Gary Cooper Poster


Jump to: Overview (5)  | Mini Bio (2)  | Family (4)  | Trade Mark (2)  | Trivia (136)  | Personal Quotes (47)  | Salary (75)

Overview (5)

Born in Helena, Montana, USA
Died in Beverly Hills, Los Angeles, California, USA  (prostate cancer)
Birth NameFrank James Cooper
Nicknames Coop
Cowboy Cooper
The Montana Mule
Height 6' 3" (1.91 m)

Mini Bio (2)

Born to Alice Cooper and Charles Cooper. Gary attended school at Dunstable school England, Helena Montana and Grinnell College, Grinnell, Iowa (then called Iowa College). His first stage experience was during high school and college. Afterwards, he worked as an extra for one year before getting a part in a two-reeler by the independent producer Hans Tiesler . Eileen Sedgwick was his first leading lady. He then appeared in The Winning of Barbara Worth (1926) for United Artists before moving to Paramount. While there he appeared in a small part in Wings (1927), It (1927), and other films.

- IMDb Mini Biography By: Dave Curbow

He was born on the 7th of May in 1901 in Helena, Montana and began as a political cartoonist and went to California in the early 20's and found himself playing extra roles and bit parts in Western films. Stardom came in 1926 when he landed the second lead in a big Western The Winning of Barbara Worth. He remained a major star until his death in 1961, He won Oscars for Sergeant York and High Noon. He was married to Veronica Balfe and they had a daughter Marie.

- IMDb Mini Biography By: Tonyman 5

Family (4)

Spouse Sandra Shaw (15 December 1933 - 13 May 1961)  (his death)  (1 child)
Children Maria Cooper Janis
Parents Charles Cooper
Alice Cooper
Relatives Arthur Cooper (sibling)

Trade Mark (2)

Roles in westerns
Slow, very deliberate delivery

Trivia (136)

