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Any Gary Cooper Fans?

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There is not a soul on this earth who could have played that part except Gary Cooper. And no one could have played it any better.

 

People knew Gehrig when this movie came out- it was a big risk to play a man who had become familiar to all Americans, and he was one of the most beloved heroes ever. They knew the speech he gave, having heard it on the radio first hand. This movie could have come off wrong in so many ways. But it didn't, and the reason is Gary Cooper and a lovely script well made. Period.

 

It was during the war as well- so the "hokey" part just doesn't cut it with me. It captured feelings that many Americans had about baseball and America at that time. So what if it's a little sentimental? the author just can't take it that's all, don't blame it on the movie, blame it on yourself, Mr. "hokey".

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coopsgirl writes: "I?m a die hard Astros fan"

 

I won't hold that against you either.

 

The Astos have some great history with the Killer Bees and The Man Nolan Ryan.

 

I am an American league fan but I will say I believe the Astros had a better team than the White Sox in 2005. The Sox were in the zone or groove and nobody could beat them. Slow, lazy ground balls just seemed to find their way through the infield. They had not won in so long I believe God saw to it that the Sox won.

 

The Astros will get their day in the sun...

 

Unlike some of you ladies, I don't believe Gary was quite right for all the parts he played in. But The Pride of the Yankees was made for Gary: hard work, love of country, what's right and wrong and love for family and friends. That's the Gary Copper I respect.

 

By the way, I believe you are a good Republican, too.

 

Most Gary Cooper fans are...

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That 2005 season sure was some crazy ride! We started off with a 15-30 record and then all the sudden we just took off and from that point on had the best regular season record in the majors. I think we lost the World Series b/c our pitchers had been overworked all season having to be nearly perfect to make up for our anemic offense. By the time late October rolled around, they were just out of gas. Even though we lost, it was awesome to finally make it to the series and I know too that one day we'll win one. Of course, we have a long way to go to catch up to the Yankees 26 titles ;).

 

I won't hold being a democrat against you if you don't hold being a republican against me :).

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Classic flix has the details up for the upcoming High Noon set. They got it wrong though in that they stated it has pretty much the same extras as the 2002 edition except for a short featurette titled Behind High Noon. Actually Behind High Noon was on the 2002 edition. The new extra is a full length documenary which John Mulholland produced titled Inside High Noon.

 

http://www.classicflix.com/high-noon-ultimate-collectors-edition-june-a-230.html?osCsid=522ov510tgum9nl4i6j9jsbed4

 

Classic flix also doesn't know that this will be the all new restored version. John made comment to me a good while back that he was waiting for Paramount to release his documentary and fully restored version of High Noon. So I figure if the documentary is included the full restoration will also be present. I am very much looking forward to Inside High Noon as it will go very deep into the Mccarthy thing and probably bring to the public's awareness a whole new image on some things. Below is link to the doc with the guests that will be on it, which will include one of our greatest presidents Bill Clinton who watched High Noon more times than any other president while in the White House.

 

http://www.modaentertainment.com/docuhighnoon.html

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Thanks, Danny Boy!! I'm so excited about this release I can hardly stand it!!!!!!!!!!!!!!!!!!! :D:D:D

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For the record below what was on the 2002 release and new one:

 

2002 bonus material:

 

Edition Details:

? Commentary by Maria Cooper-Janis, Jonathan Foreman, Tim Zinneman, John Ritter, and David Crosby.

? The Making of High Noon (22:09).

? Behind High Noon (9:47).

? Radio broadcast with Tex Ritter on the Ralph Emery Show (5:35).

? Artisan Trailers for High Noon (CE), Rio Grande (CE) and The Quiet Man(CE).

 

 

2008 release:

 

Audio Commentary with Maria Cooper-Janis, Jonathan Foreman , Tim Zinnemann and John Ritter

?Inside High Noon? ? 50-Minute Documentary on the Making of High Noon

?Tex Ritter: A Visit to Carthage, Texas? ? Portrait Piece on the Tex Ritter Museum

Full-Length Tex Ritter Performance of Oscar-Winning Original Song ?Do Not Forsake Me, Oh My Darlin?? on the Jimmy Dean TV Show

?The Making of High Noon? Featurette

?Behind High Noon? Featurette

Radio Broadcast with Tex Ritter

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Lionsgate** has announced a June 10th, 2008 release date for High Noon (1952) - Ultimate Collector's Edition. The 2 Disc DVD set will retail for $19.98, but is available at Classicflix.com for only $14.99.

 

No word on restoration, but the bonus features on this Ultimate Collector's Edition don't look too different than 2002's single disc release. The additional bonus feature is a ?Behind High Noon? featurette. And unlike the previous release, this set does include English and Spanish subtitles. Details below.

