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Tag Archives: Gary Cooper

Unconquered (Oct. 10, 1947)

Cecil B. DeMille’s Unconquered is an overblown, bodice-ripping Technicolor epic that’s equal parts high drama and high camp. It’s also a whole lot of fun.

DeMille was 65 years old when he directed Unconquered, and by that point in his career he knew his way around an over-budget spectacle. (Unconquered cost almost $5 million to make, a king’s ransom in 1947.)

Most of the money shows up on screen, though. This is a great-looking picture. It drags a little in places, but for the most part it’s a fun ride. There are a few standout action set pieces — like a canoe chase that ends with a drop straight down a waterfall — but the talky bits are pretty enjoyable, too, even if they’re straight out of a potboiler.

Unconquered, which is based on Neil H. Swanson’s novel The Judas Tree, takes place in 1763, when Fort Pitt marked the end of the known and the beginning of the unknown in America. Located where one can now find Pittsburgh, the fort was the last outpost of civilization in the New World, surrounded by a vast forest filled with hostile Indians.

A beautiful Englishwoman named Abigail Hale (Paulette Goddard) stands trial for the murder of the royal officer who was killed when she was helping her brother fight off the King’s press gang. She is given a choice, face execution in England or be sold as a bond slave in Norfolk, Virginia.

Naturally, she chooses life over death, but life as a bond slave is no picnic, especially when she’s bought by the villainous arms trader Garth (Howard Da Silva). The handsome Capt. Christopher Holden (Gary Cooper) outbids Garth and then casually gives Abby her freedom, but the treacherous Garth makes a deal with the slave trader to double-sell her and retakes possession of her.

Garth’s villainy isn’t limited to his treatment of beautiful white female slaves. He also has a monopoly on the lucrative beaver-fur trade west of Fort Pitt, and will do anything to maintain it, including arming the hostile Indian tribes to prevent white settlement beyond the Alleghenies.

The chief of one of those hostile Indian tribes is named Guyasuta, and he’s played by Boris Karloff, who’s always fun to watch. Guyasuta’s medicine man, Sioto, is played by Marc Lawrence, a regular in gangster movies. The scene in which Capt. Holden tricks Guyasuta and Sioto into releasing the captive Abby by using his “magic” compass was the high point of ridiculousness in the film, but in a movie like Unconquered, once you’re along for the ride, the more ridiculous the better.

Cooper and Goddard were both a little too old for the roles they were playing in Unconquered, but they were both still extremely attractive, so it didn’t bother me that much. The action in the film is well-staged, especially the final battle for Fort Pitt, which is heavy on the pyrotechnics. Who cares if it’s all a little hokey? No one does epics like Cecil B. DeMille.

Incidentally, Unconquered was the highest grossing film of 1947, with total ticket sales of more than $6 million. So at least it made its money back.

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Cloak and Dagger (Sept. 28, 1946)

Fritz Lang’s Cloak and Dagger is the best espionage thriller I’ve seen since Alfred Hitchcock’s Foreign Correspondent (1940). Like that film, it doesn’t have the over-the-top stunts or pyrotechnics of a modern action movie, but its pacing, plot, and music create a spectacle that is every bit as suspenseful and exciting.

Gary Cooper, who is best known for playing stoic men of action, gives a credible performance as bookish physicist Alvah Jesper, a man who finds himself in over his head, but is smart enough and tough enough to find a way out of one tight situation after another.

Professor Jesper is recruited by the O.S.S. (the Office of Strategic Services, the U.S. intelligence agency formed during World War II that would eventually become the C.I.A.) and sent to Switzerland to bring his former colleague Dr. Katerin Lodor (Helen Thimig) back to the United States. Dr. Lodor, an elderly woman, escaped through the Alps from Germany, where she was being forced to work on an atomic bomb project for the Nazis. Switzerland is a neutral country, but it’s lousy with agents of the Gestapo, and Dr. Lodor’s life is in peril.

Immediately, there are two implausible aspects of the plot that you have to get over to suspend your disbelief and enjoy the picture. One is that the O.S.S. would recruit a college professor with no experience in the intelligence field to act as an undercover agent merely because he has a personal connection to their target and speaks conversational German. The other is that, by this point in 1946, it was common knowledge that any nuclear research being conducted by the Nazis was mostly smoke and mirrors, and the Third Reich was never close to developing an atomic bomb.

