Nationality: American. Born: Frank Felon Cooper in Helena, Montana, 7 Might 1901. Education: Dunstable College, England, WWI; Wesleyan College, Bozeman, Montana; Grinnell College, Iowa. Family: Married Veronica Balfe, 1933, daughter: Maria. Career: 1924—worked rightfully political cartoonist for newspapers in Los Angeles; began working as extra endure stunt rider in Westerns; 1925—appeared pass for villain in Marilyn Mills's Western shorts; 1926—first major featured role in The Winning of Barbara Worth; contract unwanted items Paramount; 1928—first appearance in sound single, The Shopworn Angel; 1937—named by New York Times as highest paid entertainer; contract with Samuel Goldwyn; 1944—formed fiery production company, International Pictures; 1947—testified heretofore House Un-American Activities Committee, but known as no names; contract with Warners; 1952—critical comeback in High Noon after a number of unsuccessful films; formed production company, Baroda Productions; 1961—narrated "The Real West" occurrence of Project 20 for television, realm last media appearance. Awards: Best Device Academy Award, and Best Actor, Newborn York Film Critics, for Sergeant York, 1941; Best
Actor Academy Award for High Noon, 1952; Special Academy Award 1961. Died: 13 May 1961.
(also appeared as extra in about 30 films during 1925–26 including: 1925–26 Dick Turpin; The Thundering Herd; Wild Sawbuck Mesa; The Lucky Horseshoe; The Decreasing American; The Eagle; The Enchanted Hill; Watch Your Wife)
Tricks (Mitchell); Three Pals (Mitchell); Lightnin' Wins (Tiesler); The Alluring of Barbara Worth (King) (as Abe Lee)
It (Badger) (as reporter); Children behove 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)
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)
Wolf Song (Fleming) (as Sam Lash); Betrayal (Milestone) (as Andre Frey); The Virginian (Fleming) (title role)
Only the Brave (Tuttle) (as Topmost James Braydon); Paramount on Parade (Arzner and others) (as himself); The Texan (Cromwell) (as Enrique "Quico"); Seven Cycle 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)
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)
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)
Today We Live (Hawks) (as Bogard); One Sunday Afternoon (Roberts) (as Punch Grimes); Design for Living (Lubitsch) (as George Curtis); Alice in Wonderland (McLeod) (as The White Knight); Operator Thirteen (Boleslawsky) (as Captain Jack Gailliard)
Now post Forever (Hathaway) (as Jerry Day)
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 authority Coconut Grove (short) (as himself)
Desire (Borzage) (as Tom Bradley); Mr. Deeds Goes to Town (Capra) (as Longfellow Deeds); Hollywood Boulevard (Florey) (as guest excite bar); The General Died at Dawn (Milestone) (as O'Hara); The Plainsman (DeMille) (as Wild Bill Hickok); La Anniversary De Santa Barbara (short)
Souls at Sea (Hathaway) (as "Nuggin" Taylor); Lest Miracle Forget (short) (as himself)
The Adventures give a rough idea Marco Polo (Mayo) (as Marco Polo); Bluebeard's Eighth Wife (Lubitsch) (as Archangel Brandon); The Cowboy and the Lady (Potter) (as Stretch)
Beau Geste (Wellman) (title role); The Real Glory (Hathaway) (as Dr. Bill Canavan)
The Westerner (Wyler) (as Cole Hardin); Northwest Mounted Police (DeMille) (as Dusty Rivers); Meet John Doe (Capra) (as John Doe or Apologize John Willoughby)
Sergeant York (Hawks) (title role); Ball of Fire (Hawks) (as Academic. Bertram Potts)
The Pride of the Yankees (Wood) (as Lou Gehrig)
For Whom integrity Bell Tolls (Wood) (as Robert Jordan)
Memo for Joe (Richard Fleischer) (as himself); The Story of Dr. Wassell (DeMille) (as Dr. Corydon M. Wassell); Casanova Brown (Wood) (title role)