 

In the greatest showdown in the history of cinema, lawman Will Kane (Gary Cooper) stands to lose not only the town but his new wife (Grace Kelly). On the day he gets married and hangs up his badge, Kane is told that a man he sent to prison years before, Frank Miller, is returning on the noon train to exact his revenge. Having initially decided to leave with his new spouse, Kane realizes he must go back and face Miller. However, when he seeks the help of the townspeople he has protected for so long, they turn their backs on him. Now, Kane must stand alone in his fight for justice.

 

BONUS FEATURES:

 

Audio Commentary with Maria Cooper-Janis, Jonathan Foreman , Tim Zinnemann and John Ritter

?Inside High Noon? ? 50-Minute Documentary on the Making of High Noon

?Tex Ritter: A Visit to Carthage, Texas? ? Portrait Piece on the Tex Ritter Museum

Full-Length Tex Ritter Performance of Oscar-Winning Original Song ?Do Not Forsake Me, Oh My Darlin?? on the Jimmy Dean TV Show

?The Making of High Noon? Featurette

?Behind High Noon? Featurette

Radio Broadcast with Tex Ritter

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Hi CelluloindKid,

 

This was the article I posted a link to below and what I spent all of my posts talking about for the last week. However, the person that posts news over at classicflix doesn't know his Cooper like we over here know are Cooper as the article they wrote is full of misinformation. As stated below, they posted that it will more than likely be the same as the 2002 release with and added short feature on Behind High Noon. However, any serious cooper fan knows that Behind High Noon was on the 2002 release. One of the extra features not on the 2002 release is a full 50 min documentary produced by John Mulholland and not a short 10 min feature called "Inside High Noon". Also, the movie will be the new restored transfer as I heard from John that it would be released when his documentary came out and over at Home Theater Forum others are stating that they have also heard from very reliable sources that it will in fact be the new transfer and not the 2002 version. This is not even a rumor but fact at this point.

 

So I would like to point out to anyone that is thinking about not getting this because classic flix states it will more than likely be a re-release in different packaging, I would just like to say that this will be the definitive High Noon release and they can give their old versions to friends or relatives or toss them out.

 

Below is a list of things that this release will have that the 2002 release didn't have:

 

1. New definitive transfer of the film

2. Inside High Noon 50 min doc by our very own John Mulholland who has posted on this thread from time to time.

http://www.modaentertainment.com/docuhighnoon.html

3. ?Tex Ritter: A Visit to Carthage, Texas? ? Portrait Piece on the Tex Ritter Museum

Full-Length Tex Ritter Performance of Oscar-Winning Original Song ?Do Not Forsake Me, Oh My Darlin?? on the Jimmy Dean TV Show

 

I would say that with all this plus everything that was on the 2002 release, you can all officially get rid of your old releases.

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coopsgirl writes: "I won't hold being a democrat against you if you don't hold being a republican against me."

 

Not at all...

 

Maybe I did not make myself clear...

 

I am a very conservative Republican and so was Gary Cooper.

 

Have a great weekend...

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I don't think you could call Gary Cooper a very conservitive Republican. He did vote for FDR in 1932 and 1936. Gary was a great deal more complicated in his political beliefs than people like John Wayne and James Stewart. In fact Gary Cooper turned down making a movie with John Wayne because he was so opposed to his political beliefs. I will try to dig up that email if I can find it but do have this other one.

 

I will share an email on Cooper's complex political beliefs, which will be brought out more so in the new High Noon documentary by the same person who wrote me this email:

 

"Politics and Cooper is a complicated issue. Though he was conservative, he was hardly a right-winger (unlike Stewart, who was extremely right-wing, to the point of having been an informer for Hoover and the FBI for 20 years; something which drove a wedge between him and both Cooper and Fonda for some years.).

 

During the making of HIGH NOON, Cooper became embroiled in HUAC (he'd appeared as a "friendly" witness during the first day of hearings in 1947, named no names, no scripts, and said he was there only to assure the committee that Hollywood was not a nest of commies). He defended ex-Communist Carl Foreman against HUAC and self-styled American hero John Wayne (who threatened Cooper with being blacklisted if he didn't walk off the film after Foreman's name was kept on as screenwriter). He offered to testify on Foreman's behalf, threatened to walk off the film if Foreman's name was removed as screenwriter, issued a statement to the press that Foreman was the finest kind of American, etc., and publicly formed a company with Foreman after he'd been blacklisted and before NOON had become such a smash.

