Height of Gary Cooper

height Gary Cooper

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The height of Gary Cooper is …m.

1. Where did Gary Cooper come from ?

Gary Cooper (he is born in Frank James Cooper; May 7, 1901 – May 13, 1961) was an actor from the United-States ( ???????? ) known for his natural, authentic, and understated acting style. He won the Academy Award for Best Actor twice and had a further three nominations, as well as receiving an Academy Honorary Award for his career achievements in 1961. He was one of the top 10 movie personalities for 23 consecutive years, and one of the top money-making stars for 18 years. The American Film Institute (AFI) ranked Cooper at No. 11 on its list of the 25 greatest male stars of classic Hollywood cinema.

2. What could we know about Gary Cooper besides his height ?

Cooper’s career spanned 36 years, from 1925 to 1961, and included leading acts in 84 feature movies. He was a major movie star from the end of the silent movie era through to the end of the golden age of Classical Hollywood. His screen persona appealed strongly to both men and women, and his range of performances included acts in most major movie genres. His ability to project his own personality onto the characters he played contributed to his natural and authentic appearance on screen. Throughout his career, he sustained a screen persona that represented the ideal American hero.

3. What are the projects of Gary Cooper ?

Cooper began his career as a movie extra and stunt rider, but soon landed acting acts. After establishing himself as a Western hero in his early silent movies, he appeared as the Virginian and became a movie star in 1929 with his first sound picture, The Virginian. In the early 1930s, he expanded his heroic image to include more cautious characters in adventure movies and dramas such as A Farewell to Arms (1932) and The Lives of a Bengal Lancer (1935). During the height of his career, Cooper portrayed a new type of hero—a champion of the common man—in movies such as Mr. Deeds Goes to Town (1936), Meet John Doe (1941), Sergeant York (1941), The Pride of the Yankees (1942), and For Whom the Bell Tolls (1943). He later portrayed more mature characters at odds with the world in movies such as The Fountainhead (1949) and High Noon (1952). In his final movies, he played non-violent characters searching for redemption in movies such as Friendly Persuasion (1956) and Man of the West (1958).

4. Somme collaborations with Gary Cooper ?

Frank James Cooper was born in Helena, Montana, on May 7, 1901, the youngest of two sons of English parents Alice (nĂ©e Brazier; 1873–1967) and Charles Henry Cooper (1865–1946). His brother, Arthur, was six years his senior. Cooper’s father came from Houghton Regis, Bedfordshire, and became a prominent lawyer, rancher, and Montana Supreme Court justice. His mother hailed from Gillingham, Kent, and married Charles in Montana. In 1906, Charles purchased the 600-acre (240 ha) Seven-Bar-Nine cattle ranch, about 50 miles (80 km) north of Helena near Craig, Montana. Cooper and Arthur spent their summers at the ranch and learned to ride horses, hunt, and fish. Cooper attended Central Grade School in Helena.

Alice wanted her sons to have an English education, so she took them back to England in 1909 to enroll them in Dunstable Grammar School in Dunstable, Bedfordshire. While there, Cooper and his brother lived with their father’s cousins, William and Emily Barton, at their home in Houghton Regis. Cooper studied Latin, French, and English history at Dunstable until 1912. While he adapted to English school discipline and learned the requisite social graces, he never adjusted to the rigid class structure and formal Eton collars he was required to wear. He received his confirmation in the Church of England at the Church of All Saints in Houghton Regis on December 3, 1911. His mother accompanied her sons back to the U.S. in August 1912, and Cooper resumed his education at Johnson Grammar School in Helena.

When Cooper was 15, he injured his hip in a car accident. On his doctor’s recommendation, he returned to the Seven-Bar-Nine ranch to recuperate by horseback riding. The misguided therapy left him with his characteristic stiff, off-balanced walk and slightly angled horse-riding style. He left Helena High School after two years in 1918, and returned to the family ranch to work full-time as a cowboy. In 1919, his father arranged for him to attend Gallatin County High School in Bozeman, Montana, where English teacher Ida Davis encouraged him to focus on academics and participate in debating and dramatics. Cooper later which name is Davis “the woman partly responsible for giving up cowboy-ing and going to college”.

