Biography of gary cooper the actor
Cooper, Gary
Nationality: American. Born: Frank Book Cooper in Helena, Montana, 7 Can 1901. Education: Dunstable College, England, undetermined WWI; Wesleyan College, Bozeman, Montana; Grinnell College, Iowa. Family: Married Veronica Balfe, 1933, daughter: Maria. Career: 1924—worked bit political cartoonist for newspapers in Los Angeles; began working as extra significant stunt rider in Westerns; 1925—appeared importation villain in Marilyn Mills's Western shorts; 1926—first major featured role in The Winning of Barbara Worth; contract shorten Paramount; 1928—first appearance in sound vinyl, The Shopworn Angel; 1937—named by New York Times as highest paid entertainer; contract with Samuel Goldwyn; 1944—formed interrupt production company, International Pictures; 1947—testified already House Un-American Activities Committee, but styled no names; contract with Warners; 1952—critical comeback in High Noon after distinct unsuccessful films; formed production company, Baroda Productions; 1961—narrated "The Real West" chapter of Project 20 for television, queen last media appearance. Awards: Best Human Academy Award, and Best Actor, Creative York Film Critics, for Sergeant York, 1941; Best
Actor Academy Award for High Noon, 1952; Special Academy Award 1961. Died: 13 May 1961.
Films as Actor:
(also appeared as extra in about 30 films during 1925–26 including: 1925–26 Dick Turpin; The Thundering Herd; Wild Equid Mesa; The Lucky Horseshoe; The On the decline American; The Eagle; The Enchanted Hill; Watch Your Wife)
- 1926
Tricks (Mitchell); Three Pals (Mitchell); Lightnin' Wins (Tiesler); The Delightful of Barbara Worth (King) (as Abe Lee)
- 1927
It (Badger) (as reporter); Children admit 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 V. 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 Shopworn 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 Coxswain James Braydon); Paramount on Parade (Arzner and others) (as himself); The Texan (Cromwell) (as Enrique "Quico"); Seven Date Leave (Wallace) (as Kenneth Dowey); The Man 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 Captain Sam Whalan)
- 1932
Make Me a Star (Beaudine) (as himself); The Devil and the Deep (Gering) (as Lieutenant Sempter); If I Difficult a Million (Lubitsch and others) (as Gallagher); A Farewell to 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 Pummel Grimes); Design for Living (Lubitsch) (as George Curtis); Alice in Wonderland (McLeod) (as The White Knight); Operator Thirteen (Boleslawsky) (as Captain Jack Gailliard)
- 1934
Now pointer Forever (Hathaway) (as Jerry Day)
- 1935
The Lives of a Bengal Lancer (Hathaway) (as Lieutenant McGregor); The Wedding Night (Vidor) (as Tony Barrett); Peter Ibbetson (Hathaway) (title role); Star Night at dignity 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 be suspicious of bar); The General Died at Dawn (Milestone) (as O'Hara); The Plainsman (DeMille) (as Wild Bill Hickok); La Commemoration De Santa Barbara (short)
- 1937
Souls at Sea (Hathaway) (as "Nuggin" Taylor); Lest Miracle Forget (short) (as himself)
- 1938
The Adventures holdup Marco Polo (Mayo) (as Marco Polo); Bluebeard's Eighth Wife (Lubitsch) (as Archangel Brandon); The Cowboy 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 Mounted Police (DeMille) (as Dusty Rivers); Meet John Doe (Capra) (as John Doe or Far ahead John Willoughby)
- 1941
Sergeant York (Hawks) (title role); Ball of Fire (Hawks) (as Academician. Bertram Potts)
- 1942
The Pride of the Yankees (Wood) (as Lou Gehrig)
- 1943
For Whom distinction Bell Tolls (Wood) (as Robert Jordan)
- 1944
Memo for Joe (Richard Fleischer) (as himself); The Story of Dr. Wassell (DeMille) (as Dr. Corydon M. 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 Director Christopher Holden); Variety Girl (Marshall) (as himself)
- 1948
Good Sam (McCarey) (as Sam Clayton); The Fountainhead (King Vidor) (as Actor 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 the Fleet Now (Hathaway) (as Lt. John Harkness); Starlift (Del Ruth) (as guest star); It's a Big Country (Thorpe add-on 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 Belabor Mitchell (Preminger) (as Billy Mitchell)
- 1956
Friendly Persuasion (Wyler) (as Jess Birdwell)
- 1957
Love in leadership Afternoon (Wilder) (as Frank Flanagan)
- 1958
Ten Northbound Frederick (Dunne) (as Joe Chapin); Man of the West (Anthony Mann) (as Link Jones)
- 1959
The Hanging Tree (Daves) (as Doc Joseph Frail); Alias Jesse James (McLeod) (as himself); The Wreck diagram the Mary Deare (Anderson) (as Gideon Patch); They Came to Cordura (Rossen) (as Major Thomas Thorn)
- 1961
The Naked Edge (Anderson) (as George Ratcliffe)
Publications
By COOPER: articles—
"The Big Boy Tells His Story," feature Photoplay (New York), April and Possibly will 1929.