 

Bogart, the (so-called) liberal, whimped out when he was tested. He appeared in front of the Capitol in 1947, in opposition to HUAC. However, when he was accused of being soft on Communism, he quickly issued a statement that he was against Communism and renounced his association with the group with whom he'd appeared in Washington (including his wife), then gave an interview in which he apologized for having appeared in Washington -- a headline the next day read: "Okay, Humphrey, you can get off your knees now."

 

Not sure Bogart was so much a liberal as he was simply married to Bacall -- who was and still is very much a liberal. Cooper, the (so-called) conservative, voted for Roosevelt in both 32 and 36, supported the New Deal, and voted for Wilkie in 40 because Wilkie was an interventionist, as was Cooper.

 

Because of Cooper having put his career on the line for him, Foreman ever after sent his scripts to Cooper for first refusal, including; BRIDGE ON THE RIVER KWAI (Holden's role); GUNS OF NAVARONE (Peck's role), and THE KEY (Holden again).

 

Cooper was an utterly fascinating guy, so different behind the scenes than his screen persona -- and I don't just mean his jaw-dropping philandering -- he was great friends with Picasso, John O'Hara, Irwin Shaw, Jack Dempsey, James Watson (Nobel Prize, the Double Helix and DNA), etc."

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While digging through some of my emails from John, I found his July 21st email to me showing his disappointment in not getting his High Noon documentary out. He should be quite happy now that Lions Gate has taken over the double disc release:

 

"We did a behind the scenes doc on High Noon for Paramount last year --

interviewed Clinton, even; man was he articulate on High Noon, so bright

and full of boundless curiosity, and when I think of what we have now--,

oops, my politics were about to intrude -- Paramount was going to release

a double disc dvd on Noon. But they lost the US rights, somehow, and

will not have them back, at the earliest, until next year, maybe not even

then. So here we sit with this one hour Noon doc, covering everything,

especially the blacklist controversy, Cooper's extraordinary courage in

putting his career on the line for Carl Foreman both during and after

the film was finished, etc.

 

Frustrating, indeed!"

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CooprfanDan writes: "I don't think you could call Gary Cooper a very conseritive Republican. He did vote for FDR in 1932 and 1936."

 

Ronald Reagan was a Democrat at one time too...

 

That's not what my reading says about Gary...

 

He voted for Hoover...

 

I don't think he was ever a Democrat...

 

Right wing?

 

Maybe not..

 

But he was far from being a liberal Democrat or lefty...

 

His also voted for Dewey ...

 

Gary was without a doubt a conservative Republican...

 

Thanks for the response...truly...

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Gary is so hard to pigeon-hole b/c he had such varied interests and friends which makes him endlessly fascinating.

 

I've very glad to know that John's documentary will be on the new release and I can't wait to see an even better print of one of my fave films :).

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You could call Gary an independent. He voted for republicans and democrats. This is a fact. He was certainly of a different mold than John Wayne and James Stewart. He was against the republican blacklisting and he didn't like John Wayne at all which is my feelings as well. In fact out of 3000 dvd collection mostly of 30's-60's I don't own a single John Wayne movie. I guess you could say I have blacklisted him in my house.

 

I'm not sure you can call everyone a republican or a democrat. It is true I have voted for all democrats ever since I became of voting age, but may have to vote for McCain in this election. I would have voted for Teddy Rosevelt over Wilson (aweful president) as well and of course I would have voted for Lincoln.

 

The below very long article by John Mulhulland (the producer of the new 50 min documentary for the upcoming High Noon release) states quite well I think on what Gary's political beliefs were like. He is in fact an extremely good personal friend to Maria Cooper and worked with her at his company until she retired last year. It's a good story for most but may not sit too well with John Wayne fans or very conservitive republicans. It is of my humble opinion that John Muhulland is the world's leading expert on Gary Cooper and is right now getting a 2 hour documentary that he produced on the friendship between Cooper and Hemingway ready for release. He also did the documentary on the making of Sergeant York.

 

Entire article posted at the film journal.net:

 

http://filmjournal.net/john/2007/02/08/letter-from-america/

 

I do know that the below is just the tip of the iceberg as to what will be on the new documentary as it is not a making of type one but concerns its self on all the troubles on the set of High Noon with John Wayne and the hearings and all that.

 

"I was so pleased when John Mulholland replied to my piece on Vera Cruz; and very kind comments they were too. The utterly delightful thing is, that John is one of the leading lights at MODA Entertainment. As a writer and director of some rather spiffy documentaries, he possesses far, far more knowledge than I on Vera Cruz and High Noon, and imagine my delight when he was generously willing to share what he knows with me - and ultmately you, gentle reader - thus fleshing out both those blogs in a way I couldn?t have imagined whilst writing either.