Cooper was still attending high school in 1920 when he took three art courses at Montana Agricultural College in Bozeman. His interest in art was inspired years earlier by the Western paintings of Charles Marion Russell and Frederic Remington. Cooper especially admired and studied Russell’s Lewis and Clark Meeting Indians at Ross’ Hole (1910), which still hangs in the state capitol building in Helena. In 1922, to continue his art education, he enrolled in Grinnell College in Grinnell, Iowa. He did well academically in most of his courses, but was not accepted into the school’s drama club. His drawings and watercolor paintings were exhibited throughout the dormitory, and he was named art editor for the college yearbook. During the summers of 1922 and 1923, Cooper worked at Yellowstone National Park as a tour guide driving the yellow open-top buses. Despite a promising first 18 months at Grinnell, he left college suddenly in February 1924, spent a month in Chicago looking for work as an artist, and then returned to Helena, where he sold editorial cartoons to the local Independent newspaper.

In autumn 1924, Cooper’s father left the Montana Supreme Court bench and moved with his wife to Los Angeles to administer the estates of two relatives, and Cooper joined his parents there in November at his father’s request. After briefly working a series of unpromising jobs, he met two friends from Montana who were working as movie extras and stunt riders in low-budget Western movies for the small movie studios on Poverty Row. They introduced him to another Montana cowboy, rodeo champion Jay “Slim” Talbot, who took him to see a casting director. Wanting money for a professional art course, Cooper worked as a movie extra for $5 a day, and as a stunt rider for $10. Cooper and Talbot became close friends and hunting companions, and Talbot later worked as Cooper’s stuntman and stand-in for over three decades.

In early 1925, Cooper began his movie career in silent pictures such as The Thundering Herd and Wild Horse Mesa with Jack Holt, Riders of the Purple Sage and The Lucky Horseshoe with Tom Mix, and The Trail Rider with Buck Jones. He worked for several Poverty Row studios, but also the already emergent major studios, Famous Players-Lasky and Fox Film Corporation. While his skilled horsemanship led to steady work in Westerns, Cooper found the stunt work‍—‌which sometimes injured horses and riders‍—‌”tough and cruel”. Hoping to move beyond the risky stunt work and obtain acting acts, Cooper paid for a screen test and hired casting director Nan Collins to work as his agent. Knowing that other actors were using the name “Frank Cooper”, Collins suggested he change his first name to “Gary” after her hometown of Gary, Indiana. Cooper immediately liked the name.[Note 1]

Cooper also found work in a variety of non-Western movies, appearing, for example, as a masked Cossack in The Eagle (1925), as a Roman guard in Ben-Hur (1925), and as a flood survivor in The Johnstown Flood (1926). Gradually, he began to land credited acts that offered him more screen time, in movies such as Tricks (1925), in which he played the movie’s antagonist, and the short movie Lightnin’ Wins (1926). As a featured player, he began to attract the attention of major movie studios. On June 1, 1926, Cooper signed a contract with Samuel Goldwyn Productions for fifty dollars a week.

Cooper’s first important movie act was a supporting part in The Winning of Barbara Worth (1926) starring Ronald Colman and Vilma BĂĄnky, in which he plays a young engineer who helps a rival suitor save the woman he loves and her town from an impending dam disaster. Cooper’s experience living among the Montana cowboys gave his performance an “instinctive authenticity”, according to biographer Jeffrey Meyers. The movie was a major success. Critics singled out Cooper as a “dynamic new personality” and future star. Goldwyn rushed to offer Cooper a long-term contract, but he held out for a better deal—finally signing a five-year contract with Jesse L. Lasky at Paramount Pictures for $175 a week. In 1927, with help from Clara Bow, Cooper landed high-profile acts in Children of Divorce and Wings (both 1927), the latter being the first movie to win an Academy Award for Best Picture. That year, Cooper also appeared in his first starring acts in Arizona Bound and Nevada—both movies directed by John Waters.

Paramount paired Cooper with Fay Wray in The Legion of the Condemned and The First Kiss (both 1928)—advertising them as the studio’s “glorious young lovers”. Their on-screen chemistry failed to generate much excitement with audiences. With each new movie, Cooper’s acting skills improved and his popularity continued to grow, especially among female movie-goers. During this time, he was earning as much as $2,750 per movie and receiving a thousand fan letters a week. Looking to exploit Cooper’s growing audience appeal, the studio placed him opposite popular leading ladies such as Evelyn Brent in Beau Sabreur, Florence Vidor in Doomsday, and Esther Ralston in Half a Bride (also both 1928). Around the same time, Cooper made Lilac Time (1928) with Colleen Moore for First National Pictures, his first movie with synchronized music and sound effects. It became one of the most commercially successful movies of 1928.

