William Corin became Chief Electrical Engineer in the Department of Public Works in 1908, and consultant to the Department of Mines, New South Wales where he reported on the Snowy River hydro-electric scheme. After 1923 he became a private consultant to various governments. His work is commemorated by the Corin Dam in the Australian Capital Territory.


By 1924 construction of the weir at Lavertys Gap (28°34′31.9″S 153°26′41.9″E) on Wilsons Creek was underway in preparation for the Power Station. The weir is approximately 7m high with a crest of 45.72m. With a total storage of almost 140ML, the weir provides just over 25 million litres storage. The weir is also used as the town's water supply (the plan to combine the provision of water with generation of hydro-electric power had been agreed upon by the community in 1922).

Mullumbimby Hydro-electric Power Station Complex


The race, which was originally in earth fill, was 1450 feet (440m) and has since been replaced with concrete.


The tunnel through Lavertys Gap (28°34′32.7″S 153°26′58.6″E) was completed on the 1 December 1925. The water dammed at the weir came down the race, through the 350 foot (106.7m) tunnel in Laverty's Gap, and down a woodstave pipe (approximately 509m long and now cast iron) into the power house to the turbines.


In December 1925 the scheme was turned on for the first time lighting the town of Mullumbimby. The Sydney Morning Herald reported at the time that "excitement prevailed in Mullumbimby on Wednesday night, when the electric light from the Mullumbimby hydro-electric scheme was switched on for the first time". Mullumbimby Municipal Council commenced the official generation and supply of hydro-electricity from Wilsons Creek on 6 March 1926.


At its official opening in 1926 the Mullumbimby Hydro-electric Power Station became the fifth large scale hydro-electric power station on the mainland, the earlier ones were: the Gara River Hydro-Electric Scheme, NSW (1895); Thargomindah, QLD (1898); Dorrigo, NSW (1922) and Nymboida, NSW (1924).


Having its own power supply would be a major source of income to the Municipal Council, which had taken out loans of over 25000 pounds. Fed from the same source, Byron Bay was lit on the 12 June and Bangalow on the 3 July 1926.


In the early days when the hydros were operating successfully, they were left unattended for long periods of time. When one of the staff come on duty, it was necessary to check the water level at the weir which meant a long walk up hill, check the water level and walk back to the power house. Later an electronic gauge was installed which, at a glance, showed the water level at the weir.


Soon after its commencement, a 4-cylinder crude oil engine was added to the plant in 1926. The engine was a Ruston Lincoln (referred to as Rustin and Hornsby by Tanner et al. (1993)). The initial capacity of the power station plant was soon insufficient. In 1934 the generating capacity was supported by a Mirrlees high speed, eight cylinder engine of 330 hp. Four years later an interconnection with the Clarence River County Council grid was achieved. A 33,000 volt transmission line from Lismore Power Station to Dunoon was extended to interconnect with the Mullumbimby Power Station at Lavertys Gap. This interconnection became effective on the 1 May 1938. Further additions to the plant were again necessary in 1941 (No.5 diesel unit), 1949 (No.6 diesel unit) and 1952 (No.7 diesel unit) . Altogether the installed capacity at the power plant in c.1958 was 3154 kW with an output of 14 million kwh per annum.


In 1990 the Mullumbimby Hydro-electric Power Station was decommissioned. The original two 225 hp Pelton turbines, directly coupled to 140 kilowatt GEC alternators, are still housed in the power station. The 200 hp Ruston Lincoln, the 333 hp Mirrlees Ricardo and 495 hp Mirrlees Ricardo engines are also still housed in the power station.


Mullumbimby Hydro-electric Power Station is located amongst the hills outside Mullumbimby. The site of the power house has been partially cut into the hillside with a concrete retaining wall built along the northwest side. This wall, which has a height of almost 2 metres, also serves as a footing. A second retaining wall is located behind the building site to the southwest.


The power house is a timber-framed structure clad with corrugated iron. It has a double gable end roof with static air vents fitted along the ridge line. The building measures approximately 34 metres in length by 18 metres in width and is oriented northwest to southeast. Its main entrance faces northeast. Original louver windows of various sizes remain along the length of the building. A large roller door at the east end of the north elevation allows access to an interior mezzanine floor. Inside the power house the walls are partially clad with timber. A steel frame supports an 8 Tonne travelling crane used to move heavier items.


A unique collection of hydro and combustion engines are located inside the power station. They include two hydro-electric sets, both identical GEC Pelton wheel turbines of 144 KW capacity with Boving governor controls. The attached alternators are GEC, three phase with 650 volts output at 600rpm. The maker's plate on one of the turbines reads "Boving & Co. Ltd. London". The writing on the older engine from 1926 reads "Ruston Lincoln England". The generator's makers plate reads "The General Electric Co. Ltd. Witton England".


