Suchergebnisse
Suchergebnisse:
Vor einem Tag · During reorganization on the production, George Cukor temporarily took over under LeRoy's guidance. Initially, the studio had made Garland wear a blonde wig and heavy "baby-doll" makeup, and she played Dorothy in an exaggerated fashion. Cukor changed Garland's and Hamilton's makeup and costumes, and told Garland to "be herself". This meant that ...
Vor 2 Tagen · Director George Cukor, with whom Selznick had a long working relationship and who had spent almost two years in pre-production on Gone with the Wind, was replaced after less than three weeks of shooting.
Vor 4 Tagen · It’s been adapted for the big screen six times, including a silent British-made version from 1917 that’s now lost, a silent American movie in 1918, one in 1933 directed by Oscar-winner George Cukor and starring Katharine Hepburn as Jo, a 1949 take with Elizabeth Taylor (in a curly blonde wig) as Amy, and a 1994 adaptation with Winona Ryder, Kirsten Dunst, and Claire Danes (as Jo, Amy, and ...
Vor einem Tag · Shot on location in New York City in the 1950s, the true romance in Cukor’s film doesn’t happen between any two people but in the city itself, as it routinely delights in sharing the singular magic that exists here. Introduction by Gina Telaroli, in celebration of the premiere of her latest feature, In Search of Gladys Glover.
Vor einem Tag · (@oldhollywood_dreams). 24 Likes. Director George Cukor and Katharine Hepburn on the set of "The Philadelphia Story" (1940).
Vor 2 Tagen · Also noting that having purchased the rights to Patrick Hamilton’s stage play Gas Light, MGM did everything in its power to erase the very existence of the earlier, 1940 British film version of same starring Anton Walbrook and Diana Wynyard (how wonderful it might have been had George Cukor cast the divine Anton opposite the divine Ingrid rather than the rather obviously villainous Charles ...
Vor 2 Tagen · But it is redeemed by the wonderfully moody direction of George Cukor, which makes the house almost a character in its own right. It is melodrama filmed as noir. Victorian overdecoration has never looked so oppressive and claustrophobic. The performances, meanwhile, go off. Boyer is eerily cold throughout, with baroque flourishes that recall his appearances in