 

John has kindly granted permission to share the emails he sent to me with you, and that is exactly what I intend doing here.

 

First off MODA Entertainment - it is, as you?ll see if you click on that link above, based on Madison Avenue, New York. By way of explanation: ??Its Board of Producers, uniquely consisting of estate holders of celebrated classic Hollywood actors, directors, and writers. MODA Entertainment spearheads many projects that introduce the history of Classic Hollywood films and actors to new generations. The Board of Producers are the decision makers, consultants, and active producers on all of MODA?s projects.

 

?The Board of Producers consist of Writer and Director John Mulholland, Stephen Bogart (son of actor Humphrey Bogart and actress Lauren Bacall), Maria Cooper (actor Gary Cooper?s daughter), Pia Lindstrom (actress Ingrid Bergman?s daughter), Jack Hathaway (director Henry Hathaway?s son), and Peter McCrea (actors Joel McCrea and Frances Dee?s son) among others. The Producers provide a unique link and history to classic Hollywood and the entertainment industry. They have been instrumental in ensuring that MODA Entertainment continues preserving the integrity of Hollywood?s Golden Age.?

 

Amongst the documentaries MODA has produced is Sergeant York: For God & Country on Warners recent SE disc of Hawks film, and The Children Remember, on Warners sublime Casablanca.

 

In his reply to my Vera Cruz blog, John said he had ?just finished a documentary? on Cooper and Hemingway and it was this that really set my juices flowing. Because my wheels turn exceedingly slow at times, I thought at first that John was just another enthusiastic fan, until - his name ringing loud bells in my head - I checked out IMDB.

 

It was then, bursting with curiosity, that I decided to email the documentary maker, and happily, as it turns out, he was just about to email me?:

 

??the doc is called Cooper And Hemingway: The True Gen. It hasn?t been released yet. Just finished it - well, allegedly finished is perhaps more accurate. In some ways, we blew it. We were accepted at the Venice Film Festival this past year, after they saw a rough cut. But we were unable to finish it and we had to decline.?

 

John says the initial cut was some nine hours long, but has been trimmed to about two and a half hours now for theatrical purposes. A DVD will likely show up at some point, probably longer than that (but no doubt shorter than nine hours), which is quite excellent news.

 

?The Cooper who emerged from research was such an astonishingly different guy than his public image - rather slow-witted cowboy, not much intellectual breadth, etc. - that I found myself in genuine awe of the man.

 

?Numbered among his good friends were not just Hemingway, but Picasso, John O?Hara, Irwin Shaw, Robert Sherwood, Clifford Odets, the Shah of Iran(?!?), Abba Eban, James Watson (co-discoverer of DNA), Babe Ruth, etc. His epic philandering has been well established, but the art connoisseur, the man of seemingly bottomless curiosity, infinite loyalty (as with trying to get Ingrid Bergman back to America and Hollywood by personally offering the lead opposite him in Friendly Persuasion, promising he?d take the heat for the decision), etc, were revelations.

 

?During the making of High Noon, Cooper became embroiled in the whole HUAC disgrace. In 1947, he had testified on the first day of hearings - named no names, no scripts, nothing - he was there, as he put it, to inform the committee that Hollywood was not a nest of communists. That this was a mistake, simply appearing, Cooper later acknowledged. But the waters hadn?t yet been muddied.

 

?When seemingly half of Hollwood?s leading men - Kirk Douglas, Peck, Brando, Heston, Clift - turned down High Noon, and a lettuce grower offered to put up the remaining $250,000 to meet its budget of $750,000, he did it with the proviso that Cooper star. No Cooper, no money.

 

?So, he read the script and leaped at it. Which is when the complex and very loyal man behind the myth came out. Jonathan Foreman, Carl Foreman?s son, graciously shared all of his father?s papers and notes and correspondence with me.

 

?Foreman, a former member of the Communist Party, was very concerned about Cooper and his political stand. So, he went to lunch with Cooper several months before shooting began and told him about having been a member of the Party. To his surprise, Cooper said it was Foreman?s business, not his.

 

?They became very friendly. When Foreman was publicly named as a Communist by an HUAC witness, there was a call for Foreman to be fired. John Wayne was a vocal leader in this. Cooper issued a statement to the press that, ?Carl Foreman was the finest kind of American. His politics were his business, and his alone.?

 

?Foreman?s date to testify was two weeks into ?Noon?s? shoot. Wayne and his cohorts - Ward Bond and Ginger Rodgers, among others - warned Stanley Kramer that the film would be blackballed if Foreman?s name weren?t removed as screenwriter. Kramer agreed. But when Cooper and Fred Zinnemann heard of this, they told Kramer they were walking off the film if Foreman?s name weren?t kept on. They got their way.

