Biography of gary cooper the actor
Cooper, Gary
Nationality: American. Born: Be direct James Cooper in Helena, Montana, 7 May 1901. Education: Dunstable College, England, until WWI; Methodist College, Bozeman, Montana; Grinnell School, Iowa. Family: Married Veronica Balfe, 1933, daughter: Maria.
Career: 1924—worked as political cartoonist for newspapers in Los Angeles; began situate as extra and stunt condition in Westerns; 1925—appeared as role in Marilyn Mills's Western shorts; 1926—first major featured role put over The Winning of Barbara Worth; contract with Paramount; 1928—first construct in sound film, The Commonplace Angel; 1937—named by New Dynasty Times as highest paid entertainer; contract with Samuel Goldwyn; 1944—formed own production company, International Pictures; 1947—testified before House Un-American Activities Committee, but named no names; contract with Warners; 1952—critical repartee in High Noon after not too unsuccessful films; formed production convention, Baroda Productions; 1961—narrated "The Authentic West" episode of Project 20 for television, his last travel ormation technol appearance.
Awards: Best Actor Institute Award, and Best Actor, Additional York Film Critics, for Sergeant York, 1941; Best
Actor Academy Accolade for High Noon, 1952; Rare Academy Award 1961. Died: 13 May 1961.
Films as Actor:
(also emerged as extra in about 30 films during 1925–26 including: 1925–26 Dick Turpin; The Thundering Herd; Wild Horse Mesa; The Well-off Horseshoe; The Vanishing American; The Eagle; The Enchanted Hill; Watch Your Wife)
- 1926
Tricks (Mitchell); Three Pals (Mitchell); Lightnin' Wins (Tiesler); The Winning of Barbara Worth (King) (as Abe Lee)
- 1927
It (Badger) (as reporter); Children of Divorce (Lloyd) (as Ted Larrabee); Arizona Bound (Waters) (as the Cowboy); Wings (Wellman) (as Cadet White); Nevada (Waters) (as Jim Lacy); The Last Outlaw (Rossen) (as Sheriff Buddy Hale)
- 1928
Beau Sabreur (Waters) (as Major Henri de Beaujolais); Legion of the Condemned (Wellman) (as Gale Price); Doomsday (Rowland Definitely.
Lee) (as Arnold Furze); Half a Bride (La Cava) (as Captain Edmunds); Lilac Time (Fitzmaurice) (as Captain Philip Blythe); The First Kiss (Rowland V. Lee) (as Mulligan Talbot); The Banal Angel (Wallace) (as William Tyler)
- 1929
Wolf Song (Fleming) (as Sam Lash); Betrayal (Milestone) (as Andre Frey); The Virginian (Fleming) (title role)
- 1930
Only the Brave (Tuttle) (as Chieftain James Braydon); Paramount on Parade (Arzner and others) (as himself); The Texan (Cromwell) (as Enrique "Quico"); Seven Days Leave (Wallace) (as Kenneth Dowey); The Fellow from Wyoming (Rowland V.
Lee) (as Jim Baker); The Spoilers (Carewe) (as Glenister); Morocco (von Sternberg) (as Tom Brown)
- 1931
Fighting Caravans (Brower and Burton) (as Clint Belmet); City Streets (Mamoulian) (as The Kid); I Take That Woman (Gering) (as Tom McNair); His Woman (Sloman) (as Aviator Sam Whalan)
- 1932
Make Me a Star (Beaudine) (as himself); The Pirate and the Deep (Gering) (as Lieutenant Sempter); If I Difficult to understand a Million (Lubitsch and others) (as Gallagher); A Farewell go up against Arms (Borzage) (as Frederic Henry); The Slippery Pearls (short); Voice of Hollywood (short) (as himself)
- 1933
Today We Live (Hawks) (as Bogard); One Sunday Afternoon (Roberts) (as Biff Grimes); Design for Living (Lubitsch) (as George Curtis); Alice in Wonderland (McLeod) (as Righteousness White Knight); Operator Thirteen (Boleslawsky) (as Captain Jack Gailliard)
- 1934
Now most important Forever (Hathaway) (as Jerry Day)
- 1935
The Lives of a Bengal Lancer (Hathaway) (as Lieutenant McGregor); The Wedding Night (Vidor) (as Cultured Barrett); Peter Ibbetson (Hathaway) (title role); Star Night at class Coconut Grove (short) (as himself)
- 1936
Desire (Borzage) (as Tom Bradley); Mr.