The four Mirrlees diesel engines are:


A 7-cylinder engine with GEC alternator, 937 KVA, 11500 Volt output at 375rpm;


A 5-cylinder engine with GEC alternator, 344 KVA, 660 Volt output at 375rpm;


A 7-cylinder engine with Schorch alternator, 625 KVA, 400 volt output at 375rpm; and


An 8-cylinder engine with brush alternator, 1150 KVA, 6600 volt output at 375 rpm.


All generators are three phase. In total there are three diesel engines and the old Ruston Lincoln engine, a 4-cylinder engine plus the two hydro-energy sets, each comprising turbine and generator.


Some features associated with the power generating equipment, including exhausts and a smaller cooling tower, are located on the south side of the power house; two smaller annexes are attached to the original building. A short distance southwards are the footings of two cooling towers that have been removed.


Descending down the adjacent hill, the end of the pipeline is located at the southwest corner of the powerhouse. This pipeline conveyed water to power the turbines from a weir built at Lavertys Gap above the Power House. The storage capacity of the weir is 30 million gallons. It has a height of 7m with a crest of 45.72m. Water runs away from the weir through a race, originally in earth fill that is now concrete and measures 440m. After flowing through a 106.7m tunnel driven through the saddle of the hill the water runs to a holding race above the water treatment plant. Water is diverted from this race to supply drinking water to Mullumbimby as well as flowing to the power station, at the foot of Lavertys Gap, through a cast iron pipeline, 509m in length, that was originally made in woodstave.


The Hydro-electric station contains a catalogued Movable Heritage Collection that relates to its industrial use. The following catalogued items are considered an important part of the significance of the site:


Three phase grinder.


Prop for pipe cutting.


Timber block used for wad punching.


Handle for gate valve.


Shaft for gate valve.


Timber work benches.


Handle to roll 44 gallon drums.


Pikes for standing poles.


Ten ton block and tackle.


44 gallon drum roller.


Hooks to store chains, wire ropes & shackles.


Transformer for lead light.


Steel bar to turn the engine over.


Pirometers used for reading exhaust gas temperature.


Set of tools for the turbine.


Buckets for the turbine.


Stand for the air tank.


Transformers for the hydro units.


Pallets of spare parts.


Timber brake for the fly wheels.


Control panel for the engines.


Mezzanine floor all items to be kept on shelves.


The switching gear and controls appear to date from the 1950s or 1960s.


As at 30 November 2012, the power plant shows signs of moderate deterioration and is in the need of some maintenance and repair. The asbestos sheeting on the roof had recently been replaced with galvanised corrugated iron as had the walls. The water race was in good condition, showing signs of maintenance and repair. In some sections the land at the edges of the race has been sandbagged to prevent erosion.


The Mullumbimby Power House complex is in excellent condition. Minor modernisation has generally occurred to provide for the increased demand. The retention of machinery in its original contexts adds strength to the integrity of this site.


A recent upgraded substation and three large sheds (Terranora Interconnector) have also been built to the north west in recent years. The original substation has been removed from the site along with two cooling towers, two sheds and a weatherboard cottage.


The Mullumbimby Power Station Complex, incorporating Hydro-electric Power Station, Lavertys Gap Weir and associated water races, are of state heritage significance as a complete system associated with a smaller provincial hydro-electric power station built by Mullumbimby Municipal Council as part of the provision and supply of electricity from the mid-1920s. It was the fourth hydro-electric power station built in NSW for the large scale provision of electricity and the fifth constructed on the mainland. Associated with the early development of hydro-electricity in NSW it represents the transition from local councils and private companies to county councils in the provision and supply of electricity to the community.


The Mullumbimby Hydro-electric Power Station complex is a fine example of a 1920s provincial hydro-electric power generating complex complete with a significant collection of associated features and machinery. Its power house, machinery, steel pipes, annexes, cooling tower, valves, race and weir are an intact collection and a physical example of hydro-electric development and technical innovation in the Byron area in the since 1924.


The size and intactness of the Mullumbimby Power Station and associated items, the dominant form and fabric of the power house and its imposing presence within a natural setting afford the complex considerable aesthetic and technical value. The surviving collection of hydro and combustion engines including two GEC Pelton wheel turbines, a Boving & Co. Ltd engine, Ruston Lincoln engine, a General Electric Co. Ltd generator, and four Mirrlees diesel engines, as well as the overhead travelling cranes, are a rare industrial collection surviving within their original context. Considered to be particularly rare, are the Pelton turbines which are two of only a few examples surviving in their original context worldwide.


