Roaming Range Reporter

Continued from March 2013, Smoke Signals

Reel Cowboys of Western Cinema

A Century of Silver Screen Heroes on Horseback
Number 12 in the Series

 
By Gary Eugene Brown

This month's featured Western star, like some others who preceded him, was indeed a working, ranch cowboy before arriving in tinsel town. However, in his case, his father owned the ranch. His original career interest was to become an illustrator. However, finding it difficult to find a job in that field, he began playing bit parts in films in the mid-20s. He went on to be one of the most heralded leading men in the history of cinema. He was a man's man and a heart throb for the fairer sex. He portrayed in films, some of the most famous men in the first half of the 20th Century. Cast in many different film genres; he associated mostly with the Western. His closest friends included diverse personalities, ranging from the conservative Hollywood set which he belonged to, such as Jimmy Stewart and Joel McCrea, to the "Lost Generation" novelist Ernest Hemingway and the symbolism artist and avowed communist Pablo Picasso. Alistair Cooke, in a moving essay entitled "Sunset in the West" described him as being a man who "personified the heroic myth of the taut but merciful plainsman who dispenses justice with a worried conscience, a single syllable, a blurred reflex action at the hip, and who faced death in the afternoon as regularly as the matador, but on Main Street, and for no pay." In doing so, "he represented every man's secret image of himself: the honorable man slicing through the daily corruption of morals and machines. He isolated and enlarged to six foot three inches an untainted strain of goodness in a very male specimen of the male of the species." The revered "merciful plainsman" who I, along with many others of my age, were named after was:

GARY COOPER

Born a cowboy in waiting, Frank James Cooper first saw daylight on May 7, 1901, in Helena, Montana. His parents, Charles and Alice Cooper, emigrants from Great Britain, purchased the 7 Bar 9 cattle ranch. Charles Cooper went on to become a successful attorney and later a Montana Supreme Court jurist.  In 1910, Alice Cooper, wanting her sons to receive a better education than that offered at the time in Montana, took Frank and his older brother Arthur, to her native England where they attended Dunstable Grammar School in Bedfordshire. With war looming in Europe, they returned to Montana two years later.

While visiting his father in the state capitol, young Frank was taken aback by a great mural of the Lewis and Clark expedition, painted by the legendary C.M. "Kid" Russell. This life changing moment inspired him to become an artist. He recalled thinking: "I'd give anything to be able to paint like that." But, before he could become an aspiring artist, Frank had to first tend to 500 head of cattle. He recalled "It was really glamorous....up at four-thirty A.M. shoveling manure at forty degrees below zero."

At age 13, Frank was riding with his best friend Harvey Markham in a special Model T Ford. It was "special" in that Harvey's legs were paralyzed due to a bout with polio, which required him to use specially adapted hand controls. While descending the steepest hill in town, the hand control for the brakes failed and the auto flipped over. Harvey was thrown free, however the car rolled over Frank. The doctors couldn't find any broken bones, however assumed he had torn some ligaments in his hip. He was told to just lie in bed until he was able to mend. Being bored, Frank tried crutches, however it was too painful. As such, to get around, he rode a "gentle colt." He learned to anticipate every move of the young horse to help avoid sharp pain.

Often, he would ride alone up into the high country and sketch wildlife hour after hour. Frank wanted to be a "painter of nature" in the style "somewhere between the detail of Audubon and the scope of Russell" so he decided to go to art school. Skipping to the future, as a young film actor, Frank had a horse wreck performing a stunt before the camera and was transported to a hospital. The orthopedist came by with X -rays and asked him when he had broken his hip. The reply - "never did." The doctor was taken back. He showed Frank a crack in his hip, wide as the "Grand Canyon." The doctor said it never mended properly and had just filled in. Frank told him he would ride horseback to get around to which the doctor almost went into shock, wondering how he could have endured the pain. The bone specialist told him he would have put him in traction and immobilized him for weeks. In looking back, Frank had no regrets. He learned to ride a horse in a natural way, which helped him to do all his own riding in twenty western films. Also, he was able to spend countless hours in the wilderness painting to his heart's delight.