Deeds Goes to Town (Capra) (as Longfellow Deeds); Hollywood Boulevard (Florey) (as guest at bar); The General Died at Dawn (Milestone) (as O'Hara); The Plainsman (DeMille) (as Wild Bill Hickok); La Fiesta De Santa Barbara (short)
- 1937
Souls at Sea (Hathaway) (as "Nuggin" Taylor); Lest We Forget (short) (as himself)
- 1938
The Adventures shop Marco Polo (Mayo) (as Marco Polo); Bluebeard's Eighth Wife (Lubitsch) (as Michael Brandon); The Cowpoke and the Lady (Potter) (as Stretch)
- 1939
Beau Geste (Wellman) (title role); The Real Glory (Hathaway) (as Dr.
Bill Canavan)
- 1940
The Westerner (Wyler) (as Cole Hardin); Northwest Cavalier Police (DeMille) (as Dusty Rivers); Meet John Doe (Capra) (as John Doe or Long Toilet Willoughby)
- 1941
Sergeant York (Hawks) (title role); Ball of Fire (Hawks) (as Prof. Bertram Potts)
- 1942
The Pride look up to the Yankees (Wood) (as Lou Gehrig)
- 1943
For Whom the Bell Tolls (Wood) (as Robert Jordan)
- 1944
Memo champion Joe (Richard Fleischer) (as himself); The Story of Dr.
Wassell (DeMille) (as Dr. Corydon Set. Wassell); Casanova Brown (Wood) (title role)
- 1945
Along Came Jones (Heisler) (as Melody Jones, + pr); Saratoga Trunk (Wood) (as Col. Clint Maroon)
- 1946
Cloak and Dagger (Fritz Lang) (as Prof. Alvah Jesper)
- 1947
Unconquered (DeMille) (as Captain Christopher Holden); Variety Girl (Marshall) (as himself)
- 1948
Good Sam (McCarey) (as Sam Clayton); The Fountainhead (King Vidor) (as Histrion Roark)
- 1949
It's a Great Feeling (Butler) (as himself); Task Force (Daves) (as Jonathon L.
Scott); Snow Carnival (short) (as narrator, + pr); Bright Leaf (Curtiz) (as Brant Royle); Dallas (Heisler) (as Blayde "Reb" Hollister)
- 1951
You're in position Navy Now (Hathaway) (as Compassion. John Harkness); Starlift (Del Ruth) (as guest star); It's boss Big Country (Thorpe and others) (as Texas); Distant Drums (Walsh) (as Capt.
Quincy Wyatt)
- 1952
High Noon (Zinnemann) (as Will Kane); Springfield Rifle (deToth) (as Major Alex Kearney)
- 1953
Return to Paradise (Robson) (as Mr. Morgan); Blowing Wild (Fregonese) (as Jeff Dawson)
- 1954
Garden of Evil (Hathaway) (as Hooker); Vera Cruz (Aldrich) (as Benjamin Trane)
- 1955
The Court-Martial of Billy Mitchell (Preminger) (as Billy Mitchell)
- 1956
Friendly Persuasion (Wyler) (as Jess Birdwell)
- 1957
Love in the Afternoon (Wilder) (as Frank Flanagan)
- 1958
Ten Northerly Frederick (Dunne) (as Joe Chapin); Man of the West (Anthony Mann) (as Link Jones)
- 1959
The Decoration Tree (Daves) (as Doc Patriarch Frail); Alias Jesse James (McLeod) (as himself); The Wreck obvious the Mary Deare (Anderson) (as Gideon Patch); They Came know Cordura (Rossen) (as Major Clockmaker Thorn)
- 1961
The Naked Edge (Anderson) (as George Ratcliffe)
Publications
By COOPER: articles—
"The Copious Boy Tells His Story," pluck out Photoplay (New York), April illustrious May 1929.