The Hydro-electric station contains a catalogued Movable Heritage Collection that relates to its industrial use including tools and machinery elements. These form an important part of the intact collection at this site.


Mullumbimby Hydro-electric Power Station Complex was listed on the New South Wales State Heritage Register on 27 June 2014 having satisfied the following criteria.


The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.


The Mullumbimby Hydro-electric Power Station, Lavertys Gap Weir and Water Races meet this criterion at State level as the fourth hydro-electric power station complex to be built in NSW and the fifth in mainland Australia. In addition, it is significant for its association with the development of hydro-electric power generation in New South Wales.


It meets this criterion at a local level as part of a group of power stations and associated items in the Northern Rivers region. Mullumbimby Hydro-electric Power Station has played an important role in the development of electricity generation and supply to the local area since the mid-1920s up to its decommissioning in 1989.


Originally built by Mullumbimby Municipal Council, its ownership and management by the Council provided income to the municipality, contributing to the economic development of the region. The Power Station is also of local historical significance as it represents the transition from Local Councils and private companies to County Councils in the provision and supply of electricity to the community.


The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.


It meets this criterion at State level due to its largely preserved appearance, its size, dominant form and its imposing presence as a steel structure within a natural setting.


The preservation of associated features including its machinery, steel pipes, valves, race and weir also afford this historic site considerable aesthetic significance.


The hydro-electric complex is aesthetically distinctive as an industrial display of creative and technical innovation. The power house, its associated structures and machinery are of technical interest.


The place has strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.


It meets this criterion at local level due to its importance to the Byron Shire community and the regional community as part of an important 1920s endeavour to make the north coast self-sufficient on hydro-electric power.


The Power Station has special associations for former workers and is appreciated for its contribution to the economic development of the region through the provision of electricity to local industries, businesses and residences. This social significance is recognised through listing as a heritage item on the National Trust Register (NSW) and the Byron Local Environmental Plan.


The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.


It meets this criterion at State level as a reference of an early twentieth century hydro-electric complex.


Mullumbimby Hydro-electric Power Station has a rare ability to demonstrate once common work practices in the early to mid 20th century, which are now almost entirely discontinued through changes in technology and workplace health and safety requirements.


The Mullumbimby Hydro-electric Power Station and its associated machinery, steel pipes, valves, race and weir are an intact collection of one of the earliest hydro-electric power stations in NSW. This early technology has the potential to yield information on the early development of hydro-electric schemes in Australia. The Power Station has limited historical archaeological potential.


The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.


It meets this criterion at State level as the fourth hydro-electric power station in NSW. Mullumbimby Hydro-electric Power Station is unique because of the early combination of hydro-electric and diesel powered technology. The size and intactness of the Power Station and associated items also afford the industrial complex rarity value.


The two GEC Pelton wheel turbines, a Boving & Co. Ltd engine, Ruston Lincoln engine, a General Electric Co. Ltd generator, and four Mirrlees diesel engines, as well as the overhead travelling cranes, are a rare industrial collection surviving within their original context.


In particular, the GEC Pelton wheel turbines are two of only a few known examples surviving in their original context worldwide.


The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.


It meets this criterion at State level as the Mullumbimby Hydro-electric Power Station Complex is a fine representative example of a mid 1920s provincial hydro-electric power generating complex.


It is representative of one of the earliest hydro-electric power stations in Australia and the associated items demonstrate the development of provincial power schemes by Local Councils in NSW in the 1920s.


Clarence River County Council Annual Report. 1939.


Sydney Morning Herald 26 December. 1925.


Environmental Resources Management (2008). Lismore to Mullumbimby Electricity Network Upgrade - Environmental Assessment.


Government Architects Office (2010). "Mullumbimby Hydro-electric Power Station CMP" (PDF).


Brokenshire, Jim (1988). The Brunswick. Another River and its People.


Howard Tanner and Associates, McDonald Brickman Corkhill, Godden Mackay Logan Pt (1993). Northern Rivers Electricity Heritage and Conservation Register.{{cite book}}:  CS1 maint: multiple names: authors list (link)


Stedinger Associates Pty Ltd (2008). Country Energy S170 Register.


This Wikipedia article was originally based on Mullumbimby Hydro-electric Power Station Complex, entry number 01926 in the New South Wales State Heritage Register published by the State of New South Wales (Department of Planning and Environment) 2018 under CC-BY 4.0 licence, accessed on 2 June 2018.