Hobbies: Fishing, hunting, riding, swimming, and taxidermy.
In the early 1930s his doctor told him he had been working too hard. Cooper went to Europe and stayed a lot longer than planned. When he returned, he was told there was now a "new" Gary Cooper--an unknown actor needed a better name for films, so the studio had reversed Gary Cooper's initials and created a name that sounded similar: Cary Grant.
Along with Mylène Demongeot, Cooper set in motion the first escalator to be installed in a cinema, at the Rex Theatre in Paris on June 7 1957.
Worked as a Yellowstone Park guide for several seasons before becoming an actor.
Father-in-law of pianist and composer Byron Janis.
Inducted into the Hall of Great Western Performers of the National Cowboy and Western Heritage Museum in 1966.
Pictured on one of four 25¢ US commemorative postage stamps issued 23 March 1990 honoring classic films released in 1939. The stamp featured Cooper as the title character of Beau Geste (1939). The other films honored were Stagecoach (1939), The Wizard of Oz (1939), and Gone with the Wind (1939).
Upon seeing him, a professor in the theater department at Grinnell College recorded "shows no promise."
Father of Maria Cooper Janis.
Despite his wholesome screen image, he was an infamous (and privately boastful) womanizer in reality, allegedly having had affairs with numerous and sometimes very famous leading ladies throughout his career. This was in spite of the fact that he had a faithful wife, Sandra, and that many of his lovers were also married.
His Oscar-winning roles as Will Kane from High Noon (1952) and Sgt. Alvin York from Sergeant York (1941) were ranked #5 and #35 in the American Film Institute's Heroes list in their 100 years of The Greatest Screen Heroes and Villains.
He was voted the 18th Greatest Movie Star of all time by Entertainment Weekly.
Is mentioned in the song "La Dernière Séance" by Eddy Mitchell. He is also mentioned in the song "Putting on the Ritz.".
He was voted the 42nd Greatest Movie Star of all time by Premiere Magazine.
He was fond of dogs. At various times he owned boxers, Dobermans and Great Danes. He and his wife also raised Sealyhams.
He liked sports and kept in shape with hiking and riding, tennis and golf, archery and skiing, trout fishing and spear fishing, swimming and scuba diving and driving fast cars. He liked boxing.
Appeared in 107 movies, 82 of which he starred in. Only 16 of those were filmed in color. And he starred in 14 silent movies.
Starred in a total of 20 westerns, three of which were silent.
His mother's favorite movie of his is The Pride of the Yankees (1942).
His appetite was prodigious, but no matter how much he ate, he always remained thin. During his early years in Hollywood, working odd jobs and living with his parents, he said, he said with some comic exaggeration, that his "starvation diet at the time ran to no less than a dozen eggs a day, a couple of loaves of bread, a platter of bacon, and just enough pork chops between meals to keep me going until I got home for supper." His specialty on hunting trips was gargantuan: wild duck covered with bacon strips, enhanced by four eggs and steak. He could eat a cherry pie and drink a quart of milk for lunch.
He blew the harmonica and strummed the guitar; played backgammon and bridge; grew corn and avocados on the Encino ranch he bought in the early 1930s and loved to work with his tractor in the garden.
Named the #11 Greatest Actor on The 50 Greatest Screen Legends list by the American Film Institute
He starred in two movies that were based on novels by Ernest Hemingway: A Farewell to Arms (1932) and For Whom the Bell Tolls (1943).
He signed a six-year contract with Samuel Goldwyn Productions, to make six pictures at $150,000 per picture. At the time Paramount had legal rights to Cooper and threatened to sue. The two companies came to an understanding that Paramount would loan Cooper to Goldwyn to make one picture a year from 1938-42.
Has played six real-life characters on screen: Wild Bill Hickok, Marco Polo, Sgt. Alvin C. York, Lou Gehrig, Dr. Corydon M. Wassell and Gen. Billy Mitchell.
In 1944 he formed his own production company, International Pictures, with Samuel Goldwyn. His partners were Leo Spitz, William Goetz (who'd recently been ousted from 20th Century-Fox) and Nunnally Johnson. They only produced nine movies, two of which starred Cooper, Casanova Brown (1944) and Along Came Jones (1945). Then in 1946 they sold International Pictures to Universal Pictures, which changed its name to Universal-International.
He was a conservative Republican. He voted for Calvin Coolidge in 1924, and for Herbert Hoover in 1928 and 1932. He actively campaigned for Wendell Willkie in 1940, strongly believing that Franklin D. Roosevelt should serve no more than two terms of office, and endorsed Thomas E. Dewey in 1944.
By June 1955 he had made 80 films, which took in $250 million, but he only earned $6 million in salary and percentages.
By 1942 he left Samuel Goldwyn and Paramount, then formed his own production company. On October 22, 1947, he signed with Warner Brothers to make films at $295,000 per picture.
His father Charles Cooper died of pneumonia on September 18, 1946, three months after Gary completed Cloak and Dagger (1946) and three days after his father's 81st birthday.
Starred in two movies with Teresa Wright, The Pride of the Yankees (1942) and Casanova Brown (1944).
Sam Wood directed him in four movies, The Pride of the Yankees (1942), For Whom the Bell Tolls (1943), Casanova Brown (1944) and Saratoga Trunk (1945).
Frank Capra directed him in two movies, Mr. Deeds Goes to Town (1936) and Meet John Doe (1941).
Appeared in four movies with Fay Wray, The First Kiss (1928), The Legion of the Condemned (1928), The Texan (1930), One Sunday Afternoon (1933).
Appeared in two movies with Marlene Dietrich, Morocco (1930) and Desire (1936).
Howard Hawks directed him in three movies, Today We Live (1933), Ball of Fire (1941) and Sergeant York (1941).
Appeared in three movies with Barbara Stanwyck, Ball of Fire (1941), Meet John Doe (1941) and Blowing Wild (1953).
Appeared in eight movies with Walter Brennan. These were Watch Your Wife (1926), The Wedding Night (1935), The Cowboy and the Lady (1938), The Westerner (1940), Meet John Doe (1941), Sergeant York (1941), The Pride of the Yankees (1942) and Task Force (1949).
In 1951, after 25 years in show business, his professional reputation declined and he was dropped from the Motion Picture Herald's list of the top 10 Box Office performers. The following year he made a big comeback at the age of 51 with High Noon (1952).
Took an acting class from Michael Chekhov
He turned down both Stagecoach (1939) and Gone with the Wind (1939).
He wasn't present to receive his Academy Award in February 1953, for his portrayal of Marshal Will Kane in High Noon (1952). He asked John Wayne to accept it on his behalf.
He left America and Hollywood and didn't return for 18 months. During that time he was in Hawaii, Mexico and France and shot four films: Return to Paradise (1953), Blowing Wild (1953), Garden of Evil (1954) and Vera Cruz (1954).