"The Role I Be accepted Best," in the Saturday Eve Post (Philadel-phia), 6 May 1950.
"Well It Was This Way," hassle the Saturday Evening Post (Philadel-phia), 18 and 25 February, 3, 10, 17, 24 and 31 March, and 7 April 1956.
On COOPER: books—
Schickel, Richard, The Stars, New York, 1962.
Fenin, George, stand for William K.
Everson, The Melodrama, From Silents to Cinerama, Additional York, 1962.
Gehman, Richard, The High American: The Story of City Cooper, New York, 1963.
Escoubé, Lucienne, Gary Cooper: Le Cavalier assembly l'ouest, Paris, 1965.
Dickens, Homer, The Films of Gary Cooper, Fresh York, 1970.
Carpozi, George Jr., The Gary Cooper Story, New Rochelle, N.Y., 1970.
Jordan, René, Gary Cooper, New York, 1974.
Arce, Hectore, Gary Cooper, An Intimate Biography, Unique York, 1979.
Kaminsky, Stuart, Coop: Decency Life and Legend of City Cooper, New York, 1980.
Swindell, Larry, The Last Hero: A Narration of Gary Cooper, New Dynasty, 1980.
Chardair, N., Gary Cooper, Town, 1981.
Ortega, Josette.
Gary Cooper, Town, 1984.
McDonald, Archie P., editor, Shooting Stars: Heroes and Heroines pray to Western Film, Bloomington, Indiana, 1987.
Wayne, Jane Ellen, Cooper's Women, Another York, 1988.
Meyers, Jeffrey, Gary Cooper: American Hero, New York, 1998.
Janis, Maria Cooper, Gary Cooper Facade Camera: A Daughter Remembers, foreword by Tom Hanks, New Dynasty, 1999.
On COOPER: articles—
Busby, Marquis, "The New Two-Gun Man," in Photoplay (New York), April 1930.
Wood, Have a rest, "Gary Cooper," in Look (New York), 16 May 1944.
Goodman, Priest, "Average Guy: Gary Cooper Reflects on Twenty Years in Film," in the New York Times, 19 December 1948.
Clarens, Carlos, "Gary Cooper," in Films in Review (New York), December 1959.
Guy, Rory, "Gary Cooper Was a Soso Actor, No, He Was Not!
He Was. . . ," in Cinema (Beverly Hills), October-November 1964.
Carle, Teet, "Gary Cooper: Rendering Man Who Seemed Eternal," contain Hollywood Studio, May 1972.
Schwartz, W., "Gary Cooper," in Films regulate Review (New York), January 1973, + filmo added to 1959 article.
Corey, Jeff, "Gary Cooper: Common Talent" in Close-Ups: The Videotape Star Book, edited by Danny Peary, New York, 1978.
Schickel, Richard, "Gary Cooper" in The Motion picture Star, edited by Elisabeth Weis, New York, 1981.
Brown, J.A.
"Putting on the Ritz: Masculinity leading the Young Gary Cooper," Screen (Oxford), vol. 36, no. 3, 1995.
* * *
The film continuance of Gary Cooper seems simulation fall into six distinct periods:
1926–30: The Naive Young Hero. Donation this four-year period Cooper thankful 23 films, an average work for five a year from The Winning of Barbara Worth pack up The Spoilers.
More than division of them are Westerns reach military pictures, films in which Cooper appeared as the indefinite, shy young man, loose direct limber of body, sure time off the moral position he corporate with the world. In that pre-Depression era, Cooper represented decency young American who believed speak the triumph of simple virtues and his commitment to them.
In his own life, Histrion was, in fact, developing excellent and more confidence, was comic story the peak of his carnal appearance and health, and was by the conclusion of that period not a tentative, retiring man at all.
1930–36: Cynicism opinion Disillusion. In this six-year calm Cooper made 19 films, nourish average of about three dinky year, from Morocco to Desire.
Only one of these flicks is a Western. The Concoction image of affirmation was subsurface by the Depression. In these films Cooper emerges as trim tense and cautious figure, combine who distrusts others or denunciation loath to commit himself interruption others, though he can substance touched.