Frank Cooper after graduating from High School in Bozeman, enrolled in Iowa's Grinnell College where he studied art and tried out for parts in school plays. However, a professor in the Drama department, upon observing Frank act remarked: "Shows no promise." Frank quit college and returned to Montana, where he worked as a cow puncher, drew sketches for the local paper and worked as a summer guide in Yellowstone Park. His parents moved to Southern California for a warmer climate and Frank soon followed. He said he "would rather starve where it was warm, than to starve and freeze too." He tried finding work as an illustrator, however was not successful. But, he did find part time employment in a budding new industry - motion pictures. Frank Cooper obtained bit parts and stunt work, mostly in westerns. He was cast in unbilled parts in Tom Mix's 1925 Dick Turpin and in Jack Holt's Wild Horse Mesa (1925). His first starring role was in a 2 reel western Lightnin' Wins with Eileen Sedgwick. Frank signed with an agent Nan Collins, who advised him to change his first name to Gary. It was after her native Gary, Indiana...a "rough, tough" blue collar town. He later said "I figured I'd give it a try. Good thing she didn't come from Poughkeepsie."

"Coop" as he was called by his friends, was cast in the 3rd lead of Henry King's The Winning of Barbara Worth (1926), epic, contemporary western regarding bringing water to California's Imperial Valley, based upon the popular novel by Harold Bell Wright. The screenplay adaption was by Frances Marion, the wife of cowboy film star Fred Thomson. The main stars were the well-known Ronald Colman and Vilma Banky. Studio Chief Samuel Goldwyn after observing rushes of the young Gary Cooper realized that he had the best part in the film. As such, he ordered footage of Coop to be reshot and to extend the scenes he was in. Also, Goldwyn advised King to delete his death scene. Variety, in its review of the film, said the virtually unknown Gary Cooper stole the picture from Colman and that he "had a big future in store." The reviews led to Paramount inking him to a long term contact. Later, Paramount would give him 7th billing behind Clara Bow, Charles "Buddy" Rogers and Richard Arlen; the lead actors in the WWI film Wings (1927). The much heralded movie won the first Oscar given for the Best Picture. Contrary to Paramount's claim, their new star was not discovered in Wings. It was his previously released, scene stealing role as cowboy Abe Lee in The Winning of Barbara Worth.  

Coop would go on to make The Last Outlaw, Arizona Bound and Zane Grey's Nevada with William Powell in 1927. Then in 1929, Gary Cooper was cast in the lead of one of the first "talking" photoplays - Owen Wister's The Virginian (1929), along with Walter Houston, Richard Arlen and Mary Brian. William K. Everson, film historian, commented that The Virginian demonstrated "just how much the Western could benefit from natural sound."  Prior to this time, the studios were quite concerned that they would not be able to do justice in capturing the sounds of an outdoor western picture show. Gary Cooper would go on to make The Texan (1930), The Spoilers (1930) and Fighting Caravans (1931). Then Paramount decided they would feature their popular cowboy actor in other roles. As such, Coop starred in films such as: Morocco (1930); A Farewell to Arms (1932); Operator 13 (1934); The Lives of a Bengal Lancer (1935); Peter Ibbetson (1935); Mr. Deeds Goes to Washington (1936) and Lewis Milestone's The General Died at Dawn (1936), among others. In 1936, he was cast in his first western in several years The Plainsman (1936) as Wild Bill Hickok with Jean Arthur portraying Calamity Jane.  Coop costarred with Merle Oberon in a contemporary comedy The Cowboy and the Lady (1938).  He also played the lead in Beau Geste (1939) after turning down the role of Rhett Butler in David O. Selznick's Gone With The Wind (1939). When asked why he did, his reply: "Gone With The Wind is going to be the biggest flop in Hollywood's history. I'm glad it'll be Clark Gabel who's falling flat on his nose, not me." John Ford also wanted Gary Cooper to play the Ringo Kid in Stagecoach (1938). Clark Gable and the Duke were pleased their friend Coop had questionable judgment in selecting films to make.