Adam Harvey (born 21 December 1974) is an Australian country music singer. Harvey has sold over half a million records, has been nominated five times for an ARIA Music Award and has won nine golden guitars at the Country Music Awards of Australia.

Adam Harvey


Harvey got his start musically learning country classics on the guitar as a small boy. His first gig came at the age of ten, and by his school years he was performing rock covers at a club when he was discovered and went off on tour as support for Tania Kernaghan. In 1998 Harvey won his first Country Music (CMAA) Award for 'Vocal Collaboration of the Year' with Tanya Self for "Drive Away". In 2001 he won another CMAA Award for 'Vocal Collaboration of the Year' this time with Beccy Cole, Darren Coggan and Felicity, for "Do I Ever Cross Your Mind".

Adam Harvey


In 2002, Harvey won two CMAA Awards; 'Album of the Year' and 'Male Vocalist of the Year' for Workin' Overtime. Workin' Overtime was nominated for ARIA Award for Best Country Album at the 2002 ARIA Awards.

Adam Harvey


In 2004, Harvey won a second CMAA Award for 'Male Vocalist of the Year' that year. In 2005 he received his third ARIA award nomination for Best Country Album Can't Settle for Less. In 2008, he won Album of the Year I'm Doin' Alright.

Adam Harvey


In 2009, he sang the Australian national anthem before the Australia vs New Zealand rugby league test match.

Adam Harvey


Harvey has been nominated for a CMAA Award in 2010 for Collaboration of the Year with John Williamson for "King of the Road".

Adam Harvey


In 2013, Harvey collaborated with Troy Cassar-Daley to record The Great Country Songbook, which debuted at number 2 on the ARIA Charts.

Adam Harvey


Awards and nominations

Adam Harvey


Harvey had been nominated for 5 awards at the ARIA Music Awards

Adam Harvey


The Country Music Awards of Australia is an annual awards night held in January during the Tamworth Country Music Festival, celebrating recording excellence in the Australian country music industry. Harvey has won nine awards.

Adam Harvey


Official Youtube Channel

Adam Harvey


Adam Harvey discography @ Discogs

Adam Harvey


Adam Harvey @ AllMusic

Adam Harvey


California Skateparks (or CA Skateparks) is a skate park and action sports facility builder and designer. Founded in 1989 and based in Upland, California, CA Skateparks has constructed municipal city and county parks, action sports competition arenas, and professional athlete's private facilities. CA Skateparks is part of a larger group of companies, including California Landscape & Design Inc. and CA Ramp Works, all owned by founder Joe Ciaglia Jr. California Skateparks designed and built Rob Dyrdek's Fantasy Factory, which has appeared in the MTV show Rob Dyrdek's Fantasy Factory. The company also designed the Vans skatepark in Huntington Beach, California.

California Skateparks


Rautavesi (Hartola) is a medium-sized lake of Finland. It is located in Hartola and Joutsa municipalities, in the regions Central Finland and Päijät-Häme. The water quality in the lake is excellent. Water flows down to the lake Jääsjärvi. The lake is quite near to the Finnish national road 4, about ten kilometers southwards from Joutsa.

Rautavesi (Hartola)


List of lakes in Finland

Rautavesi (Hartola)


Lost Girl is a Canadian supernatural drama television series  that premiered on Showcase on September 12, 2010. The series was created by Michelle Lovretta and is produced by Jay Firestone, Prodigy Pictures Inc.,  and Keyframe Digital Productions, Inc.,  with the participation of the Canadian Television Fund (Canada Media Fund), and in association with Shaw Media. It follows the life of a bisexual succubus named Bo, played by Anna Silk, as she learns to control her superhuman abilities, help those in need, and discover the truth about her origins.

Lost Girl season 1


Lost Girl premiered on Showcase on September 12, 2010. Its debut became "the highest-rated Canadian scripted series premiere of all time on Showcase."

Lost Girl season 1


The series premiered in Australia on Sci Fi on July 14, 2011.  In the United Kingdom and Ireland, the series premiered on Syfy (UK) on September 1, 2011.  In the United States, the series premiered on Syfy on January 16, 2012.

Lost Girl season 1


It’s kind of tough growing up thinking that you might have a shot at being prom queen and find out that you're part of some ageless secret race that feeds on humans.

Lost Girl season 1


Bo is a Succubus who grew up in an adopted human family, unaware of her non-human nature and of the Fae world she descended from. She began to feel "different" when she entered puberty and didn't know she was not normal until she accidentally killed her high school boyfriend by draining his life energy during her first sexual encounter. When she told her parents what had happened, they broke the news to Bo that she had been adopted (see "Raging Fae"). Not knowing what she was and what she had done, Bo hated herself and ran away from home, exchanging her previous life for one without family or friends, moving from place to place and assuming a false identity whenever she killed again.