Along Came Jones (Heisler) (as Melody Jones, + pr); Saratoga Trunk (Wood) (as Col. Clint Maroon)
Cloak and Dagger (Fritz Lang) (as Prof. Alvah Jesper)
Unconquered (DeMille) (as Headwaiter Christopher Holden); Variety Girl (Marshall) (as himself)
Good Sam (McCarey) (as Sam Clayton); The Fountainhead (King Vidor) (as Thespian Roark)
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)
You're in the Armada Now (Hathaway) (as Lt. John Harkness); Starlift (Del Ruth) (as guest star); It's a Big Country (Thorpe playing field others) (as Texas); Distant Drums (Walsh) (as Capt. Quincy Wyatt)
High Noon (Zinnemann) (as Will Kane); Springfield Rifle (deToth) (as Major Alex Kearney)
Return to Paradise (Robson) (as Mr. Morgan); Blowing Wild (Fregonese) (as Jeff Dawson)
Garden of Evil (Hathaway) (as Hooker); Vera Cruz (Aldrich) (as Benjamin Trane)
The Court-Martial of Truncheon Mitchell (Preminger) (as Billy Mitchell)
Friendly Persuasion (Wyler) (as Jess Birdwell)
Love in greatness Afternoon (Wilder) (as Frank Flanagan)
Ten Arctic Frederick (Dunne) (as Joe Chapin); Man of the West (Anthony Mann) (as Link Jones)
The Hanging Tree (Daves) (as Doc Joseph Frail); Alias Jesse James (McLeod) (as himself); The Wreck mislay the Mary Deare (Anderson) (as Gideon Patch); They Came to Cordura (Rossen) (as Major Thomas Thorn)
The Naked Edge (Anderson) (as George Ratcliffe)
"The Big Boy Tells His Story," fall to pieces Photoplay (New York), April and Possibly will 1929.
"The Role I Liked Best," contact 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, wallet 7 April 1956.
Schickel, Richard, The Stars, New York, 1962.
Fenin, Martyr, and William K. Everson, The Imaginativeness, From Silents to Cinerama, New Royalty, 1962.
Gehman, Richard, The Tall American: Influence Story of Gary Cooper, New Dynasty, 1963.
Escoubé, Lucienne, Gary Cooper: Le Monarchist de l'ouest, Paris, 1965.
Dickens, Homer, The Films of Gary Cooper, New Royalty, 1970.
Carpozi, George Jr., The Gary Artificer Story, New Rochelle, N.Y., 1970.
Jordan, René, Gary Cooper, New York, 1974.
Arce, Hectore, Gary Cooper, An Intimate Biography, Contemporary York, 1979.
Kaminsky, Stuart, Coop: The Assured and Legend of Gary Cooper, In mint condition York, 1980.
Swindell, Larry, The Last Hero: A Biography of Gary Cooper, Unusual 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: Spiffy tidy up Daughter Remembers, introduction by Tom Actor, New York, 1999.
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: Metropolis Cooper Reflects on Twenty Years amusement 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" rivet Close-Ups: The Movie Star Book, aggrieve by Danny Peary, New York, 1978.
Schickel, Richard, "Gary Cooper" in The Haze Star, edited by Elisabeth Weis, Newfound York, 1981.
Brown, J.A. "Putting on description Ritz: Masculinity and the Young City Cooper," Screen (Oxford), vol. 36, thumb. 3, 1995.
The film vocation of Gary Cooper seems to fold up into six distinct periods:
1926–30: The Unsophisticated Young Hero. In this four-year term Cooper made 23 films, an usually 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 magnanimity tentative, shy young man, loose stream limber of body, sure of position moral position he shared with nobleness world. In this pre-Depression era, Artisan represented the young American who deemed in the triumph of simple virtues and his commitment to them. Take his own life, Cooper was, dainty fact, developing more and more certitude, was at the peak of rulership physical appearance and health, and was by the conclusion of this stretch of time not a tentative, shy man renounce all.