He formed his own production company, Baroda Productions, in 1958. In 1959 the company made three of his more unusual films: The Hanging Tree (1959), They Came to Cordura (1959) and The Wreck of the Mary Deare (1959).
Was close friends with Ernest Hemingway for 20 years. Hemingway shot himself a month after Cooper's death.
He declined roles in The Big Trail (1930), Stagecoach (1939) and Red River (1948). All of these were subsequently played by John Wayne.
Both of his parents were immigrants to America from England.
On 16 April 1958 he entered the Manhattan Eye, Ear and Throat Hospital for a full face-lift and other cosmetic surgery by Dr John Converse, one of the leading plastic surgeons in America. Newspaper articles commenting on the effects of the operation said his face now looked quite different and the procedure had not been successful.
His shot from High Noon (1952) was used as a Solidarity candidates trademark of the first independent elections in Poland in June 1989 ("There's a new sheriff in town")
In the spring of 1960 he had two operations, one for prostate cancer and another to remove a cancerous part of his colon. The doctors were sure that they had gotten all of it. His body strengthened and he made The Naked Edge (1961) in England, but during production he had a lot of pain in his neck and shoulders. When he returned home from England he went back to the doctor in February 1961 and it was then that he had to be told the cancer had metastasized to his lungs and bones. As he did in The Pride of the Yankees (1942) he took it in stride and said, "If it is God's will, that's all right, too." He opted not to take very much treatment.
His reputation as an unthinking conservative seems largely undeserved. Though he appeared as a "friendly witness" before the House Un-American Activities Committee (HUAC) in 1947, he carefully avoided naming any people he suspected of having Communist sympathies within the Hollywood community. He later starred in High Noon (1952), a western that was an allegory for blacklisting in Hollywood, and strongly defended blacklisted screenwriter Carl Foreman from attacks by the right-wing Motion Picture Alliance for the Preservation of American Ideals. Foreman later credited Cooper as the only major star in Hollywood who tried to help him. His mistress Patricia Neal, who did consider herself a liberal, said Gary was "conservative" but "you couldn't call him right-wing". Cooper showed a sense of humor by asking John Wayne to collect his Oscar for him in 1953, after Wayne had criticized High Noon (1952) as "anti-American".
After James Stewart revealed to the world that Cooper was dying of cancer, messages poured in from such friends and well-wishers as Pope John XXIII, former Vice President Richard Nixon, Henry Fonda, Pablo Picasso, Queen Elizabeth II of the United Kingdom, Princess Grace (Grace Kelly) of Monaco, John Wayne, Ernest Hemingway, former President Dwight D. Eisenhower, Bob Hope, Henry Hathaway, Audrey Hepburn, Mel Ferrer, William Goetz, Mary Livingstone (Mrs. Jack Benny) and Jack Benny, Gloria Stewart (Mrs. James Stewart) and James Stewart, Charles Feldman and Constance and Jerry Wald. The newly inaugurated President John F. Kennedy called from Washington and couldn't get through on the busy Cooper phone, but kept calling. He got through on the second day to talk to Gary for seven minutes.
The pallbearers at the funeral were Cooper's close friends--James Stewart, Henry Hathaway, Jack Benny, William Goetz, Jerry Wald and Charles Feldman. Rocky and Maria walked behind the casket, alongside Cooper's 87-year-old mother Alice Cooper and his brother Arthur, as it was borne through the church to the hearse out on Santa Monica Blvd. Among the top names of Hollywood attending the services were Norma Shearer, Dean Martin, Walter Pidgeon, Mary Pickford and Buddy Rogers, Marlene Dietrich, Randolph Scott, Joel McCrea, Frank Sinatra, Burt Lancaster, Jimmy Durante, Martha Hyer, John Wayne, Rosalind Russell, Robert Stack, Myrna Loy, Fay Wray, Joan Crawford, Maureen O'Sullivan, George Burns and Gracie Allen, Fred Astaire, Judy Garland, Bob Hope, Dinah Shore, and Karl Malden. Not one fan broke the lines to ask for an autograph.
Along with Sidney Poitier, he is the most represented actor on the American Film Institute's 100 Most Inspiring Movies of All Time, with five of his films on the list. They are: Mr. Deeds Goes to Town (1936) at #83, Sergeant York (1941) at #57, Meet John Doe (1941) at #49, High Noon (1952) at #27 and The Pride of the Yankees (1942) at #22.
At the time of his terminal cancer being diagnosed towards the end of 1960, Cooper had signed to star in The Sundowners (1960) and Ride the High Country (1962).
It was a testament to his durability that Charlton Heston, already a major star following The Ten Commandments (1956), was prepared to play a supporting role in The Wreck of the Mary Deare (1959). Heston was impressed that the veteran actor, 58 years old and in declining health, was still able to perform his own stunts, including being submerged underwater for long periods of time. In his book "The Actor's Life", Heston recalled he sensed early on it would be Cooper's picture but he didn't mind, because of all Cooper himself had meant to Heston, even as a child.
He underwent four hernia operations between 1951-53.
In the late 1950s his voracious eating habits finally caught up with him. After decades of incomparable thinness, Cooper put on 15 lbs, pushing his weight up to 190 lbs, which on his 6'3" frame was still slender.
Often cited James Stewart as his closest friend.
During the 1944 presidential election the phrase, "I've been for Roosevelt before . . . but not this time!" was personally attributed to Cooper, forming the basis of full-page advertisements in major newspapers, paid for by the Republican National Committee. Cooper was extremely active on behalf of the Republican candidate, New York's governor Thomas E. Dewey. He gave speeches, did entertaining for fund raisers, met with Dewey in Los Angeles and did some personal campaigning in the film community. Whether Cooper had ever been "for Roosevelt before" is questionable. Possibly he voted for him in 1936 during the second-term landslide. If so, it was not publicly disclosed. Cooper's activities were as unpopular as Democrat Humphrey Bogart's endorsement of Franklin D. Roosevelt that year. The studio called in both stars and told them to stop antagonizing fans who did not share their political beliefs.
In 1943 Cooper was one of the founding members of the right-wing Motion Picture Alliance for the Preservation of American Ideals, called merely "the Alliance" in the film community. Its other early leaders included Robert Taylor, Adolphe Menjou, Sam Wood, Norman Taurog, Clarence Brown, and Walt Disney. Clark Gable, thought of as one whose apolitical inclination was even more pronounced than Cooper's, was also a member. The Alliance's cheerleader was Lela E. Rogers, mother of Ginger Rogers.