Lost Girl season 1


In the first episode, Bo saves a young human woman, Kenzi, from a rapist who had surreptitiously drugged her with a "roofie" in her drink. The two quickly become friends and Kenzi decides they should team up to create a Fae/Human detective agency. Confronted by the Fae leaders of the local territory with a demand for her to choose a side – either "Light" or "Dark" – Bo declares herself neutral, deciding instead to side with humans after Kenzi risked her life to find out where Bo had been taken by force and what they were doing to her. Most of the Fae considered Bo an unknown entity that should either be eliminated as a risk to their secret existence or exploited for their benefit. Throughout the season, Bo learns more about the Fae world and herself while she searches for information about her origins. Along the way, Bo also develops romantic relationships with both Dyson, a Light Fae wolf shapeshifter and police detective; and Lauren, a human doctor and scientist in servitude to the Light Fae.

Lost Girl season 1


On November 16, 2008, Prodigy Pictures issued a press release that they had been commissioned by Canwest (Canwest Global Communications Corp.) to produce a pilot for Lost Girl, a drama about a young woman with supernatural powers.  On August 13, 2009, Canwest announced that the Showcase television channel, a subsidiary of the main company, had given the green-light for a 13-episode, one-hour supernatural drama series named Lost Girl.  On April 6, 2010, Prodigy Pictures reported that "principal photography is underway for 13 one-hour episodes of the new original Canadian fantasy-noir series, Lost Girl."

Lost Girl season 1


Filming will take place at a West Toronto soundstage and on location in the vicinities of Toronto and Hamilton until June 25, 2010. The series is set to air on Showcase in the fall. Lost Girl follows supernatural seductress Bo (Anna Silk), a Succubus who feeds on the sexual energy of mortals. Bo’s succubus nature tangles her in a sexy, romantic love-triangle with Dyson (Kris Holden-Reid), a shape-shifting Fae and homicide detective, and Lauren (Zoie Palmer), a human doctor who has found a way through science to help give Bo the sexual self-control she's been aching for. Navigating this complicated life with Bo is her human confidante and street-smart survivor, Kenzi (Ksenia Solo). Writers include Michelle Lovretta; Peter Mohan; Jeremy Boxen; Emily Andras; and Pamela Pinch. A companion website for the series is being produced concurrently and will launch with the show to give viewers an unprecedented, interactive experience." The series was aimed for a September 2010 release date.

Lost Girl season 1


On June 22, 2010, Keyframe Digital Productions Inc. reported that they had been given the contract for visual effects on the first thirteen episodes of Lost Girl.

Lost Girl season 1


As part of the promotion of the series, an official site was opened at the beginning of August 2010 at www.lostgirlseries.com. It contained a short trailer for the series and a summary of information on the show and its characters. On August 20, 2010, "Lost Girl: The Interactive Motion Comic" was released as a lead-in to the series. On the same date, a press release indicated that Lost Girl cast and crew would be making an appearance at Fan Expo Canada in Toronto on August 27–29, 2010, where they would be answering questions about the show and have promotional items available for audience members as well.

Lost Girl season 1


Lost Girl premiered on Showcase on September 12, 2010. The show's debut became "the highest-rated Canadian scripted series premiere of all time on Showcase."

Lost Girl season 1


The first season episode "Vexed" (1.08) is the original pilot shown to Showcase to obtain the green-light for the series.

Lost Girl season 1


On May 18, 2011, Syfy (U.S.) announced that it had acquired 26 episodes (Season One and Season Two) of Lost Girl from Prodigy Pictures.

Lost Girl season 1


The United States debut of Lost Girl on January 16, 2012, was announced by Syfy on December 12, 2011.  Episodes broadcast by Syfy in the United States are edited from their original 44:00 minutes to allow more time for commercial advertisements.

Lost Girl season 1


In Canada, Entertainment One, Ltd. released the DVD of Season One on April 24, 2012. In Australia (Region 4), Sony Pictures Home Entertainment released Season 1 on DVD on November 23, 2011; In the United States (Region 1), Giant Ape Media (Funimation SC) released the Season 1 uncut episodes "not seen on Syfy" on DVD and Blu-ray on October 23, 2012. In the United Kingdom and Ireland (Region 2), Sony Pictures Home Entertainment released Season 1 on DVD on February 25, 2013.