There have been rumors for years that Gary Cooper was one of Hollywood's most well-known Don Juan. Well once and for all I can say.....it was true, at least according to the late, great character actor Jack Elam, whom True West magazine selected as the greatest Western Bad Guy of all time. Jack and I both lived in Ashland, OR. As such, I had the opportunity to listen, for many an hour, about his experience in Western cinema. Jack worked with all the great ones from John Wayne to Tyrone Power. He was the funniest man I've ever known and was a great story teller; however his stories were based on fact. Jack once told me that of all the male super stars he had known, the one that had numerous dalliances with female starlets was Gary Cooper. He was also quick to add that Coop was not trying to increase his number of conquests like adding notches to one's pistol grip...it was the other way around...women threw themselves at him. Maybe it was the slow talking, almost bashful, lithe, cowboy image that drew them like a dog on a bone. The gossip magazines had him linked to many actresses such as Clara Bow, Lupe Velez, Marlene Dietrich, Carol Lombard, Ingrid Bergman, Grace Kelly and Patricia Neal. Coop was not the type to kiss and tell; however the Hollywood columnists kept his reputation as a ladies' man in the forefront.  

In 1933, Coop met, romanced and married the attractive socialite Veronica "Rocky" Balfe. Her father was the head of the New York Stock Exchange. Rocky had also appeared in three films as "Sandra Shaw". The most noteworthy, being King Kong (1933). She is the woman Kong drops in his frantic search for Fay Wray. Rocky was no shrinking violet as she became the Women's Skeet Shooting Champion of California in the mid-30s. The two were happily married for all but a few years of their lives together. Being raised a strict Catholic, divorce was never an option for Rocky, and so perhaps she turned a blind eye to his occasional flings if he was discreet. Coop later even converted to Catholicism. The two also had a lovely daughter Maria, born in 1937.

In 1940, Gary Cooper would make The Westerner with his longtime friend Walter Brennan as Judge Roy Bean. During the mid-20s, the two would often go to casting calls as a duo. They made eight pictures together from 1925 to 1949. The Westerner was not a box office hit or critically acclaimed at the time. Even today, it does not receive the attention it should. William K. Everson noted: "Carefully directed by William Wyler, it provided Gary Cooper with one of his best roles in a long while, and earned Walter Brennan another Academy Award for his performance as Judge Roy Bean." According to Everson, with the release of Cecile B. DeMille's North West Mounted Police (1940) immediately following The Westerner, "it helped reestablish Cooper as the preeminent star of grade 'A' Westerns until overtaken by John Wayne."

From 1941 to 1943, Gary Cooper was the premier actor in Hollywood. During this two year period he starred in Meet John Doe (1941); Sergeant York (1941) led to his winning the Best Male Actor Oscar playing Sgt. Alvin York; The Pride of the Yankees (1942) for which he was nominated for an Academy Award for his portrayal of the NY Yankee's Lou Gehrig; and followed with another Best Actor nomination in 1943, for his role as Robert Jordan to Ingrid Bergman's Maria in For Whom the Bell Tolls. Bergman once shared what it was like working with Gary Cooper: "You never noticed that he was working. He spoke quietly, never tried to do an interpretation like Alec Guinness. Instead he did little things with his face and hands, little things you didn't even know were there until you saw the rushes and realized how tremendously effective he was..."

For Whom the Bell Tolls was the second film Coop made based upon novels by his dear friend and hunting buddy Ernest Hemingway. In Coop's daughter's touching book of family photographs Gary Cooper Off Camera, artist Maria Cooper Janis, wife of pianist/composer Byron Janis, shared a remembrance of her Poppa (her father) and Papa (Hemingway), whose friendship began around 1940 in Sun Valley, Idaho. The two families would often vacation together at the same lodge. Maria said "It was amusing to see them together. Cooper always looked impeccable, even though totally casual. Ernest could have cared less. Ernest had a way of making fun things even more fun and everyone looked to him to lead the pack. Although the guys liked having a good stiff drink, it was never part of their 'fun' to drink and handle guns. And if they were out hunting with women along, in true chivalrous fashion, Ernest would always place them so they could get the best shots." Maria goes on to say that "the two men met and formed a bond, perhaps unlikely, that existed whether in Idaho or Cuba or Paris or New York for as long as they lived."  