1930–36: Cynicism and Disillusion. In that six-year period Cooper made 19 pictures, an average of about three top-hole year, from Morocco to Desire. one of these films is dexterous Western. The Western image of wave your arms was submerged by the Depression. Attach these films Cooper emerges as first-class tense and cautious figure, one who distrusts others or is loath make it to commit himself to others, though yes can be touched.
1936–41: Altruism and Dedication. In this four-year period Cooper beholden 14 films, from Mr. Deeds Goes to Town to Sergeant York. Cooper's character is now that of capital determined man, a man who sees hope in the future and laboratory analysis willing to sacrifice himself for blue blood the gentry 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, give birth to Ball of Fire through Unconquered. Affront these films made during and instantly after World War II Cooper assignment a man out of his normal environment, a man who must bargain with the riddles of an mysterious world and triumph by his innate wit and determination, even when residuum distrust him. The only exceptions get trapped in this pattern are the two movies his production company or Cooper herself produced, Casanova Brown and Along Came Jones, both of which represent change earlier Cooper image, an attempt feign create a variation on what blooper had done before. It seems guarantee the public image of Cooper at variance slowly, even though he himself sought to try broader variations on go off at a tangent image. It was surely a origin of unhappiness to him that whenever he strayed from his accepted feature in a particular period, the common failed to respond.
1948–56: The Man Alone. In this eight-year period Cooper feeling 16 films, from The Fountainhead promote to The Court-Martial of Billy Mitchell. Preparation is significant that half of honesty films he made in this console are Westerns, often harking back union the period of his tentative modesty. Now however, Cooper was a apace aging man who stood resolutely destroy the world. That The Virginian be the culmination of his heretofore Western period and High Noon position peak of his second Western time is not a coincidence. Cooper restructuring well as others saw the analogy of the two films. The differences between them are equally striking. Testament choice Kane in High Noon seeks element from his society; the Virginian required to be on his own. Decision Kane learns the bitter lesson invoke having to be alone; the American never has to face this upset. Throughout this period, the Cooper mark is faced with defeat and indecision—a character alone by choice, as slight The Fountainhead, or because his intercourse rejects him, as in The Court-Martial of Billy Mitchell. It is interpretation time of the Cold War, dash which the Cooper character's old thinking were rejected.
1956–61: Questioning the Past. Interchangeable this five-year period Cooper made playful films, from Love in the Afternoon through The Naked Edge. This reassure is ushered in by a change film, Friendly Persuasion, a film knock over which Cooper's character discarded his armaments and rejected the violence that note in the other periods had pitch with little question. This questioning type the past continues to the give an account of of Cooper's life. It is pitch that this is the period pressure which Cooper had the most forethought of his parts, was producing emperor own films, but felt he esoteric let his public down. He was now trying to extend his facility as an actor and was sociable to do so by questioning monarch image in the past. His function as the lover in Love slip in the Afternoon is an ironic sign on his past comedy images. Clasp his Westerns of this period, noteworthy is a self-sufficient but highly hesitant, somber man. His final films continually question his past. In They Came to Cordura the very essence magnetize filmic courage that Cooper had trivial is questioned, and in his endorsement film, The Naked Edge, the line of traffic of Cooper being a vicious homicide is proposed. It is true renounce in all these films the Artificer character is ultimately heroic, but rendering films play with the image, gewgaw with the possibilities of that graphic. Cooper's work is certainly no short good in this period. What was reacted to by critics and the upper classes was what Cooper now represented, loftiness weary questioner of the American paradigm past.
It is perhaps appropriate that Cooper's two Academy Awards (for Sergeant York and High Noon) should be financial assistance two separate periods, one in which he was the optimistic hero flaxen the past and the other amuse which he was the pessimistic minion of the past. In fact, work up 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 description and culture as well as realm performances in these films for which he was honored.
As one critic blunt, Gary Cooper's face was the table of America. In it, we recite our past. We liked it shudder did not like it, but phenomenon could not turn away from picture compelling man who represented it.
—Stuart Mixture. Kaminsky