In 1940 he actively campaigned for Wendell Willkie as the Republican challenger to President Franklin D. Roosevelt's quest for a third term of office. Cooper believed Roosevelt was already too powerful and would become more so. He told Cecelia Ager, though, that he advocated most of the New Deal reforms and believed the GOP made a mistake by not emphasizing its intention of retaining most of them. He said, "There's no going back to the ways of the Old Guard." Willkie, a well known womanizer, became firm friends with the actor.
At first Cooper didn't want to make Friendly Persuasion (1956), not just because he felt the audience wouldn't accept him as a devout Quaker, but also because he did not want to play a father figure. This was despite the fact that he was now 55. On the set he arranged for his daughter Maria Cooper Janis to date Anthony Perkins, not seeming to realize that the young actor was gay.
His lovers included Clara Bow, Evelyn Brent, Carole Lombard, Lupe Velez, Ingrid Bergman, Grace Kelly, Marlene Dietrich and Patricia Neal. Sir Cecil Beaton also claimed to have had an affair with him.
He was very popular with audiences over a long period of time, his popularity exceeding that of "The King" Clark Gable himself at the box office. Named the #1 Box Office Star of 1953 in the Top 10 Poll of Money-Making Stars, as ranked by Quigley Publications' annual survey of movie exhibitors. He made the list 18 times from 1936 to 1957, which was a record when he died in 1961. Of his contemporaries, John Wayne (who accepted Cooper's 1952 Best Actor Oscar for High Noon (1952)) established the still-standing record of Box Office success with 25 appearances in the Top 10 between 1949 and 1974.
There has been much speculation over the years over whether Cooper's close friend Ernest Hemingway may have had latent homosexual tendencies. There is an easy agreement among Hemingway scholars that Papa, as he insisted Cooper should call him, was never actively homosexual, but the fact that he protested his masculinity so much in his novels and in real life has aroused suspicion. Hemingway's tendency to beautify in Cooper the qualities he found beastly in others is provocative. One Hemingway scholar maintained Papa was profoundly impressed that Cooper was such a stud. He said, "I believe that in his mind he loved Gary sexually, but I believe furthermore that Gary Cooper never once suspected it. If I am correct, that proves the beauty of Gary's naiveté, which Papa always found so charming."
In 1938 Cooper took his wife on a junket to England and the Continent, and was the last American movie star to visit Nazi Germany prior to the outbreak of World War II. Until that point he had been basically apolitical and isolationist, opposed to President Woodrow Wilson's League of Nations. When the fateful Munich Conference immediately followed Cooper's return to America, he became increasingly active in the film community's pastime of playing national partisan politics. His allegiance to the right wing would be fairly consistent, though never a sure thing. He said he believed the US should become more involved diplomatically in world affairs but felt it was no business of Hollywood's. He said pointedly that MGM's cautiously anti-Nazi Three Comrades (1938) with its F. Scott Fitzgerald screenplay should not have been made, and that henceforth he would give more thoughtful attention to some of the film projects he was offered.
In 1958 Cooper had a private audience with Pope Pius XII at the Vatican, and in the following year became a convert to Roman Catholicism.
Although Cooper dismissed the new school of actors in the 1950s as "a bunch of goof balls" and could be caustic about "the Method" advanced by the Actors Studio in New York, Lee Strasberg told everyone that Cooper was a natural Method actor, he just didn't know it. Cooper did at least admire Marlon Brando's work, and became a producing partner with his father, Marlon Brando Sr..
On October 23, 1947, he appeared before the House Un-American Activities Committee in Washington, not under subpoena but responding to an invitation to give testimony on the alleged infiltration of Hollywood by communists. Other friendly witnesses appearing on the same day as Cooper were Robert Taylor, Robert Montgomery, George Murphy, Ronald Reagan and the aging Adolphe Menjou. Montgomery had long been active in Republican politics as a committeeman and later would serve as White House adviser during the Eisenhower administration. Murphy would serve as a Republican senator from California, with a very reactionary voting record. Reagan would become Governor of California and the national champion of extreme conservatism. Taylor, Menjou and Cooper would all retreat gradually from the political fracas, but only Cooper would make a show of repudiating what he had done. Although he never recanted his testimony or said he regretted having been a friendly witness, he became conciliatory during the subsequent period of the blacklist. As an independent producer, he hired blacklisted actors and technicians. He did say he had never wanted to see anyone lose the right to work, regardless of what he had done. After the release of High Noon (1952), an allegory for blacklisting, he stood by its screenwriter Carl Foreman despite pressure from rabidly right-wing gossip columnist Hedda Hopper. Immediately after the HUAC appearance, the films of Cooper, Taylor, Montgomery, Murphy, Reagan and Menjou were banned first in Hungary, then in Czechoslovakia and eventually in most of the Iron Curtain countries. So were those of Ginger Rogers and, curiously, tenor Allan Jones, seen usually in minor features and certainly no militant. On the witness stand Cooper had made light of the communists, the thrust of his testimony being that sure, they were in Hollywood just like everywhere else, but they were only a small faction giving the large patriotic body of the film community a bad name it didn't deserve. After his testimony Cooper received a standing ovation and vigorous applause. He later told Robert Taylor, "I got a much bigger hand than you did." Liberals, who never forgave the other friendly witnesses, generally made an exception for Cooper.
Separated from his wife Rocky in May 1951, mainly over his affair with Patricia Neal. They did not live together again until July 1954.
On January 8, 1961, he was given a testimonial dinner in Hollywood at the Friar's Club (it had nothing to do with his terminal cancer, which at the time his doctors didn't know he had). The aged Carl Sandburg was there, calling Cooper "a tradition while he's living, something of a clean sport, the lack of a phony." Audrey Hepburn read a poem called "What is a Gary Cooper?". Cooper didn't look well that night, but most observers thought he looked marvelous anyway.
His estate was valued at $9 million at the time of his death in 1961.
In 1951 he organized his own production company once more, calling it Baroda, and buying the film rights to Alfred Hayes' best-selling novel "The Girl on the Via Flaminia". He paid $40,000 for the rights and $10,000 to Hayes for a screenplay. He wanted to star in it with the young Montgomery Clift, the most popular young actor in Hollywood and also one of the best. Cooper could not arrange financing but broke even on his investment by selling the property to Leland Hayward and Anatole Litvak with the stipulation that Clift would have to star in it. The film was never made. Litvak, however, eventually made a film of The Chase (1966) much later, with Marlon Brando in the sheriff role that was being talked about in 1950 as Cooper's likely stage debut. John Hodiak took the role in Horton Foote's play when Cooper was unable to clear time with Warner Brothers--if indeed he tried.