Along Came Jones (1945) was developed by Cooper's own production company. It costarred Loretta Young, William Demarest in an outstanding role and Dan Duryea as the villain. The screenplay was based on a novel Useless Cowboy by the great western novelist Alan Le May. It was entirely a light hearted, comedic role for Coop. He, as mentioned previously, sometimes did not fare well in the selection of films. As such, from the mid-40s to the early 50s, with the exception of The Fountainhead (1949), the movies were not memorable. The Fountainhead was based on the best seller novel by Ayn Rand and costarred the young Patricia Neal. A well-publicized romance began between the two stars which continued for approximately three years. Coop even left his home when confronted by the embarrassed Rocky. Yet, the Coopers never divorced and reconciled after the affair with Neal ended.

With his popularity in decline and John Wayne having surpassed him as the leading Western film star, a lucky break came along for Coop. Stanley Kramer was going to produce an "adult western" based upon a magazine story by John W. Cunningham The Tin Star. Coop was to be directed by a family friend Fred Zimmerman. The movie was entitled High Noon (1952). The story was filmed mostly in real time with the clock being a primary prop. It reminded the audience that danger was approaching with each tick tock of the clock. Bosley Crowther in his review for The New York Times, said: "Every five years or so, somebody - somebody of talent and taste, with a full appreciation of legend and a strong trace of poetry in their soul - scoops up a handful of clichés from the vast lore of Western films and turns them into a thrilling and inspiring work of art in this genre. Such a rare and exciting achievement is Stanley Kramer's production, High Noon. Like most works of art, it is simple - simple in the structure of its plot and comparatively simple in the layout of its fundamental issues and morals. Mr. Cooper is at the top of his form in a type of role that has trickled like water off his back for years. Meaningful it its implications, as loaded with interest and suspense, High Noon is a western to challenge Stagecoach for the all-time championship." The film would result in winning Oscars for Stanley Kramer for Best Picture, Best Editing, Best Song (Do Not Forsake Me) and another Best Actor Academy Award for Coop. He was in Mexico on location and could not attend the Academy Awards. As such, he asked his friend John Wayne to accept it on his behalf should he win. It was ironic and sly on Coops part as the Duke openly said he disliked the film. Coop also won the Golden Globe award for Best Actor playing Sheriff Will Kane and was selected by Photoplay magazine as the Most Popular Male Star in 1952.

High Noon was previewed by the public to obtain their reaction. Kramer and Zimmerman thought the scenes leading up to the showdown were too drawn out. It needed a light hearted break from the suspense. A decision was made to add additional scenes and so they brought in Jack Elam. Jack was in the scene where Sheriff Kane realized he may be killed; so he needed to let the town drunk (Jack) out of jail. Jack said he and Coop were the only actors on the Hadleyville set. They were setting in their director chairs, relaxing between takes, when Coop realized someone was standing behind them, off to the side. He turned and recognized a crew member of Hispanic descent. Coop called him by name, let's refer to him as Juan Garcia - "Juan, do you want to see me?" Juan came over, visibly nervous and timid. Coop asked him what he wanted and Juan pointed to the corner of a town building. There stood a young, plump Latina in a bright red dress, made up like she was going to the ball. Coop said "Juan, is that your wife...would you like me to meet her?" "Why yes, Mr. Cooper, if you'd be so kind." Coop replied "Why sure bring her over, I'd be glad to meet her."  Juan brought over his young wife and the leading man stood up to greet her and insisted she set in his canvas chair with his name on the back. Coop then squatted down like cowboys out on the range and began to talk to her as though she was a VIP. It was not easy for him to bend down as he had hurt his back earlier in a fight scene with Lloyd Bridges and aggravated it again when he lifted up Grace Kelly in another scene. After a while, Coop asked: "Mrs. Garcia, it is getting warm, would you like a Coca Cola?" The young lady sheepishly replied that would be nice. Juan tells Mr. Cooper that he will go get them some cokes. Coop stands up and says to Juan. "No, I'll go.....your place is here with your wife.  Jack, do want a coke too?" The tall thin, actor walks off to the commissary and returns with soda pops for all four of them. He kneels back down and devotes his attention entirely to Mrs. Garcia. Here he was, an Oscar winning, mega star, treating one of many crew member's wife as though she was the Queen of Sheba. Jack was impressed with this gentle, humble man with a household name, in that he was so kind, genuine and respectful. Jack then glances up and sees Juan standing behind Coop, wiping a tear from his eye. That was the real Gary Cooper!