Lost Girl season 1


Ratings for the 9 p.m. series premiere on September 12, 2010, was over "400,000 viewers (2+)" and "another 184,000 (2+)" for the episode rerun at 10:40 p.m., making Lost Girl the "highest-rated Canadian scripted series premiere of all time on Showcase."

Lost Girl season 1


Critical response and popularity

Lost Girl season 1


The review aggregator website Rotten Tomatoes reported a 75% approval rating with an average rating of 7.4 out of 10 based on 12 reviews. The consensus reads: "Strong storytelling and intriguing characters help make Lost Girl a better-than-average supernatural/sci-fi series, even if the special effects leave something to be desired." On Metacritic, the season scored 68 out of 100, based on 11 critics, indicating "generally favorable reviews".

Lost Girl season 1


In Canada, Rob Salem of the Toronto Star described the show as one that "definitely bears watching".

Lost Girl season 1


Vladislav Tinchev, writer for the German site Serienjunkies wrote that the series would benefit from "revealing more background information about the represented world," rather than spend time on "clumsy action scenes".  But Tinchev pointed out that "Lost Girl is not lost at all, and has immediately won the audience and entertains them well. And there is nothing wrong with that, because TV series need not be world-shaking events."

Lost Girl season 1


In anticipation of its United States premiere, Brian Lowry of Variety wrote: "At first glance, Lost Girl looks like another one of those Canadian imports picked up mostly for financial reasons. The pilot, however, proves unexpectedly fun—a sort of diluted version of True Blood... but the show has wit, style and an enticing lead in the leather-clad Anna Silk." Writing for The New York Times, Mike Hale said: "Like other fantasy-tinged shows on Syfy and USA, it offers the minor pleasures of formulaic fantasy and weekly puzzle solving, though in a cheaper-looking and less original package than usual...." In a post-premiere review for The Huffington Post, Mauren Ryan wrote: "No one can say there's been a dearth of genre-tinged programs on television in recent years. The vampire boom of the mid-aughts was followed by the zombie bonanza of the last couple of years; all in all, we're awash in various undead and otherworldly creatures...But one of the reasons Lost Girl has made such a big impression on me...is because the Syfy show does what so many genre programs fail to do these days: It has fun with its premise...But don't expect Lost Girl to be perfect: Bo's universe can seem constricted at times, the weekly clients and monsters aren't always interesting and occasionally the storytelling has abrupt moments. But my occasional complaints have been overwhelmed by my growing appreciation of what creator Michelle Lovretta has done with this light drama: She's created a Hero's Journey with a self-confident woman — a succubus, no less — at the center of it...Lovretta has done something subversively impressive with Lost Girl. She's built a whole show around the idea of a woman who is learning just how much she can or should take from others, and how much she can rely on herself."

Lost Girl season 1


The relationship between Bo and Lauren became popularly referred to as "Doccubus" after fans of the couple combined "Doctor" Lauren Lewis with Bo's  "Succubus" species (i.e. Doc+cubus) to create the alias. The term became widely used by entertainment media and bloggers when referring to the pairing.

Lost Girl season 1


In a 2012 report by TiVo of television programs watched at bedtime, Lost Girl was rated one of the top ten, most watched shows.

Lost Girl season 1


In a Slate magazine 2012 year-end list of 15 favorite television shows that are a pleasure to watch, Lost Girl (on Syfy) was named "Number 1" on the list, and hailed as "Sexy, snarky, and Canadian."

Lost Girl season 1


Lost Girl at  Syfy (U.S.) Archived 23 November 2016 at the Wayback Machine

Lost Girl season 1


Lost Girl at Prodigy Pictures Inc. Archived 4 November 2015 at the Wayback Machine

Lost Girl season 1


Lost Girl at Canadian Television Fund Archived 6 November 2015 at the Wayback Machine

Lost Girl season 1


Lost Girl at epguides.com

Lost Girl season 1


Lost Girl list of episodes at Garn's Guides

Lost Girl season 1


Lost Girl at BO SERIES INC. (Giant Ape Media)

Lost Girl season 1


Carol Schuurman (17 August 1934 – 3 April 2009) was a Dutch footballer. He played in four matches for the Netherlands national football team from 1958 to 1961.

Carol Schuurman


FC Odishi 1919 (Georgian: საფეხბურთო კლუბი ოდიში 1919), commonly referred to as simply Odishi, is a Georgian association football club based in Zugdidi, the administrative centre of Samegrelo-Zemo Svaneti. Being a municipal club, they compete in Erovnuli Liga 2, the 2nd tier of Georgian football after gaining promotion from Liga 3 in 2025.