Neither of these issues proved a stumbling block for me. Every spy thriller needs a plot hook, and plenty of these hooks prove either factually inaccurate or completely ridiculous after five or ten years have passed. Also, the O.S.S. was a young organization, and they did some pretty wild stuff during the war. Recruiting a college professor in his mid-40s for dangerous undercover work doesn’t seem completely outside the realm of possibility. (Cooper’s role is loosely inspired by the exploits of Michael Burke, president of the N.Y. Yankees from 1966 to 1973, who briefly played with the Philadelphia Eagles in 1941 before leaving to serve with the O.S.S., where he worked behind the lines in Italy and later in France, where he helped the Resistance prepare for D-Day.)

There are some great touches, too. When Jesper disembarks in Switzerland, he thinks he’s being smart by casually covering his face with his hand when he walks by a photographer, but it is precisely this action that alerts the Gestapo to the fact that he might be a man worth watching.

After Jesper makes contact with Dr. Lodor, she leads him to Dr. Giovanni Polda (Vladimir Sokoloff), another physicist who is being forced by the Nazis to work on their atomic bomb program. Jesper travels to Italy, where he is aided by Italian partisans led by Pinkie (Robert Alda) and the beautiful Gina (Lilli Palmer).

Luckily, Jesper is able to pose as a German doctor because the Italian fascist thugs keeping Dr. Polda prisoner in a beautiful villa clearly don’t recognize American-accented German when they hear it. Viewers with an ear for languages probably will.

The Italian baddies are led by a man named Luigi, who is played by veteran character actor Marc Lawrence, who had a very long career playing gangsters in Hollywood. His first film role was an uncredited part as a henchman in If I Had a Million (1932), and one of his last was playing Carlo Gambino in the 1996 TV movie Gotti.

Toward the end of the movie, Cooper and Lawrence square off in the most brutal and realistic fight I’ve seen in a movie from the 1940s. The James Cagney thriller Blood on the Sun (1945) features a great judo fight that was way ahead of its time, but the combat between Jesper and Luigi is a desperate fight to the death, pure and simple. There’s nothing flashy about it, and it’s not overly choreographed. The two men hold each other close, clawing at each other’s faces, choking each other, kicking at weak points, and twisting back fingers and arms. It’s over in less than 90 seconds, but its impact lasts for the rest of the movie.

The screenplay for Cloak and Dagger was written by Albert Maltz and Ring Lardner, Jr., based on a story by Boris Ingster and John Larkin, and “suggested” by the 1946 nonfiction book Cloak and Dagger: The Secret Story of O.S.S., by Corey Ford and Alastair MacBain.

Director Lang is best known for the films he made when he still lived in Germany, such as the silent science fiction opus Metropolis (1927), the chilling portrait of a child killer M (1931), and the crime thriller The Testament of Dr. Mabuse (1933), but Lang was a master craftsman at every stage of his career, even when doing for-hire work like this.

Along Came Jones (July 19, 1945)

AlongCameJonesAlong Came Jones is a silly little western that verges on being a spoof of the genre, but it’s worth seeing for a couple of reasons. Gary Cooper pokes fun at his stalwart image without devolving into parody, and the gender reversals in some of the action scenes are still surprising.

Cooper plays a singing cowboy (sort of), named Melody Jones. This in itself is funny, because Cooper can barely sing. He’s halfway between a hum and a grumble in the few scenes when he’s called upon to croon a ditty. Along with his crotchety old sidekick, George Fury (played by William Demarest), Jones rolls into the town of Payneville, where he’s mistaken for vicious outlaw Monte Jarrad (played by vicious little squirt Dan Duryea), because his monogrammed saddle has the same initials, “M.J.” The only problem is, it’s not a charade he can keep up very long. Although Jones is tough enough, and can dish out haymakers with the best of them, he can’t handle a gun to save his life (which, by the end of the film, he will be called upon to do more than once). It’s not just that Jones can’t shoot straight, he literally can’t get his revolver out of its holster without it flying out of his hand. At one point, the real Monte Jarrad’s girlfriend, Cherry de Longpre (played by Loretta Young), calls Jones a “butterfingered gun juggler,” and it’s an apt term of derision.

The interesting thing about this film is that Jones never gets any better at handling a gun. Yes, he eventually manages to hold it steady, but he still can’t hit the broad side of a barn. Cherry, on the other hand, is a crack shot who could give Annie Oakley a run for her money. In the climactic showdown, she becomes a distaff John Wayne in The Man Who Shot Liberty Valance (1962), and the effect is stunning. Nevertheless, Cooper never comes off as unmanly, especially since he’s willing to stand up to overwhelming odds with absolutely no shooting skills whatsoever. And he twice kisses Young in what has to be the most macho way I’ve ever seen in a movie. I don’t want to give anything away. Just see it.