The two times Academy Award winning actor would go on to make other Westerns such as Springfield Rifle (1952), Garden of Evil (1954), Vera Cruz (1954) with Burt Lancaster and Jack Elam in a supporting role, Man of the West (1958) and The Hanging Tree (1959). In addition he starred in other films, some of which included the heart-felt Friendly Persuasion (1956), Billy Wilder's Love in the Afternoon with Audrey Hepburn (1957) and The Wreak of the Mary Deare (1959) with Charlton Heston, Coop's next to last film. Gary Cooper would be diagnosed with prostate cancer in the spring of 1961. Soon it would spread to his lungs and bones. Coop realized that his time was nearly up: "If it is God's will, that's all right too." He declined further medication except for relief from occasional pain. In 1961, the Academy of Motion Picture Arts and Sciences provided an Honorary Oscar for Gary Cooper for his contribution to the profession. He was too ill to attend so his best friend, an emotional Jimmy Stewart, accepted it for him. Stewart's voice cracked when he announced to the world that the beloved movie star and his dearest friend had terminal cancer.

Gary Cooper died on May 13, 1961 in Beverly Hills. He was buried in Holy Cross Cemetery in Santa Monica.  Those in attendance at the memorial service were the Who's' Who of Hollywood which included, among many others: Fred Astaire, John Wayne, James Stewart, Jack Benny, Joel McCrea, Rosalind Russell, Burt Lancaster, Bob Hope, Frank Sinatra, Judy Garland and Randolph Scott. A few years later, Rocky and Maria moved to New York. With no more family on the West Coast, they moved the coffin to Southampton, where Coop is resting in eternal sleep.

In her pictorial book about her father, Maria Cooper Janus, reflected in her journal on the family's last visit to Sun Valley in the first part of 1961. On Sunday, her mother and father joined her to visit the cemetery to find the grave marker of Coop's and Papa Hemingway's old hunting guide "Beartracks." They dug down through the snow and found the plaque with Hemingway's inscription on it which read:   

                               He has come back to the hills that he loved,
                               And now he will be part of them forever.

"Monday - Papa Hemingway came back. We went up (to his and his wife Mary's home) for a drink at 6:30." Poppa shared with Papa that we had gone to Beartracks' grave and "how beautiful the inscription was." "Momma said, 'I hope you'll do it for us,' and there was a quiet, and then a mumbling from Ernest that said everything." "We walked outside, and Papa swung around and grabbed my Poppa, and in that cold, dark, two men embraced each other and only the trees and the night and three people who knew something very sad witnessed the good-bye. And who knows, especially now, if it the last time?" It was indeed their final farewell. Ernest Hemingway committed suicide in Ketchum, Idaho at age 61, only seven weeks after his dear friend Gary Cooper's died at age 60.

________________________________________________________________________

GARY E BROWN
is the retired Police Chief of Monterey, CA; Ashland, OR and San Clemente. However, his avocation is collecting western art and memorabilia including many Tom Mix items. Tom Mix was his father's hero, so he is Gary's as well. Gary wrote an article on Tom Mix for The National Film & Collectors Magazine - Hollywood Studio Magazine, as well as a recent article on Tom Mix's final day for American Cowboy magazine. He has also written articles on the Western Photoplays of the Golden Era and lectured on the Western Heroes of the Silver Screen. He can be reached at montereycowboy@hotmail.com or found, most mornings, at his son Jordan's Mavericks Coffee House in Visalia, CA....the site of "possibly the best coffee in the world" with walls of vintage cowboy movie posters and a collection of 66 original, autographed photos of yesterday's cowboy heroes.

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