Thursday, September 17, 2009

Gary Cooper Postage Stamp Redux


Here's more information on the Gary Cooper postage stamp available through the United States Postal Service--no, I don't work for them--


LOS ANGELES — Iconic actor Gary Cooper returned to a “stamping ovation” today as the 15th inductee into the Legends of Hollywood collectible stamp series. The dedication ceremony took center stage in Los Angeles at the Autry National Center of the American West where the Oscar® for his role in High Noon and Cooper movie posters were on display. All 40 million 44-cent First-Class stamps are available nationwide today.

A cowboy from Helena, MT, Cooper started in the movies by falling off horses during Hollywood’s “Golden Age.” For decades, he was the all-American hero whose believable performances and strong, silent appeal brought him a lifetime of fame.

Unknown to many, Cooper and Ernest Hemingway were close friends who shared a love for the outdoors. They met while skiing in Sun Valley, ID, and hunted and fished together for more than 20 years. Hemingway had Cooper in mind when writing A Farewell to Arms to which Cooper later played the lead role when the book was made into a movie. Hemingway was honored on a stamp in 1989 as the 7th inductee into the Literary Arts series.

“Using the skills he acquired on that Montana ranch,” said U.S. Postal Service Board of Governor member Alan C. Kessler in dedicating the stamp. “Cooper entered the film industry as an extra and stunt double. He eventually traded the stars from Big Sky Country to one on the Hollywood walk of fame as he rode effortlessly into the starring roles of movies like High Noon, The Plainsman and The Westerner.”

Art director Phil Jordan of Falls Church, VA, designed the Gary Cooper stamp using a portrait by artist Kazuhiko Sano of Mill Valley, CA. The image is based on a black-and-white circa 1940 George Hurrell photograph. The artwork surrounding the stamps is based on a still from Cooper’s Academy Award®-winning role as the courageous Marshal Will Kane in High Noon (1952).

Joining Kessler in dedicating the stamp was Cooper’s daughter Maria Cooper Janis, film critic and historian Leonard Maltin, Gary Cooper Scholarship recipient Sonya Oberly and Autry National Center President and CEO John Gray.

“My father would have been very flattered by this honor, but he was always very self deprecating,” said Cooper’s daughter. “If he were here today, he’d probably say, ‘See, look what you get for falling off a horse.’”

When reminiscing about his life Janis said there were “a lot of surface differences in his relationship to Hemingway, but underneath they were somewhat kindred spirits. My father was the only person who could drop in unannounced and be greeted with great delight and open arms. Papa Hemingway often referred to him as the ‘True Gen,’ for true gentleman. Both men respected each other’s silences — there was no need to fill it with constant chatter.”

Janis added that her father had a strong commitment to nature and Native Americans.

“If he were to build a home today it would definitely be green — especially solar energy — as he had a strong sense of conservation.” She recently created the Gary Cooper Scholarship that is awarded to Native American students enrolled in the study of film and television at the University of Southern California.

“The Gary Cooper Scholarship is unique in that it’s specifically designated for Native American students that study in film at USC,” said Scholarship recipient Sonya Oberly, an Osage and Comanche nation descendant and member of the Nez Perce Tribe. “I thought it was cool that I received a cowboy’s scholarship, especially since I’ll be making documentaries about Native Americans.”

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Sorry I've been remiss in my posting duties lately. I will put up the poll results of the Audrey Hepburn leading man question this week. I was writing something a little different for that one.

Monday, September 14, 2009

The Gary Cooper Postage Stamp


I was pleased to learn that Hollywood Dreamland favorite Gary Cooper has received a United Staes Postage stamp. I'm also pleased to see that it's the more mature Coop, from the period when he did For Whom the Bell Tolls (1943) and The Fountainhead (1949). By the mid-1940s Cooper had become an American institution, and this other institution, the United States Postal Service, has done a fine job in honoring him. I know many people like to bash the post office, but more often than not they get my packages to me in much better shape than their competition.


The stamp looks great, though I noticed that the price has been cancelled out; so much for the belief that people are "basically good"!

Tuesday, September 8, 2009

Who Ended up Being "The Next Brando"?


For as long as I can remember, many up-and-coming actors have been given the appellation, The Next Brando. A few names that come to mind:

James Dean

Paul Newman
Steve McQueen
Christopher Jones
John Saxon
Horst Bucholz
Russell Crowe
Mickey Rourke

Sean Penn
Steven Hill
Martin Landau
Burt Reynolds
Al Pacino
James Caan
Robert De Niro
Ben Gazzara
John Cassavetes
Peter Falk
Martin Sheen


...and many more, I'm sure...

