheimer
(1995) John Frankenheimer
John Frankenheimer
(1996) Andrei Konchalovsky
Andrei Konchalovsky
(1997) John Frankenheimer
John Frankenheimer
(1998) Allan Arkush (1999) Charles S. Dutton
Charles S. Dutton
(2000) Mike Nichols
Mike Nichols
(2001) David Frankel, Tom Hanks, David Leland, Richard Loncraine, David Nutter, Phil Alden Robinson, Mikael Salomon and Tony To
Tony To
(2002) Steven Schachter (2003) Mike Nichols
Mike Nichols
(2004) Stephen Hopkins (2005) Tom Hooper
Tom Hooper
(2006) Philip Martin (2007) Jay Roach
Jay Roach
(2008) Dearbhla Walsh (2009) Mick Jackson (2010) Brian Percival
Brian Percival
(2011) Jay Roach
Jay Roach
(2012) Steven Soderbergh
Steven Soderbergh
(2013) Colin Bucksey (2014) Lisa Cholodenko (2015) Susanne Bier
Susanne Bier
(2016) Jean-Marc Vallée
Jean-Marc Vallée
(2017)

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Golden Globe Award for Best Director

Henry King (1943) Leo McCarey (1944) Billy Wilder
Billy Wilder
(1945) Frank Capra
Frank Capra
(1946) Elia Kazan
Elia Kazan
(1947) John Huston
John Huston
(1948) Robert Rossen
Robert Rossen
(1949) Billy Wilder
Billy Wilder
(1950) László Benedek (1951) Cecil B. DeMille
Cecil B. DeMille
(1952) Fred Zinnemann
Fred Zinnemann
(1953) Elia Kazan
Elia Kazan
(1954) Joshua Logan (1955) Elia Kazan
Elia Kazan
(1956) David Lean
David Lean
(1957) Vincente Minnelli
Vincente Minnelli
(1958) William Wyler
William Wyler
(1959) Jack Cardiff
Jack Cardiff
(1960) Stanley Kramer
Stanley Kramer
(1961) David Lean
David Lean
(1962) Elia Kazan
Elia Kazan
(1963) George Cukor
George Cukor
(1964) David Lean
David Lean
(1965) Fred Zinnemann
Fred Zinnemann
(1966) Mike Nichols
Mike Nichols
(1967) Paul Newman
Paul Newman
(1968) Charles Jarrott (1969) Arthur Hiller
Arthur Hiller
(1970) William Friedkin
William Friedkin
(1971) Francis Ford Coppola
Francis Ford Coppola
(1972) William Friedkin
William Friedkin
(1973) Roman Polanski
Roman Polanski
(1974) Miloš Forman
Miloš Forman
(1975) Sidney Lumet
Sidney Lumet
(1976) Herbert Ross (1977) Michael Cimino
Michael Cimino
(1978) Francis Ford Coppola
Francis Ford Coppola
(1979) Robert Redford
Robert Redford
(1980) Warren Beatty
Warren Beatty
(1981) Richard Attenborough
Richard Attenborough
(1982) Barbra Streisand
Barbra Streisand
(1983) Miloš Forman
Miloš Forman
(1984) John Huston
John Huston
(1985) Oliver Stone
Oliver Stone
(1986) Bernardo Bertolucci
Bernardo Bertolucci
(1987) Clint Eastwood
Clint Eastwood
(1988) Oliver Stone
Oliver Stone
(1989) Kevin Costner
Kevin Costner
(1990) Oliver Stone
Oliver Stone
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Robert Zemeckis
Robert Zemeckis
(1994) Mel Gibson
Mel Gibson
(1995) Miloš Forman
Miloš Forman
(1996) James Cameron
James Cameron
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Ang Lee
Ang Lee
(2000) Robert Altman
Robert Altman
(2001) Martin Scorsese
Martin Scorsese
(2002) Peter Jackson
Peter Jackson
(2003) Clint Eastwood
Clint Eastwood
(2004) Ang Lee
Ang Lee
(2005) Martin Scorsese
Martin Scorsese
(2006) Julian Schnabel
Julian Schnabel
(2007) Danny Boyle
Danny Boyle
(2008) James Cameron
James Cameron
(2009) David Fincher
David Fincher
(2010) Martin Scorsese
Martin Scorsese
(2011) Ben Affleck
Ben Affleck
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Richard Linklater
Richard Linklater
(2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro
(2017)

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Film Society of Lincoln Center
Lincoln Center
Gala Tribute Honorees

Charlie Chaplin
Charlie Chaplin
(1972) Fred Astaire
Fred Astaire
(1973) Alfred Hitchcock
Alfred Hitchcock
(1974) Joanne Woodward
Joanne Woodward
and Paul Newman
Paul Newman
(1975) George Cukor
George Cukor
(1978) Bob Hope
Bob Hope
(1979) John Huston
John Huston
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Billy Wilder
Billy Wilder
(1982) Laurence Olivier
Laurence Olivier
(1983) Claudette Colbert
Claudette Colbert
(1984) Federico Fellini
Federico Fellini
(1985) Elizabeth Taylor
Elizabeth Taylor
(1986) Alec Guinness
Alec Guinness
(1987) Yves Montand
Yves Montand
(1988) Bette Davis
Bette Davis
(1989) James Stewart
James Stewart
(1990) Audrey Hepburn
Audrey Hepburn
(1991) Gregory Peck
Gregory Peck
(1992) Jack Lemmon
Jack Lemmon
(1993) Robert Altman
Robert Altman
(1994) Shirley MacLaine
Shirley MacLaine
(1995) Clint Eastwood
Clint Eastwood
(1996) Sean Connery
Sean Connery
(1997) Martin Scorsese
Martin Scorsese
(1998) Mike Nichols
Mike Nichols
(1999) Al Pacino
Al Pacino
(2000) Jane Fonda
Jane Fonda
(2001) Francis Ford Coppola
Francis Ford Coppola
(2002) Susan Sarandon
Susan Sarandon
(2003) Michael Caine
Michael Caine
(2004) Dustin Hoffman
Dustin Hoffman
(2005) Jessica Lange
Jessica Lange
(2006) Diane Keaton
Diane Keaton
(2007) Meryl Streep
Meryl Streep
(2008) Tom Hanks
Tom Hanks
(2009) Michael Douglas
Michael Douglas
(2010) Sidney Poitier
Sidney Poitier
(2011) Catherine Deneuve
Catherine Deneuve
(2012) Barbra Streisand
Barbra Streisand
(2013) Rob Reiner
Rob Reiner
(2014) Robert Redford
Robert Redford
(2015) Morgan Freeman
Morgan Freeman
(2016) Robert De Niro
Robert De Niro
(2017) Helen Mirren
Helen Mirren
(2018)

Authority control

WorldCat Identities VIAF: 76409534 LCCN: n50018724 ISNI: 0000 0001 1675 2483 GND: 121082806 SELIBR: 182941 SUDOC: 033511039 BNF: cb124370891 (data) BIBSYS: 90253128 NLA: 35032530 NDL: 001239448 NKC: ola2002159043 BNE: XX1078287 SN

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