Although he had said previously that he would make no more biopics, he signed for The Court-Martial of Billy Mitchell (1955). It was a poor Otto Preminger film and even Billy Mitchell's widow expressed disappointment with Cooper's performance. Possibly the story had appealed to Cooper on political grounds and Mitchell may have been a hero of his--the general who accused the government of neglecting military needs. Cooper went on Ed Sullivan's TV show to promote the film and home viewers were quite disappointed--critic David Shipman referred to Cooper's "effeminate mannerisms in his TV interviews".
Ten North Frederick (1958) was originally intended as a Spencer Tracy vehicle, but Tracy withdrew due to poor health.
An uncomfortable aspect of They Came to Cordura (1959) was that, besides looking far too old for his character, Cooper was looking quite ill and was actually filming against medical advice. Towards the end of the movie he was dragged 100 yards along the ground by a railroad handcar, something Stanley Kauffmann complained about in the "New Republic".
In 1960, for the first time since his arrival in Hollywood, there were no new Gary Cooper pictures. In the spring of that year he underwent several operations for prostate cancer, but in the autumn managed to film one final movie in England, The Naked Edge (1961).
He was a close friend and admirer of Pablo Picasso.
Turned down Foreign Correspondent (1940) and Saboteur (1942).
With the critical and commercial disaster You're in the Navy Now (1951), the word got out that Cooper was finished. He couldn't even sell a good picture that was a sure-fire formula to begin with--or once had been. He had disappeared completely from the Motion Picture Herald's annual survey of the top ten box office stars. He had been on the list for nine successive years, moving up and down but always there, proof that he was still a guarantee if only as a commodity star. Now he had lost even that. As the host of It's a Big Country: An American Anthology (1951), Cooper got fabulous press coverage during filming but after a few engagements it was withdrawn out of embarrassment. It wasted a warehouse of first-rate talent: Fredric March, William Powell, Gene Kelly, Ethel Barrymore, Janet Leigh, Van Johnson, Keenan Wynn and others. Cooper made another routine western, Distant Drums (1951), and then made the picture that would prove to be an enormous comeback vehicle for him: High Noon (1952).
He was a close friend of Bing Crosby, who named his eldest son after Cooper.
Turned down James Mason's role as an aging movie star falling on hard times in A Star Is Born (1954).
Was considered for Robert Mitchum's role in The Night of the Hunter (1955).
Lived with Anderson Lawler, a contract player at Paramount, in 1929.
In 1968 a "Variety" magazine poll of popular television personalities still included Cooper and his one-time rival Clark Gable, even though both actors had died nearly a decade earlier.
In 1925 he befriended another young, struggling, would-be actor named Walter Brennan. At one point they were even appearing as a team at casting offices, and although Cooper emerged in major and leading roles first, they would work together in the good years, too. Most memorably they starred in The Westerner (1940) together, where the general critical consensus was that Brennan's underplayed performance as Judge Roy Bean had stolen the film from Cooper.
In 1932 he was named as a supporter and benefactor of a right-wing organization known as the Hollywood Light Horse, which described itself as "a military organization formed to promote Americanism and combat Communism and radicalism subversive to Constitutional government", and which numbered English actor Victor McLaglen as one of its members. The assertion that Cooper was an active supporter was quickly withdrawn following protests by his representatives.
After talking with Carl Foreman on the set of High Noon (1952), Cooper realized there had not been an attempt by Communists to infiltrate Hollywood, and later regretted his part in founding the right-wing Motion Picture Alliance for the Preservation of American Ideals.
Was considered for the role of Richard Sherman in The Seven Year Itch (1955).
Writer Ayn Rand worked as an extra in Hollywood when she came to the U.S. from Russia, and she promptly became a fan of Cooper. When her novel "The Fountainhead" was made into a film, Rand was thrilled that Cooper was starring. Cooper's speech in a courtroom is one that Rand worked on for a very long time. When filming was over, Cooper admitted to her that he hadn't understood it.
Turned down Joel McCrea's role in the Cecil B. DeMille epic Union Pacific (1939).
He won an Oscar for playing Alvin C. York in Sergeant York (1941), making him one of 17 actors to win the Award for playing a real person who was still alive at the evening of the Award ceremony (as of 2015). The other sixteen actors and their respective performances are: Spencer Tracy for playing Father Edward Flanagan in Boys Town (1938), Patty Duke for playing Helen Keller in The Miracle Worker (1962), Jason Robards for playing Ben Bradlee in All the President's Men (1976), Robert De Niro for playing Jake La Motta in Raging Bull (1980), Sissy Spacek for playing Loretta Lynn in Coal Miner's Daughter (1980)_, Jeremy Irons for playing Claus Von Bullow in Reversal of Fortune (1990), Susan Sarandon for playing Sister Helen Prejean in Dead Man Walking (1995), Geoffrey Rush for playing David Helfgott in Shine (1996), Julia Roberts for playing Erin Brockovich in Erin Brockovich (2000), Jim Broadbent for playing John Bayley in Iris (2001), Helen Mirren for playing Queen Elizabeth II in The Queen (2006), Sandra Bullock for playing Leigh Anne Tuohy in The Blind Side (2009), Melissa Leo for playing Alice Eklund-Ward in The Fighter (2010), Christian Bale for playing Dickie Eklund in The Fighter (2010), Meryl Streep for playing Margaret Thatcher in The Iron Lady (2011) and most recently Eddie Redmayne for playing Stephen Hawking in The Theory of Everything (2014).
He was originally supposed to play the leading role in Frank Capra's Mr. Smith Goes to Washington (1939), but Harry Cohn refused to loan Cooper out so James Stewart was cast instead.
Met Soviet premier Nikita Khrushchev at a luncheon organized by Charles Feldman at Twentieth Century-Fox on September 19, 1959. Khruschev personally invited Cooper and his wife and daughter on a six-day, United States Information Agency-sponsored trip to Moscow and Leningrad. After Cooper entertained some Soviet dignitaries at his house in Hollywood, ultra-conservative gossip columnist Hedda Hopper publicly denounced him as "soft on Commies".
His mother Alice Cooper died in a Palm Desert convalescent home on 6 October 1967, at the age of 94. His brother Arthur Cooper died in May 1982, at the age of 87.