 

?Which incensed Wayne. He approached Foreman and urged him to name names or his career would be ruined and his passport lifted (both of which happened). Then, Cooper offered to testify on Foreman?s behalf, but character witnesses weren?t permitted. When Wayne heard about this, he warned Cooper that his career would be over if he didn?t walk off the film.

 

?Cooper, of course, told Wayne to go to hell. After the film was finished and Foreman had been blacklisted, and before it had become such a huge hit, Foreman formed his own company. Cooper publicly invested in the company. Big headlines in the trades, an article how they?d both produce, Foreman would write and direct and Cooper star, etc.

 

?But pressure over the next few days became so intense that Foreman realized they?d never get a film made and Cooper?s career would be ruined, too. He released him from any obligations and left for England.

 

?So impressed by - and grateful for - Cooper?s behavior, Foreman ever after sent Cooper his scripts for first refusal, including The Bridge On The River Kwai, The Key and The Guns Of Navarone. Cooper?s age and failing health forced him to reject all three.?

 

Gary Cooper, John Wayne?and Oscar

 

I asked John about the real reason Coop asked Wayne to accept his Best Actor Oscar for High Noon at the 1953 Academy Awards, always a puzzle in view of Wayne?s views on the film. His answer left me tickled pink?

 

Said John: ?I had a long talk with Anthony Quinn for Cooper/Hemingway. He knew them both and especially admired Cooper, who had saved him from being fired on his first day ever on a set (during The Plainsman). They became close friends.

 

?In March, 1953, during the Academy Awards ceremonies, Quinn and Cooper were down in Mexico shooting Blowing Wild. Both were nominated. As Quinn told me, he wanted to go up to LA for the awards, but when Cooper said he wasn?t going, he decided not to.

 

?Quinn said: ?Whatever Coop did, I would do. He was literally my idol?. So, a radio feed was set up. And Quinn was all excited, there was a party. But then he spotted Cooper and Barbara Stanwyck each grab a bottle of wine and start out. He asked Cooper if he wasn?t going to listen to the awards. Cooper said no and he and Stanwyck disappeared. Quinn said he really wanted to listen, maybe he?d win, but if Coop wasn?t going to listen, he wasn?t.

 

?Quinn grabs a bottle of wine and joins Cooper and Stanwayck, who?d settled up a hill, drinking their wine.

 

?After a while, the three of them are laying on their backs gazing up at the night sky, when Cooper starts chuckling to himself. Pretty soon, he?s laughing so hard that he has to sit up. Quinn and Stanwyck had no idea what he was laughing at. They asked him what was so funny.

 

?Cooper told them he?d run into Wayne a week before over in Cuernavaca. Quinn hoped that he?d belted him. But Cooper shook his head and said he?d asked him to pick up his Oscar should he win. Quinn said he couldn?t believe this, after Wayne had tried to get him blacklisted.

 

?But Cooper had this wonderfully dry sense of humor - both his parents were from England and he had spent three years in school in England - and Quinn said he almost rubbed his hands together with delight when he said: ?What?s the sonuvabitch going to say if I win!?

 

?Well, Cooper did win and Wayne did pick up the Oscar. And with utter chutzpah, colossal hypocrisy, Wayne said that he was going to ask his agent why he wasn?t offered High Noon by such a great writer as Carl Foreman.

 

?Wayne?s acceptance is on tape, and it is absolutely jaw-dropping. Why be surprised, I suppose. This is the man who ducked WW II (claimed he was sole support of his two children, as if farmers and bank clerks and cops, etc. weren?t)?was such a force during HUAC, and then had the gall to tell young men in the 1960s that they were cowards for not willing to die for their country in Vietnam.

 

 

?When I was going through Cooper?s papers, researching Coop/Hemingway - they?re in three different bins on the east side of Manhattan; I?d sit there all day, sometimes with Maria, his daughter, other times alone, amazing stuff in them - I came upon a carbon of a letter from some producer, might have been Hal Wallis, can?t be sure. And it was offering Cooper a role in a film called Lewis And Clark. Cooper would be Lewis and Wayne would be Clark.

 

?There was a huge ?NO!!!? scrawled across the bottom half??

 

On High Noon

 

MODA has also completed a new documentary Inside High Noon for Paramount for a 2-disc SE of High Noon that was slated for release last autumn in the U.S., but which has not materialised. Directed and written by John, it includes on screen interviews with Maria Cooper Janis (Gary Cooper?s Daughter), President William Clinton, Tim Zinneman (son of director Fred Zinneman) , Jonathan Foreman (son of screenwriter Carl Foreman), Prince Albert of Monaco, Brian Garfield, Lee Clark Mitchell, Stephen Prince and Meir Ribalow.