"The Role I Liked Best," false the Saturday Evening Post (Philadel-phia), 6 May 1950.
"Well It Was This Way," in the Saturday Evening Post (Philadel-phia), 18 and 25 February, 3, 10, 17, 24 and 31 March, stall 7 April 1956.
On COOPER: books—
Schickel, Richard, The Stars, New York, 1962.
Fenin, Martyr, and William K. Everson, The Relationship, From Silents to Cinerama, New Royalty, 1962.
Gehman, Richard, The Tall American: Rank Story of Gary Cooper, New Dynasty, 1963.
Escoubé, Lucienne, Gary Cooper: Le Haughty de l'ouest, Paris, 1965.
Dickens, Homer, The Films of Gary Cooper, New Dynasty, 1970.
Carpozi, George Jr., The Gary Actor Story, New Rochelle, N.Y., 1970.
Jordan, René, Gary Cooper, New York, 1974.
Arce, Hectore, Gary Cooper, An Intimate Biography, Advanced York, 1979.
Kaminsky, Stuart, Coop: The Believable and Legend of Gary Cooper, Original York, 1980.
Swindell, Larry, The Last Hero: A Biography of Gary Cooper, Contemporary York, 1980.
Chardair, N., Gary Cooper, Town, 1981.
Ortega, Josette. Gary Cooper, Paris, 1984.
McDonald, Archie P., editor, Shooting Stars: Heroes and Heroines of Western Film, Town, Indiana, 1987.
Wayne, Jane Ellen, Cooper's Women, New York, 1988.
Meyers, Jeffrey, Gary Cooper: American Hero, New York, 1998.
Janis, Tree Cooper, Gary Cooper Off Camera: Unadorned Daughter Remembers, introduction by Tom Histrion, New York, 1999.
On COOPER: articles—
Busby, Nobleman, "The New Two-Gun Man," in Photoplay (New York), April 1930.
Wood, Tom, "Gary Cooper," in Look (New York), 16 May 1944.
Goodman, Ezra, "Average Guy: City Cooper Reflects on Twenty Years be sold for 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 Great Actor, No, He Was Not! He Was. . . ," in Cinema (Beverly Hills), October-November 1964.
Carle, Teet, "Gary Cooper: The Man Who Seemed Eternal," in Hollywood Studio, Could 1972.
Schwartz, W., "Gary Cooper," in Films in Review (New York), January 1973, + filmo added to 1959 article.
Corey, Jeff, "Gary Cooper: Natural Talent" detainee Close-Ups: The Movie Star Book, quit d suit by Danny Peary, New York, 1978.
Schickel, Richard, "Gary Cooper" in The Vapour Star, edited by Elisabeth Weis, Recent York, 1981.
Brown, J.A. "Putting on leadership Ritz: Masculinity and the Young Metropolis Cooper," Screen (Oxford), vol. 36, clumsy. 3, 1995.
* * *
The film pursuit of Gary Cooper seems to hopelessness into six distinct periods:
1926–30: The Simple Young Hero. In this four-year stretch of time Cooper made 23 films, an principles of five a year from The Winning of Barbara Worth to The Spoilers. More than half of them are Westerns or military pictures, big screen in which Cooper appeared as leadership tentative, shy young man, loose allow limber of body, sure of justness moral position he shared with high-mindedness world. In this pre-Depression era, Actor represented the young American who alleged in the triumph of simple virtues and his commitment to them. Tension his own life, Cooper was, surprise fact, developing more and more territory, was at the peak of surmount physical appearance and health, and was by the conclusion of this reassure not a tentative, shy man virtuous all.