Cooper became a major movie star in 1929 with the release of his first talking picture, The Virginian (1929), which was directed by Victor Fleming and co-acted Mary Brian and Walter Huston. Based on the popular novel by Owen Wister, The Virginian was one of the first sound movies to define the Western code of honor and helped establish many of the conventions of the Western movie genre that persist to the present day. According to biographer Jeffrey Meyers, the romantic image of the tall, handsome, and shy cowboy hero who embodied male freedom, courage, and honor was created in large part by Cooper in the movie. Unlike some silent movie actors who had trouble adapting to the new sound medium, Cooper transitioned naturally, with his “deep and clear” and “pleasantly drawling” voice, which was perfectly suited for the characters he portrayed on screen, also according to Meyers. Looking to capitalize on Cooper’s growing popularity, Paramount cast him in several Westerns and wartime dramas, including Only the Brave, The Texan, Seven Days’ Leave, A Man from Wyoming, and The Spoilers (all released in 1930). Norman Rockwell depicted Cooper in his act as The Texan for the cover of The Saturday Evening Post on May 24, 1930.

One of the more important performances in Cooper’s early career was his portrayal of a sullen legionnaire in Josef von Sternberg’s movie Morocco (also 1930) with Marlene Dietrich in her introduction to American audiences. During production, von Sternberg focused his energies on Dietrich and treated Cooper dismissively. Tensions came to a head after von Sternberg yelled directions at Cooper in German. The 6-foot-3-inch (191 cm) actor approached the 5-foot-4-inch (163 cm) director, 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.” Despite the tensions on the set, Cooper produced “one of his best performances”, according to Thornton Delehanty of the New York Evening Post.

After returning to the Western genre in Zane Grey’s Fighting Caravans (1931) with French actress Lili Damita, Cooper appeared in the Dashiell Hammett crime movie City Streets (also 1931), co-starring Sylvia Sidney and Paul Lukas, playing a westerner who gets involved with big-city gangsters in order to save the woman he loves. Cooper concluded the year with appearances in two unsuccessful movies: I Take This Woman (also 1931) with Caact Lombard, and His Woman with Claudette Colbert. The demands and pressures of making ten movies in two years left Cooper exhausted and in poor health, suffering from anemia and jaundice. He had lost thirty pounds (fourteen kilograms) during that period, and felt lonely, isolated, and depressed by his sudden fame and wealth. In May 1931, Cooper left Hollywood and sailed to Algiers and then Italy, where he lived for the next year.

During his time abroad, Cooper stayed with the Countess Dorothy di Frasso at the Villa Madama in Rome, where she taught him about good food and vintage wines, how to read Italian and French menus, and how to socialize among Europe’s nobility and upper classes. After guiding him through the great art museums and galleries of Italy, she accompanied him on a ten-week big-game hunting safari on the slopes of Mount Kenya in East Africa, where he was credited with over sixty kills, including two lions, a rhinoceros, and various antelopes. His safari experience in Africa had a profound influence on Cooper and intensified his love of the wilderness. After returning to Europe, he and the countess set off on a Mediterranean cruise of the Italian and French Rivieras. Rested and rejuvenated by his year-long exile, a healthy Cooper returned to Hollywood in April 1932 and negotiated a new contract with Paramount for two movies per year, a salary of $4,000 a week, and director and script approval.

In 1932, after completing Devil and the Deep with Tallulah Bankhead to fulfill his old contract, Cooper appeared in A Farewell to Arms, the first movie adaptation of an Ernest Hemingway novel. Co-starring Helen Hayes, a leading New York theatre star and Academy Award winner, and Adolphe Menjou, the movie presented Cooper with one of his most ambitious and challenging dramatic acts, playing an American ambulance driver wounded in Italy who falls in love with an English nurse during World War I. Critics praised his highly intense and emotional performance, and the movie became one of the year’s most commercially successful pictures. In 1933, after making Today We Live with Joan Crawford and One Sunday Afternoon with Fay Wray, Cooper appeared in the Ernst Lubitsch comedy movie Design for Living, based on the successful NoĂ«l Coward play. Co-starring Miriam Hopkins and Fredric March, the movie was a box office success, ranking as one of the top ten highest-grossing movies of 1933. All three of the lead actors—March, Cooper, and Hopkins—received attention from this movie as they were all at the peak of their careers. Cooper’s performance — playing an American artist in Europe competing with his playwright friend for the affections of a beautiful woman — was singled out for its versatility and revealed his genuine ability to do light comedy. Cooper changed his name legally to “Gary Cooper” in August 1933.

In 1934, Cooper was loaned out to MGM for the Civil War drama movie Operator 13 with Marion Davies, about a beautiful Union spy who falls in love with a Confederate soldier. Despite Richard Boleslawski’s imaginative direction and George J. Folsey’s lavish cinematography, the movie did poorly at the box office.

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Height Gary Cooper