In May 1974 his body was removed from Holy Cross Cemetery in Los Angeles and reburied, under a three-ton boulder from a Montauk (NY) quarry, in Sacred Heart Cemetery in Southampton, New York, near his family. His wife explained, "Gary loved Southampton. This is what he would want".
High Time (1960) was originally planned to be a vehicle for Cooper.
He considered himself to be miscast in Peter Ibbetson (1935), The Adventures of Marco Polo (1938), Saratoga Trunk (1945) and Ten North Frederick (1958).
In May 1931, after finishing I Take This Woman (1931), the combination of exhaustion, physical illness and the conflict between his possessive mother and jealous mistress led to a nervous breakdown. He had been working 14 to 16 hours a day, sometimes 23, making one film by day and another by night. He suffered from anemia and jaundice, and his weight dropped 30 pounds to a dangerously low 148 lbs.
Was the original visual basis for pulp hero Doc Savage.
Marlene Dietrich said about him: "Gary Cooper was neither intelligent nor cultured. Just like the other actors, he was chosen for his physique, which, after all, was more important than an active brain.".
Before his cancer was found to be terminal, he had intended to play James Stewart's role in How the West Was Won (1962).
His daughter, Maria Veronica Balfe Cooper, was born on September 15, 1937. She goes by her married name, Maria Cooper Janis.
He was in a car accident as a teenager that caused him to walk with a limp the rest of his life.
He is the step-uncle of Brooke Shields. Her grandfather is Cooper's wife's step-father, Paul Shields.
The revised 1946 lyric to Irving Berlin's song "Puttin' On the Ritz ("Dressed up like a million-dollar trooper/Trying hard to look like Gary Cooper/Super-duper") refers to Cooper in his early sound and pre-cowboy days when he was considered the height of tall, natural American elegance. This persona is best seen in Ernst Lubitsch's version of Noël Coward's play "Design for Living" (Design for Living (1933)), in which he plays a character said to be inspired by Howard Hughes, whom Cooper very much resembled.
Although he was in failing health, his friend, director Henry Hathaway, had arranged to use him in his segments of How the West Was Won (1962). Upon his death, James Stewart, his best friend, accepted the role.
His father, an English immigrant to Montana who became a wealthy lawyer and rancher, was a judge on the Montana Supreme Court.
Born Frank Cooper, he changed his first name to Gary at the suggestion of his agent, Nan Collins, whose hometown was Gary, Indiana.
Pictured on a 44¢ USA commemorative postage stamp in the Legends of Hollywood series, issued 10 September 2009.
Often played the love interest of a significantly younger woman. A notable example is High Noon (1952) in which he and Grace Kelly played newlyweds. He was 51 and she was 22.
In November 1955 Cooper was announced to star under the direction of Gerd Oswald in The Proud Ones (1956). Eventually the film was directed by Robert D. Webb with Robert Ryan in the leading role.
According to James Garner's autobiography Cooper developed the habit of paying for everything by check, knowing that people would keep it for his signature and never cash it (it was a trick also used by Pablo Picasso, who once said he had seldom paid for anything--from lunches to cars to houses--because of it.
He played several military characters from the World War I era. Ironically, this ranged from the real-life Alvin C. York, the most decorated U.S. soldier from the Great War, in Sergeant York (1941) to the fictional Maj. Thomas Thorne, a cavalry officer accused of cowardice under fire in They Came to Cordura (1959).
Was an acting mentor to Kirk Douglas.
The word "obey" was removed from the traditional marriage vow taken by he and wife Veronica in 1933. They reportedly had an "open marriage".
He was a lifelong heavy smoker.
During the filming of Morocco (1930) he was treated dismissively by director Josef von Sternberg. Tensions came to a head after von Sternberg yelled directions at Cooper in German. The 6"3' actor approached the 5"4 director, physically picked him up by the collar and said, "If you expect to work in this country you'd better get on to the language we use here".
Spent two years at the Dunstable Grammar School in Bedfordshire, England.
He was originally a painter and artist and had sought to pursue that as a career. His drawings and watercolors were exhibited throughout the dormitory in college, and he was named art editor for the college yearbook. In fact, he started work as an extra with the intention of making money to attend an art course.
He never intended to become an actor and only began after meeting two friends from Montana when he first came to Los Angeles and, after working a series of odd jobs, was set up with a casting director who gave him work as an extra for five dollars a day and a rider for twice that amount. His intention was to save up enough for an Art course.
Mentioned in Bugs Bunny Rides Again (1948).
He never liked the film "The Westerner" and said "You can't make a western without a gunfight" He walked off the film and refused to start work on it. It was only after long battles with Goldwyn that he started work on it but always said that he wished he'd never made it.
He, in a partnership which included Bing Crosby, and Oliver Hardy had the Del Mar racetrack in Del Mar, California built in 1937.
Although often reported to be 6'3", Cooper himself usually gave his height as 6'2" in interviews.
Starred in nine Oscar Best Picture nominees: Wings (1927), A Farewell to Arms (1932), The Lives of a Bengal Lancer (1935), Mr. Deeds Goes to Town (1936), Sergeant York (1941), The Pride of the Yankees (1942), For Whom the Bell Tolls (1943), High Noon (1952) and Friendly Persuasion (1956). Wings is the only winner.
All five times he was nominated for the Best Actor Oscar, the film he was in was also nominated for Best Picture. Only Daniel Day-Lewis who has gone six for six, has a better track record with this in any acting category.
He was not a fan of baseball and had never played or even seen a game before being cast as Lou Gehrig in Pride Of The Yankees (1942).
On August 11, 2018, he was honored with a day of his film work during the TCM Summer Under The Stars.
He has appeared in seven films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Ben-Hur: A Tale of the Christ (1925), It (1927), Wings (1927), Morocco (1930), Sergeant York (1941), Ball of Fire (1941) and High Noon (1952).
Cooper was part of the Hollywood Hussars, a reactionary group with fascist sympathies founded by William Randolph Hearst, which claimed Ward Bond and Victor McLagen as members, from March-June 1935, until his agent convinced him to get out. The group did little more than parade around in fancy uniforms, practice military drills and parade at social events.
Gary Cooper was a great shot with rifle and especially with shotgun. He was an enthusiastic hunter of birds and big game.
His first starring role was in The Virginian in 1929.
Gary Cooper is mentioned in the movie "The Big Broadcast of 1937" (Paramount, 1936).