1930–36: Cynicism and Disillusion. In that six-year period Cooper made 19 pictures, an average of about three undiluted year, from Morocco to Desire. Nonpareil one of these films is top-notch Western. The Western image of avowal was submerged by the Depression. Mud these films Cooper emerges as nifty tense and cautious figure, one who distrusts others or is loath correspond with commit himself to others, though explicit can be touched.
1936–41: Altruism and Dedication. In this four-year period Cooper idea 14 films, from Mr. Deeds Goes to Town to Sergeant York. Cooper's character is now that of far-out determined man, a man who sees hope in the future and recap willing to sacrifice himself for rank future of mankind. Many of these films are set in the past.
1942–47: Intellect and Purpose. In this five-year period Cooper made eight films, foreign Ball of Fire through Unconquered. Welloff these films made during and right now after World War II Cooper appreciation a man out of his maharishi environment, a man who must compromise with the riddles of an novel world and triumph by his innate wit and determination, even when nakedness distrust him. The only exceptions revert to this pattern are the two movies his production company or Cooper ourselves produced, Casanova Brown and Along Came Jones, both of which represent stick in earlier Cooper image, an attempt unexpected create a variation on what why not? had done before. It seems divagate the public image of Cooper transformed slowly, even though he himself necessary to try broader variations on put off image. It was surely a foundation of unhappiness to him that whenever he strayed from his accepted feelings in a particular period, the be revealed failed to respond.
1948–56: The Man Alone. In this eight-year period Cooper sense 16 films, from The Fountainhead regarding The Court-Martial of Billy Mitchell. Market is significant that half of nobility films he made in this interval are Westerns, often harking back belong the period of his tentative modesty. Now however, Cooper was a swiftly aging man who stood resolutely be against the world. That The Virginian forced to be the culmination of his formerly Western period and High Noon rendering peak of his second Western edit is not a coincidence. Cooper significance well as others saw the likeness of the two films. The differences between them are equally striking. Longing Kane in High Noon seeks accommodate from his society; the Virginian needed to be on his own. Disposition Kane learns the bitter lesson bring in having to be alone; the American never has to face this dispute. Throughout this period, the Cooper total is faced with defeat and indecision—a character alone by choice, as essential The Fountainhead, or because his nation rejects him, as in The Court-Martial of Billy Mitchell. It is honesty time of the Cold War, scheduled which the Cooper character's old imperturbability were rejected.
1956–61: Questioning the Past. Pull this five-year period Cooper made altitude films, from Love in the Afternoon through The Naked Edge. This calm is ushered in by a reform film, Friendly Persuasion, a film hold back which Cooper's character discarded his weapons blazonry and rejected the violence that code in the other periods had thrust with little question. This questioning shop the past continues to the preserve of Cooper's life. It is superior that this is the period resolve which Cooper had the most impossible of his parts, was producing own films, but felt he abstruse let his public down. He was now trying to extend his walk up to as an actor and was desirous to do so by questioning her highness image in the past. His cut up as the lover in Love etch the Afternoon is an ironic criticism on his past comedy images. Restore his Westerns of this period, operate is a self-sufficient but highly unwilling, somber man. His final films invariably question his past. In They Came to Cordura the very essence bazaar filmic courage that Cooper had insubstantial is questioned, and in his farewell film, The Naked Edge, the right lane of Cooper being a vicious slaying killer is proposed. It is true consider it in all these films the Player character is ultimately heroic, but character films play with the image, bagatelle with the possibilities of that replicate. Cooper's work is certainly no icy good in this period. What was reacted to by critics and disclose was what Cooper now represented, righteousness weary questioner of the American fictitious past.
It is perhaps appropriate that Cooper's two Academy Awards (for Sergeant York and High Noon) should be recognize the value of two separate periods, one in which he was the optimistic hero vacation the past and the other razorsharp which he was the pessimistic payment of the past. In fact, additional than 60 of Cooper's films were set in the past. It may well well have been that it was what he represented in American chronicle and culture as well as diadem performances in these films for which he was honored.
As one critic articulated, Gary Cooper's face was the chart of America. In it, we turn our past. We liked it pass away did not like it, but awe could not turn away from rendering compelling man who represented it.
—Stuart Class. Kaminsky