 

?Zinnemann sent Maria Cooper a letter in the late ?80s, in which he expresses frustration and, actually, some bitterness over the various lies about the final cut of ?Noon?? John told me.

 

?Maria reads it on in the documentary. But he (Zinnemann) is especially angry over Kramer?s claim that he is the father of the final cut, claiming credit for inserting the clocks.

 

?But Zinnemann?s annotated script, which we use (and which he sent Bill Clinton a copy while Clinton was President), clearly shows the clocks were there from the beginning. There are lines - ?Tight on clock, 11:07; close up clock, 11:25, etc.?

 

?As he explains in the letter, not only were the close ups there from the beginning, but that the script as written by Foreman precluded any realy editing magic. It was mostly precut because of the clocks in the background. To mess around with sequences would have been impossible, due to the clocks on the wall, on mantles, etc.

 

John added that far from what my research turned up for my original High Noon post, it was always, apparently, intended to play in ?real time?, and Foreman?s shooting script, a couple of scenes aside (described in the afrementioned post), is pretty much what you see on the screen.

 

?So much of what you delve into in your article is what we cover in the doc. Stuff I thought few others had ever noticed. Like, for example, the sweaty, dirty, clothing worn by the men in the saloon. Never really focused on, merely a part of the tapestry, but there none the less. More than a decade before Leone.

 

?The swipes at Coooper?s performance have always annoyed me. That whole ulcer nonsense is such a canard. If it were so debilitating, then that makes the performance even greater. These people always knock Cooper for being so self-pitying, so put-upon, in High Noon.

 

?How do these ?critics? miss that Cooper gives, in effect, two separate performances? When he is with others, when he is in public, he?s always got his masculine facade on, he is firm, in control, never showing a sign of weakness, even when asking for help, he?s strong. But when he?s alone, when no-one is watching, he?s anther man entirely. He?s angry, bitter, self-pitying, downright frightened.

 

?This is captured beautifully when he breaks down and cries, all alone, noon approaching. A man, crying! Then, when he realizes the boy has seen him, he sits back, stiffens his back, shifts his shoulders and his expression for an instant is startled, then the masculine mask is back on. He?s firm, in control.

 

?All man.

 

?It?s one of the most emotionally naked performances in all of film, though not emotionally naked in the style of a Brando or a Pacino.?

 

Again, my profound thanks to John Mulholland, not only for taking the time out to reply to my blog, taking the time to make a complete stranger happy, but for going several steps further and transforming a simple post into a wonderful treasure trove; seems we are both paid up members of The Gary Cooper Appreciation Society. Which is nice.

 

I hope you enjoyed that as much as I did."

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CoopfanDan,

 

If it makes you feel better to say Gary was not a Republican but independent, then so be it for you.

 

I will use this simple source to give you some background on Gary...

 

There are many others but I'm not going to get into a contest with you because there are many here who are big fans of Gary--as I am.

 

Have a great evening...

 

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 Delano Roosevelt should serve no more than two terms of office, and endorsed Thomas E. Dewey in 1944. IMDB

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I will close this by saying: If Gary Cooper was a "conservitive" republician then he was infinately more superior in his views and thoughts to any other republician that ever lived with only Lincoln coming in a close second. With James Stewart as an informer for the FBI to turn in his friends -- well that just lives up to the republican name in my view. With John Wayne storming on sets and trying to get people fired for being commies and getting out of ww2 and calling people cowards for not fighting in vietnam -- well again typical republican in my view. Gary Cooper and the way he cared about others and always trying to reach out a helping hand even if they were once members of the communist party -- typical conservitive republican? Not in my book. George W. Bush -- Typical conservitive republician? Yes Sir.

 

Sources for Gary Cooper other than John Mulholland as I think most people that have posted here can attest by reading any of those inaccurate nightmare messes of books on his life are a waste of time. If you want to know anything about the life of Gary Cooper, you must go to John Mulholland for the answers either by watching one of his documentarys, reading his web postings, listening to the ICONS radio show or corresponding by email to him. He is the Gospel for Gary Cooper facts, which is why I will only quote from him or direct quotes from Gary Cooper himself in any of my postings. Most of the information he knows on Cooper was gathered over decades by talking to people that knew Gary Cooper personally, like Maria Cooper, Charlton Heston, Anthony Quinn ect. ect.