FC Odishi 1919


On 20 May 1919, two students of Zugdidi gymnasium, Leo Chedia and Pier Kobakhidze, organized a first football match in the city with Mertskhali (Swallows) represented as a local team. This date is considered a birthday for football in Zugdidi.

FC Odishi 1919


The main football club of the city has had various names, especially after 1990, and as Dinamo Zugdidi, Odishi, Zugdidi, Baia, and Mglebi has taken part in the Umaglesi Liga in different seasons.

FC Odishi 1919


Lazika Zugdidi, the predecessor of Odishi 1919, competed in lower divisions in the early 2010s. Despite being the third division leaders for most of the 2012/13 season, at the end they lost a promotion chance. A year later, though, the team remained unstoppable until a place in Pirveli Liga was booked.

FC Odishi 1919


The debutants of the second division performed remarkably well to join the battle for a promotion spot. The club slipped up at the very end again, losing three games in a row in the last five matches, which allowed Locomotive Tbilisi to claim a second place paving the way for play-offs. Still, the third place in 2014–15 in Liga 2 has been the best result shown by Lazika.

FC Odishi 1919


With another promotion set as their goal, the club started the next season. But its first phase turned out so awful that the manager and some key players were axed. Ukrainian manager Sergey Zhitski as well as forward Levan Kutalia were invited. In the same season Lazika was introduced as Odishi 1919. As the manager pointed out, while taking this decision a special emphasis was given to the history of football in Zugdidi.

FC Odishi 1919


Soon a sharp decline followed, which resulted in two successive relegations. Left out of a national league for the first time, Odishi finished as runners-up in their regional league group in 2018 and joined the newly formed Liga 4 for the next season.

FC Odishi 1919


Their tenure in the fourth tier lasted six years. In contrast with the first less ambitious four seasons, during the 2023 season Odishi were regarded as title contenders, but they took fourth place only three points below their nearest rivals. Being the only 4th division club with a foreign coach, Odishi set to accomplish the same goal in 2024 and even though went through some mid-season changes in the management, the team sealed promotion well in advance, with four games still in hand.

FC Odishi 1919


A year later, Odishi 1919 continued their successful campaign in the 3rd tier. Following a 4–3 aggregate victory over Iberia B in playoffs, the team achieved back-to-back promotions to return to the 2nd division after a nine-year absence.

FC Odishi 1919


Note: Flags indicate national team as defined under FIFA eligibility rules; some limited exceptions apply. Players may hold more than one non-FIFA nationality.

FC Odishi 1919


The club currently holds home games at the Ganmukhuri central stadium. Located in 25 km from Zugdidi, it has the capacity of 2,000.

FC Odishi 1919


As an old name for Samegrelo, the term Odishi was widely applied in medieval times.

FC Odishi 1919


The Air Force is the fifth studio album by Xiu Xiu. It was released on September 12, 2006, and was produced by Greg Saunier of Deerhoof, who also performs on the album with band members Caralee McElroy and Jamie Stewart.

The Air Force


The album was produced by Greg Saunier of Deerhoof, and released on 5 Rue Christine in September 2006. Stewart said that the year was "one of the first not dominated by personal tragedies" and that the album is about "making other people feel bad" instead of feeling bad oneself. Its major themes are "guilt and sex as opposed to sorrow and sex". Stewart considered it their best and most consciously pop album yet. They said that the band was obsessed with Weezer's Blue Album and The Smiths's The Queen Is Dead while on tour, though the album does not reflect those albums particularly.

The Air Force


"Feeding the Raging Heart" is the opening song to the 2007 Robby Reis film of the same name.

The Air Force


"Hello from Eau Claire" and "Saint Pedro Glue Stick" do not have vocals by lead member Jamie Stewart; instead, Caralee McElroy does all of the vocals on the former, while the latter is instrumental.

The Air Force


Jamie Stewart - Production, vocals (1–6, 8–11), percussion (1, 3, 4, 6, 8, 9), drum programming (2–4, 6, 9, 10), synthesizer (2–4, 6, 8, 10), guitar (2, 4, 5, 8, 10), bass (4, 5, 8, 9), sampler (3, 5, 7), harmonica (4, 6), piano (1), accordion (2), recorder (2), autoharp (5), mandolin (9)

The Air Force


Caralee McElroy - Production, vocals (1, 3, 6, 10), flute (2, 4), synthesizer (4), glockenspiel (9), cymbal (10)

The Air Force


Additional personnel

The Air Force


Greg Saunier - Production, vocals (1, 3, 5, 6, 10), sampler (2–4, 9, 11), synthesizer (1, 4, 6, 9), guitar (2, 4, 5, 10), percussion (1, 2, 5), piano (1, 8), drum programming (2, 4), bass (3), electronic drums (3), banjo (6), bass drum (6), snare drum (9), glockenspiel (9)

