By David Thomson
'Cooper was once heroic, in fact, in his personal brain up to in his scripts. He used to be manly, tall, ruggedly good-looking. He used to be a guy for a fight.'
On display he used to be the last word all-American hero: lean, laconic and masculine, a lone sheriff combating his enemies in excessive midday, or a tricky individualist within the Fountainhead. Off monitor he bedded a bunch of prime women and punctiliously honed his picture, making countless numbers of films and profitable Oscars within the approach. Acclaimed movie author David Thomson explores the occupation and the contradictions of 'Coop', the famous person who lived the dream within the golden age of Hollywood.
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Additional info for Gary Cooper (Great Stars)
Example text
I couldn’t even keep up with the exercise at the barre, which lasted forty-five minutes . . ” But he could jump high, a talent that at least got him accepted. If the sea made him sick, the dance floor made him Judy to Strosigiev’s Punch: “He used to beat me mercifully with a very hard stick on the buttocks,” Russell later told music historian John C. Tibbetts, “shouting, ‘Shoemaker! ,’ which I gather is the worst Russian swear word you can possibly utter. ” The situation was almost on a par with the brutal relationship between Anton Walbrook’s tyrannical dance impresario and Moira Shearer’s ballerina in the Michael Powell-Emeric Press-burger film, The Red Shoes, which came out about this time.
With an unsteady camera and extreme close-ups of inmates playing in an orchestra, Russell exposes eyes that are slightly asymmetrical and expressions that are more than slightly maniacal. The technique is understated, for Russell at least, but he still shows a world askew. Russell also got a chance to splurge on some of his newfound Catholic mania. When the soundtrack plays one of Elgar’s favorite pieces, The Dream of Gerontius, the tip of Malvern Hills where he rode his pony in the beginning now converts into a makeshift Calvary, with Russell slowly zooming in on a crucified Christ looming over the English countryside.
Of the many Russell films during the early Monitor period, Elgar is often touted as the big breakthrough. Considered second to Henry Purcell as England’s greatest composer, Elgar fell out of favor through the years: he became a symbol of the nation’s now outmoded empire days, remembered for writing patriotic tunes that a more disillusioned generation deemed too chauvinistic. Russell contemplating his art with the BBC’s Huw Wheldon. (Courtesy of Ken Russell) But Russell felt a personal connection to the subject.