Personal Quotes (47)

Until I came along all the leading men were handsome, but luckily they wrote a lot of stories about the fellow next door.
If you hit the mark with two out of every five movies you'll keep the wheels of the cycle turning.
To get folks to like you, I figured you had to sort of be their ideal. I don't mean a handsome knight riding a white horse, but a fellow who answered the description of a right guy.
People ask me how come you've been around so long. Well, it's through playing the part of Mr Average Joe American.
[in 1931] I haven't read a half a dozen books in my life.
[February, 1942, accepting his Academy Award for Sergeant York (1941) from James Stewart] It was Sergeant Alvin York [Alvin C. York] who won this award. Because to the best of my ability, I tried to be Sergeant York. Shucks, I've been in the business 16 years and sometimes dreamed I might get one of these things. That's all I can say . . . Funny, when I was dreaming I always made a good speech.
[on banning the Communist party in the US] I think it would be a good idea, although I have never read Karl Marx and I don't know the basis of Communism, beyond what I have picked up from hearsay. From what I hear, I don't like it because it isn't on the level.
[in April 1961] Please make sure everyone knows how much their messages mean to me. They have added greatly to my peace of mind. I only wish some of the writers would take a more positive approach to the menace of cancer. I've got it, sure; but I'm not afraid to use the word. Some of them act like it's a dirty word. That's the wrong attitude. We should all bring it out in the open, recognize that it exists - and fight it! Cancer is everybody's enemy. We can't "think" an enemy out of existence by ignoring it.
[1956] A man like Arthur Miller, he's got a gripe against certain phases of American life. I think he's done a lot of bad. Ours is a pretty good country and I don't think we ought to run it down. Sure there are fellows like Willy Loman, but you don't have to write plays about them.
My whole career has been one of extreme good fortune. I think I'm an average actor . . . In acting you can do something and maybe . . . some people think it's fine, but you know inside of you that it can be done better . . . You don't feel that you really attained a goal in the acting business; you always feel that you're still learning.
Nan Collins, my manager, came from Gary, Indiana, and suggested I adopt that name. She felt it was more exciting than Frank. I figured I'd give it a try. Good thing she didn't come from Poughkeepsie.
The only achievement I am really proud of is the friends I have made in this community.
I don't like to see exaggerated airs and exploding egos in people who are already established. No player ever rises to prominence solely on talent. They're molded by forces other than themselves. They should remember this - and at least twice a week drop to their knees and thank Providence for elevating them from cow ranches, dime store ribbon counters and bookkeeping desks.
I suppose one of the most important things about real beauty is intelligence, and real womanliness - it's a combination of intelligence and all the instincts of womanhood, motherhood, and the beauty of girlhood. These things all sort of go in together, and they are in so many people who are not reputed beauties.
[on his fellow actors] I've been with some good ones, but maybe the best was Franchot Tone. I made two pictures with him and he stole both of them. Something went wrong with how he was handled; or who knows, maybe it was Joan Crawford. But he had everything - great at comedy and also at serious stuff if given the chance. Now The Lives of a Bengal Lancer (1935) is one hell of a picture, but you could take me right out of it and it would still be one. But it couldn't be much without Tone.
[on Sergeant York (1941)] I liked the role because I was portraying a good, sound American character.
You've got to have a fire under you, and when you're beginning, you've got one all the time. After you get established, you have to create your own fire, and it's never easy.
All this business about me never saying anything is a piece of crap.
[asked if he ever wanted to act on the stage] Not since I was at Grinnell. When I gave them the story that I was trying to do a Broadway play, I must have been desperate for publicity. I figured it didn't matter what I said. I learned very early that nothing you ever say gets quoted verbatim by the press. So for many years I may have clammed up, but I guess I've reached an age where I don't particularly care. Anyway, I talk.
I put in a call to Clark Gable to tell him about some deer I'd heard were running loose up in the Canadian Rockies. I was told he was on location . . . in Hong Kong. I called Robert Taylor. He was on location, too, in Italy, unless he had finished there and gone to England. James Stewart was in Africa. In the old days a company that went as far away as Texas was thought to be forsaking civilization for good. Today these countries are just part of the Hollywood scene and it's as [William Shakespeare said, "All the world's a stage".
Naturalness is hard to talk about, but I guess it boils down to this: You find out what people expect of your type of character and then you give them what they want. That way an actor never seems unnatural or affected no matter what role he plays.
[in 1960] People hang on after they should quit, because the urge to act stays with you. Sometimes in the middle of a scene I find myself saying a piece of dialog from 15 years ago. I've thought of retiring lots of times, but then I think I would just go nuts, and probably spend all my time searching for a really great Western script.
[on Cary Grant] I say he's a crack comedian, and isn't competition for me at all.
[after visiting Nazi Germany in 1938] There's no question in my mind that those people want to have a war. They're determined to be a world power and seem to feel that's the only way to become one. Those storm troopers are awesome. The atmosphere in Berlin - well, I've never sensed such tension.
I've had lines on my face since I was twenty. Wind and sun put them there.
In my whole life I've never had a woman so much in love with me as Ingrid Bergman was. The day after the picture [For Whom the Bell Tolls (1943) ended, I couldn't get her on the phone.
[after Clark Gable ended up with the role of Rhett Butler in Gone with the Wind (1939)] "Gone with the Wind" is going to be the biggest flop in history.
[October 1947] I have turned down quite a few scripts because I thought they were tinged with Communistic ideas.
[1960] Nothing I've done lately, the past eight years or so, has been especially worthwhile. I've been coasting along. Some of the pictures I've made recently I'm genuinely sorry about. Either I did a sloppy job in them, or the story wasn't right.
[1952] I like and admire Carl Foreman and am delighted to be in business with him.
[in 1958, on "Method" actors] It is hard to dig them because they move like hermit crabs - they have to have a shell to crawl into and they don't want anyone to get to know them . . . They are offbeat and strange and always thinking about themselves. They are always asking themselves, "Where do I fit in; what's in it for me?" These youngsters are doing it the hard way. They make a thorough study of being natural and being unnatural. The girls go around looking like they're made up for a death scene in a hospital room. I don't know why if a girl goes out in public she wants to make herself look ugly instead of a little bit attractive.
Naturally, the nearer the character you play comes to the character you are, the more authenticity you give it. You are not acting so much as being. The result is realism.
Movie acting is a pretty silly business for a man because it takes less training, less ability and less brains to be successful in it than any other business I can think of.
Having to work hard never had any real appeal for me, and that may have some connection with me being in the movies.
[on Hollywood] This is a terrible place to spend your life in. Nobody in Hollywood is normal. Absolutely nobody. And they have such a vicious attitude toward one another . . . They say much worse things about each other than outsiders say about them, and nobody has any real friends.
[October 1947] I feel very strongly that actors haven't any business at all to shoot their faces off about things I know we know very little about.
[following a 1943 USO tour to New Guinea] There's no coin in Hollywood, rich as it is, that can pay a fellow the way I've been paid for my little effort on behalf of the G.I.s out there. It was the greatest emotional experience of my life.
[to Robert Taylor after both had appeared before the House Un-American Activities Committee in 1947] I got a much bigger hand than you did.
(at a Friars Club testimonial dinner in 1961) If you asked me if I'm the luckiest guy in the world, all I can say is, "Yup".
[on Rio Bravo (1959)] It's so phony, nobody believes in it.
[on Josef von Sternberg] It was apparent that von Sternberg and Marlene Dietrich had a very close professional relationship. But it was only, in my experience, professional, without any love element. I got along with von Sternberg reasonably well, as all his direction and his instructions were given to Marlene, and the rest of us were left more or less to do as well as we could. I cannot remember that he ever told me how to play a scene.
[on Grace Kelly] She was very serious about her work, had her eyes and ears open. She was trying to learn, you could see that. You can tell if a person really wants to be an actress. She was one of those people you could get that feeling about, and she was very pretty. It didn't surprise me when she was a big success.
[on turning down the role of Rhett Butler in Gone with the Wind (1939)] Rhett Butler was one of the best roles ever offered in Hollywood and my screen character saw himself emerging from the film as a dashing-type fellow. But I said no. I didn't see myself as quite that dashing, and later, when I saw Clark Gable play the role to perfection, I knew I was right.
[23 October 1947] Several years ago, when communism was more of a social chit-chatter in parties for offices, and so on when communism didn't have the implications that it has now, discussion of communism was more open and I remember hearing statements from some folks to the effect that the communistic system had a great many features that were desirable. It offered the actors and artists - in other words, the creative people - a special place in government where we would be somewhat immune from the ordinary leveling of income. And as I remember, some actor's name was mentioned to me who had a house in Moscow which was very large - he had three cars, and stuff, with his house being quite a bit larger than my house in Beverly Hills at the time - and it looked to me like a pretty phony come-on to us in the picture business. From that time on, I could never take any of this pinko mouthing very seriously, because I didn't feel it was on the level.
Once in a while I like a good western. Gives me a chance to shoot off guns.
For me the really satisfying things I do are offered me, free, for nothing. Ever go out in the fall and do a little hunting? See the frost on the grass and the leaves turning? Spend a day in the hills alone, or with good companions? Watch a sunset and a moon rise? Notice a bird in the wind? A stream in the woods, a storm at sea, cross the country by train, and catch a glimpse of something beautiful in the desert, or the farmlands? Free to everybody.
I started pictures in the silent days and I took every job that came my way. Often I worked 18 hours steady. I got myself into such a run-down condition that I weighed only 148 pounds, and I'm six feet two.