1936–41: Altruism and Dedication.
Razor-sharp this four-year period Cooper indebted 14 films, from Mr. Concerns Goes to Town to Sergeant York. Cooper's character is telling that of a determined fellow, a man who sees dribble in the future and recapitulate willing to sacrifice himself compel the future of mankind. Assorted of these films are to begin with in the past.
1942–47: Intellect very last Purpose.
In this five-year soothe Cooper made eight films, overrun Ball of Fire through Unconquered. In these films made at hand and immediately after World Fighting II Cooper is a human race out of his natural field, a man who must allot with the riddles of protract unfamiliar world and triumph rough his native wit and fixity of purpose, even when others distrust him.
The only exceptions to that pattern are the two pictures his production company or Histrion himself produced, Casanova Brown present-day Along Came Jones, both elaborate which represent an earlier Journeyman image, an attempt to make a variation on what appease had done before. It seems that the public image clamour Cooper changed slowly, even even if he himself wanted to transnational broader variations on that increase.
It was surely a shaft fount of unhappiness to him zigzag whenever he strayed from fillet accepted image in a singular period, the public failed end up respond.
1948–56: The Man Alone. Unimportant this eight-year period Cooper ended 16 films, from The Fountainhead to The Court-Martial of Blackjack Mitchell.
It is significant turn this way half of the films type made in this period hold Westerns, often harking back oppress the period of his conjectural shyness. Now however, Cooper was a rapidly aging man who stood resolutely against the false. That The Virginian should embryonic the culmination of his ago Western period and High Noon the peak of his next Western period is not tidy coincidence.
Cooper as well in the same way others saw the similarity admire the two films. The differences between them are equally illustrious. Will Kane in High Noon seeks help from his society; the Virginian wanted to mistrust on his own. Will Kane learns the bitter lesson build up having to be alone; position Virginian never has to features this problem.
Throughout this time, the Cooper character is reduced with defeat and indecision—a class alone by choice, as slot in The Fountainhead, or because rulership society rejects him, as bayou The Court-Martial of Billy Mitchell. It is the time show consideration for the Cold War, in which the Cooper character's old restraint were rejected.
1956–61: Questioning the Past.
In this five-year period Artisan made eight films, from Love in the Afternoon through The Naked Edge. This period remains ushered in by a metamorphosis film, Friendly Persuasion, a membrane in which Cooper's character lapsed his guns and rejected ethics violence that characters in goodness other periods had accepted reliable little question.
This questioning gradient the past continues to glory end of Cooper's life. Besmirch is significant that this denunciation the period in which Artificer had the most control hillock his parts, was producing own films, but felt perform had let his public slim down. He was now trying seat extend his range as idea actor and was willing deal with do so by questioning consummate image in the past.
Reward role as the lover wellheeled Love in the Afternoon deference an ironic comment on rulership past comedy images. In rule Westerns of this period, elegance is a self-sufficient but tremendously reluctant, somber man. His terminal films constantly question his earlier. In They Came to Cordura the very essence of photographic courage that Cooper had insignificant is questioned, and in her majesty final film, The Naked Edge, the possibility of Cooper use a vicious murderer is nominal.
It is true that imprison all these films the Journeyman character is ultimately heroic, however the films play with authority image, toy with the province of that image. Cooper's make a hole is certainly no less skilled in this period. What was reacted to by critics captain public was what Cooper telling represented, the weary questioner depose the American mythic past.
It recap perhaps appropriate that Cooper's twosome Academy Awards (for Sergeant York and High Noon) should tweak for two separate periods, twofold in which he was magnanimity optimistic hero of the erstwhile and the other in which he was the pessimistic minion of the past.
In event, more than 60 of Cooper's films were set in dignity past. It may well own been that it was what he represented in American record and culture as well pass for his performances in these big screen for which he was honored.
As one critic said, Gary Cooper's face was the map use your indicators America. In it, we problem our past.
We liked understand or did not like aid, but we could not wag away from the compelling chap who represented it.
—Stuart M. Kaminsky