 

In fact I recommend listening to the ICONS radio show to find out more on Gary Cooper. There is an excellent interview on there with Charlton Heston dated 4.08.07 and of course Heston was a liberal democrat back when he was good friends with Coop. Most of the shows on there if the actor or actress had any involvement with Gary Cooper in a movie or in his personal life is brought out by John during the radio interviews I can assure you.

 

http://www.iconsradio.com/pastshows.htm

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Actually Imdb is wrong where you got your information. John stated in my previous post that Cooper voted for Rosevelt in 1932 and 1936 and supported the new Deal. This is just yet one more example of where someone posted something false from one of those highly inaccurate bio's on Cooper. They are full of mistakes that were written by people that have no interest in Gary Cooper and often state this in their movie section by giving the majority of his movies 1 or one and half stars. These books were written to make profit off of him and nothing more. The very next week they were working on bios for someone else. John is a devout lifelong supporter of Gary Cooper and his knowledge on Cooper is true.

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Gary Cooper is one of my favorite actors! High Noon and Meet John Doe are two of my favs. of his. I loved the message in Meet John Doe, it is a shame it is such an underated film. The very last scene ( Empire State Building) is one of my all time favorites in any movie. " If its worth dying for its worth living for"..LOVE that line.

 

Dawn

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Dan writes: "They are full of mistakes that were written by people that have no interest in Gary Cooper and often state this in their movie section by giving the majority of his movies 1 or one and half stars."

 

Nice spin Dan...

 

Get over it. Gary was a conservative Republican...

 

Patricia Neal said Gary was a conservative but she did not think he was right wing.

 

I think Pat KNEW some things about Gary, too...

 

As I said in my previous posts, you are free to believe as you please.

 

But you won't change my mind and many others who have read about Gary.

 

If fact, I remember listening to the MIchaell Medved show a while back where he discussed Hollywood and Gary was mentioned and talked about as a conservative Republican and there are not many of them left in Hollywood.

 

Let's move on...

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Sorry but our meanings for "Conservative" republican must differ. In my mind a conservitive republican is a right winger like George W. Bush, his father and Ronald Reagan. Gary Cooper was not that republican. Gary Cooper was conservative to the very liberal Pat Oneal. If you listen to any of the right wing radio shows, John Mcain is not considered a conservitive republican but a liberal republican. My view is that Mcain is very much a moderate republican in the middle and as far to the right as I would ever dare venture for a president. Bill Clinton is considerate a moderate democrat. What might be the link between Gary and Bill? Well Bill who was raked through the fire for having an affair by republicans who wanted to impeach him but was not even close to the hundreds of women that Gary had affairs with. In fact Gary had affairs with just about every leading lady he was ever in a movie with including the young Audrey Hepburn. I personally don't see anything wrong with it all as it just shows how much love he had and was willing to give to so many. Very different from the truely conservative stiff necked James Stewart who was born 10 miles from where I live. So you may want to rephase that and say that Gary Cooper was a conservative (what Pat Oneal called him) or he was a republican but not both as there is a whole new meaning to me when you bring both of those terms together and it spells right wing Rush Limbaugh. He was no right wing republican for sure. Now John Wayne, William Powell, James Stewart, Walter Pidgeon, Robert Taylor were all die hard conservative republicans and not in the same class of person as Gary Cooper was for sure.

 

Just to show how different Gary was from these people below are a few examples:

 

"A Republican, in October 1947 Taylor was one of the first friendly witnesses to testify to the House Unamerican Activities Committee (HUAC) about Communist infiltration in Hollywood, complaining that he had been forced to make Song of Russia (1944). This claim was not entirely correct; Taylor habitually accepted virtually every assignment while under contract at MGM during Louis B. Mayer's reign. He was a hunting companion of Gary Cooper, with whom he testified as a friendly witness to the House Unamerican Activities Committee (HUAC) on 23 October 1947. Unlike Cooper, Taylor did name names. He was a right-wing Republican who could out talk Ronald Reagan on the subject of the supposed "communist threat" any time. He was ultra-conservative in his views, active in local and national politics, with a keen eye on the international stage."

 

"According to Salt of the Earth (1954) producer Paul Jarrico, who had been blacklisted during the Red Scare of the 1950s, Pidgeon tried to stop the production of the film (which was being made by blacklistees) in his capacity as president of the Screen Actors Guild, which had signed off on the blacklist. In a 1997 interview, Jarrico said, "There was a concerted effort to stop the making of the film after it became known that we were making the film. We had started the film in quite a normal fashion with contracts with Pate Lab to develop our film and rental of the equipment from Hollywood, people who supplied such things. A whistle was blown by Walter Pidgeon, the then president of the Actors Guild, and the FBI swung into action and movie industries swung into action and we found ourselves barred from laboratories, barred from sound studios, barred from any of the normal facilities available to film makers, and we found ourselves hounded by all kinds of denunciations on the floor of Congress and by columnists. The public was told that we were making a new weapon for Russia, that since we were shooting in New Mexico, where you find atom bombs, you find Communists, and every kind of scurrilous attack - vigilante attacks - on us while we were still shooting developed."