So who came closest to being "The Next Brando", and what the Hell does that actually mean? Has there been anyone with that kind of effect on the acting profession?

On a related note, I remember a Siskel & Ebert show where they compared the careers of Humphrey Bogart and Jack Nicholson...do these actors have any acolytes?

I guess the influence of Marlon Brando is everywhere, even if it isn't readily acknowledged by today's "hot" stars.


I have more questions than answers when it comes to this (or any other) topic, but I was hoping this could be hashed out in the comments section. Feel free to speak your mind about this important world issue.

Okay... sing, you sinners!

There Will Never Be Another You: Marlon Brando.

Monday, August 31, 2009

The Ex-Mrs. Bradford (1936)



I finally got to watch one of my most-sought-after movies on TCM last night, 1936’s The Ex-Mrs. Bradford, starring William Powell and Jean Arthur. The film is part of what I call the Husband and Wife Detective Team genre. I did enjoy the movie, which sped by at a brisk eighty minutes. It’s not a great movie like The Thin Man, and it falls short of the 1935 Thin Man knockoff also starring Powell, Star of Midnight (1935), co-starring Ginger Rogers. But The Ex-Mrs. Bradford has enough going for it to recommend to obsessed fans of the Husband and Wife Detective sub-genre. Here we have William Powell on loan from MGM and Jean Arthur was also on loan, as she was under contract to Columbia Pictures until 1944.

Lawrence Bradford (Powell) a successful doctor, is enjoying dinner (prepared by his butler, Stokes; a shamefully underused Eric Blore) when his ex-wife Paula (Jean Arthur) comes in with a lawyer who serves Dr. Bradford—called “Brad” by Paula—with a subpoena for “non-payment of support” which the wealthy mystery writer Paula says was just an excuse to see him again. Paula joins Brad for dinner and drops the bombshell that she wants to re-marry the good doctor. According to Bradford-- in a line I’ve quoted for years—the reason for their divorce was her cockeyed murder mysteries. Why this destroyed their marriage is never explained, except that they made Dr. Bradford “a wreck.” It’s pretty thin stuff, even for a 1930s sleuthing couple movie. Anyway, a jockey dies under mysterious circumstances and the jockey’s trainer asks Brad to investigate. When the trainer ends up dead at Bradford’s door, the doctor must clear himself with the help of his kooky ex-wife; or something like that.


All the Thin Man ingredients are sort of in place but the script lets everyone down. The mystery is somewhat interesting but we never get to know the suspects or their motives. The supporting cast is flat and anonymous—even the usually-dependable James Gleason seems out of his element—and Eric Blore is criminally underused in the potentially hilarious role of the butler, Stokes. He gets one good sight gag, and that’s all. Jean Arthur gets nothing to work with and many of her lines—seeming misunderstandings—fall flat every time. She’s also filmed through an industrial-strength cheese cloth for some of her close ups--extreme even for this era! Arthur looks as though she were filmed through a cloud. And I kept waiting for William Powell to dazzle me with his usual panache, but even the potential gags and one-liners he gets don’t come off with any energy.




The real star of this film is the Art Deco apartment by Van Nest Polglase, whose praises I’ve sung before. It’s a way of fully absorbing this world that I obsess over the living quarters of a detective movie set. Dr. Bradford has a beyond-great apartment—I can’t remember if it's in New York or Los Angeles—and I spent much of the movie trying to navigate its dimensions. It has a foyer with an entrance to the living room and to Bradford’s doctor office on the other, located in the turret of the place on an upper-level floor. The living room is like a wheel with the adjoining rooms spokes leading to and from it. Watching this movie is worth it just for this great apartment. Bradford even has a projector niche hidden behind a painting that allows for movies to be shown across the dining room and on the living room wall. This is what every self-respecting, wealthy, urbane 1930s detective should have! The projector also features in the film’s closing gag and ensures a happy ending. If I ever get the chance to watch The Ex-Mrs. Bradford again, it will be to sketch out a blueprint of his elegant and sophisticated apartment.

Could RKO have had an Ex-Mrs. Bradford film series based on this single entry? Probably, but the movie is slight and half-hearted in almost every aspect of its execution, even for this genre. A better supporting cast would’ve worked wonders here, as would a coherent script with some bite. It’s barely adequate as is and even the titanic star power of Powell and Arthur cannot make it shine. The Art Deco set is a wonder, and anyone with an interest in 1930s high glamour should watch just for that. I’m a big enough fan of the Husband and Wife sub genre to watch The Ex-Mrs. Bradford over and over, but not because it’s a great—or even average—movie.



Now What Would Asta Do...?