Salary (75)

The Drug Store Cowboy (1925) $20
The Lucky Horseshoe (1925) $20 /day
Lightnin' Wins (1926) $50
The Winning of Barbara Worth (1926) $50 /week
It (1927) $10
Arizona Bound (1927) $150 /week
Wings (1927) $150 /week
Nevada (1927) $150 /week
Beau Sabreur (1928) $150 /week
Wolf Song (1929) $750 /week
The Virginian (1929) $3,400 /week
Seven Days Leave (1930) $5,000
Only the Brave (1930) $5,000
The Texan (1930) $5,000
A Man from Wyoming (1930) $5,000
The Spoilers (1930) $5,000
Morocco (1930) $6,625
Fighting Caravans (1931) $8,000
City Streets (1931) $7,000
I Take This Woman (1931) $7,000
His Woman (1931) $7,000
If I Had a Million (1932) $30,000
A Farewell to Arms (1932) $2,500 /week
Today We Live (1933) $44,000
One Sunday Afternoon (1933) $44,000
Design for Living (1933) $44,000
Operator 13 (1934) $3,000 /week
Now and Forever (1934) $129,000
The Wedding Night (1935) $124,000
Peter Ibbetson (1935) $124,000
Desire (1936) $93,000
Mr. Deeds Goes to Town (1936) $90,000
The General Died at Dawn (1936) $90,000
The Plainsman (1936) $90,000
Souls at Sea (1937) $370,000
Bluebeard's Eighth Wife (1938) $150,000
The Adventures of Marco Polo (1938) $150,000
The Cowboy and the Lady (1938) $150,000
Beau Geste (1939) $150,000
The Real Glory (1939) $150,000
The Westerner (1940) $150,000
North West Mounted Police (1940) $150,000
Meet John Doe (1941) $150,000
Sergeant York (1941) $150,000
Ball of Fire (1941) $150,000
The Pride of the Yankees (1942) $150,000
For Whom the Bell Tolls (1943) $150,000
The Story of Dr. Wassell (1944) $200,500
Casanova Brown (1944) $150,000 + % Points
Along Came Jones (1945) $150,000 + % Points
Saratoga Trunk (1945) $200,000
Cloak and Dagger (1946) $200,000
Unconquered (1947) $300,000 + 10% of gross
Good Sam (1948) $250,000
The Fountainhead (1949) $295,000
Task Force (1949) $295,000
Bright Leaf (1950) $295,000
Dallas (1950) $295,000
You're in the Navy Now (1951) $295,000
Distant Drums (1951) $295,000
High Noon (1952) $60,000 + % Profits
Springfield Rifle (1952) $295,000
Return to Paradise (1953) $295,000
Blowing Wild (1953) $295,000
Garden of Evil (1954) $300,000
Vera Cruz (1954) $500,000 + 10% gross
The Court-Martial of Billy Mitchell (1955) $295,000
Friendly Persuasion (1956) $295,000
Love in the Afternoon (1957) $295,000
Ten North Frederick (1958) $295,000
Man of the West (1958) $295,000
The Hanging Tree (1959) $275,000
They Came to Cordura (1959) $275,000
The Wreck of the Mary Deare (1959) $275,000
The Naked Edge (1961) $275,000

See also

Other Works |  Publicity Listings |  Official Sites

View agent, publicist, legal and company contact details on IMDbPro Pro Name Page Link

Contribute to This Page

Recently Viewed