 

Yes I am through with this topic myself on this thread. I'm really not sure just how big of a fan you are of Gary's but my view is that he was at least 100 times better than any other actor that ever lived. People like James Stewart, John Wayne or even the very liberal people like Gregory Peck and Henry Fonda are not even worthy to be brought up in the same conversation of greatness. Nearly everyone else is a b actor when compared to Gary. There's really only a few that I would consider better than that when compared to Gary and it is a very short list:

 

1) Cary Grant

2) Clark Gable

3) Spencer Tracy

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One final posting on that long article I posted about the difficulties with High Noon several posts ago. A John Wayne fan took offense at it in a posting below the article and some fellow named John who seemed to have a very good knowledge of Gary Cooper replied to him and his post.

 

"Jay - February 11, 2007

Attack John Wayne and you are attacking one of the greatest Americans. In the first place, the United States gave John Wayne the Medal Of Freedom, not Gary Cooper. John Wayne stood up his whole life for America. Cooper went to Russia in the late fifties, spending two weeks touring. Wayne never would have done that.

 

In the second place, the government wanted John Wayne to make war movies during WW II, not serve in the armed forces. Wayne?s great war movies during the war were a major reason America had the backbone to fight the war. I don?t think that Cooper even made any war movies during WW II.

 

In the third place, Wayne was a powerful force behind rooting out commies in Hollywood, unlike Cooper, who protected them. Wayne made a great movie in which he played a HUAC investigator called Big Jim McClain.

 

In the fourth place, Wayne was too old to serve in Vietnam. He made one of the best war movies ever in Green Berets. He would have served in Vietnam if he had been younger.

 

John Wayne, American"

 

"John - February 15, 2007

Regarding HUAC and Wayne?s impact on ?rooting out commies?, Randy Roberts and James S. Olsen in their book ?John Wayne: American,? wondered, ?how many loyal Americans may actually have converted to communism out of embarrassment that their country could produce? such films as Big Jim McLain.?

 

As Jay points out, Cooper visited Russia in 1959. To bolster his argument versus Cooper, here?s a kicker to that. After returning home, the Coopers threw a party for a visiting delegation of Russian artists ? painters, filmmakers, writers, actors, etc. ? whom they?d met in Russia. When gossip maven Hedda Hopper heard about this, she write a column excoriating Cooper for having gone ?soft on Communism.?

 

She then called Cooper at home and started to take him apart, at which point the Cooper behind the Cooper took over. As his daughter Maria recalls, he lit into Hopper, blasted her up and down and then hung up on her.

 

As for WW II, Cooper enlisted in the army, at age 40, a few weeks after Pearl Harbor. He was rejected on medical grounds, his year as a stunt man had done considerable internal damage and he (stupidly?) continued to do most of his own stunts as long as the insurance company permitted, and he had been almost killed in a car accident at 17, received wrong advice on how to take care of the hip and it never healed correctly.

 

After being rejected for service, Cooper made a conscious decision to avoid the slew of war films offered. He felt genuine guilt for not taking part and with so many of his friends now seeing action (including James Stewart and Glenn Ford), he couldn?t get himself to feel natural playing the war hero on a soundstage.

 

The only war film he made had to do with Dr. Wassell?s extraordinary evacuation of wounded soldiers off Java. The fact that this film is hardly watchable is another story.

 

When, after the war, Cooper expressed to Hemingway his guilt for not having served, he told him: ?Never feel bad about missing war, Coop.?

 

Cooper did make a couple of war films after the war, Cloak And Dagger and Task Force.

 

Wayne must have felt tremendous guilt at having ducked WW II, otherwise why lie for 35 years that it was a football injury which kept you out?

 

Whether Wayne would have served in Vietnam were he younger, well ? all I know is there?s something flat out despicable about telling others that they are cowards and un-American for not going over to fight and die for their country when you yourself refused to do so.

 

Wonder if Dick Cheney is a John Wayne fan?"

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This will be the last posting I make here at tcm. I just wanted to get some bottled up stuff off my chest before I left and I think I have done that to my satisfaction.

 

It's been nice getting to know and talk to many of you but feel my time here has come to and end as a contributing poster.

 

Thanks for your time in reading my many ramblings.

 

All the Best,

Dan

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