The Air Force


Devra Hoff - Double bass (2, 10, 11), bass (10)

The Air Force


David Horvitz - Koto (7)

The Air Force


Nedelle Torisi - Violin (9)

The Air Force


Pterosauromorpha (meaning "pterosaur-like forms") is one of the two basic divisions of Ornithodira that includes pterosaurs and all taxa that are closer to them than to dinosaurs and their close relatives (i.e. Dinosauromorpha). In addition to pterosaurs, Pterosauromorpha also includes the basal clade Lagerpetidae and some other Late Triassic ornithodirans (such as Scleromochlus).

Pterosauromorpha


The name Pterosauromorpha was originally coined by Emil Kuhn-Schnyder and Hans Rieber (1986) for a reptilian subclass distinct from Archosauria which includes pterosaurs. In 1997, Kevin Padian classified Pterosauromorpha as a clade of archosaurs and proposed phylogenetic definition for this group: "Pterosauria and all ornithodiran archosaurs closer to them than to dinosaurs". Brian Andres and Kevin Padian redefined Pterosauromorpha as: "The clade consisting of Pterodactylus (originally Ornithocephalus) antiquus (Sömmerring 1812) (Pterosauria) and all organisms or species that share a more recent common ancestor with it than with Alligator (originally Crocodilus) mississippiensis (Daudin 1802) (Suchia) and Compsognathus longipes Wagner 1859 (Dinosauromorpha)".

Pterosauromorpha


Lagerpetidae was traditionally considered the earliest diverging group of dinosauromorphs. This caused no other reptiles besides the true pterosaurs to be placed in Pterosauromorpha. The only notable exception was a small reptile named Scleromochlus, whose placement within the clade itself remained controversial due the poor preservation of its otherwise complete remains. Different phylogenetic analyses found it as a basal pterosauromorph, a non-aphanosaurian, non-pterosaur basal avemetatarsalian, a basal dinosauromorph, or a basal archosauriform. This has resulted in a large gap between the fully aerial pterosaurs and their terrestrial ancestors, as the earliest pterosaurs were already capable flyers.

Pterosauromorpha


First iteration of phylogenetic analysis produced by Kammerer et al. (2020) restored lagerpetids as a basal dinosauromorphs, which corresponds to the traditional point of view. But the second iteration, in which were added Scleromochlus, found Lagerpetidae as the most basal pterosauromorphs, and Scleromochlus as the sister taxon of pterosaurs. In a study that used micro-CT scans, Ezcurra et al. (2020) have found additional similarities, including large semicircular canals within the bones of some lagerpetids that resemble that of pterosaurs. It is assumed that large semicircular canals are related to arboreal, aerial or other agile forms of terrestrial locomotion as well as rapid movements. The flocculus, the part of the brain that aids in transmitting information, was also large in both pterosaurs and lagerpetids, though to a lesser extent. When Ezcurra et al. (2020) included Scleromochlus in their analysis, they found it to be the most basal pterosauromorph, sister to a clade including lagerpetids and pterosaurs. Baron (2021) conducted his own analysis, which confirmed the relationship between lagerpetids and pterosaurs.

Pterosauromorpha


It has to do with the semicircular canals [in the ear], which orients you in 3D space. The shape of those canals correlates with ecology and how you move your head — basically, are you agile or not? And a lot of things that have flight have semicircular canals with a really large and characteristic [shape] because you're flying, you're in a lot more 3D space.

Pterosauromorpha


Kellner et al. (2022) described Maehary, a small archosaur from the Late Triassic of Brazil. Along with lagerpetids, it was interpreted as a basal pterosauromorph. It is noteworthy that left maxilla of Maehary was previously considered to be a specimen of Faxinalipterus that was re-classified as a lagerpetid. Contrary to the initial classification, phylogenetic analyses conducted by Müller et al. (2023) and Müller (2024) recovered Maehary as a gracilisuchid pseudosuchian rather than a pterosauromorph. In their study on Scleromochlus, Foffa et al. (2023) noted that the phylogenetic position of Maehary remains uncertain due to the fragmentary nature of its material.

Pterosauromorpha


An analysis by Garcia & Müller (2025) found lagerpetids as paraphyletic to pterosaurs, and Faxinalipterus not as a pterosauromorph but as a sister taxon to Ornithodira, more closely related to ornithodirans than to Mambachiton and Aphanosauria.

Pterosauromorpha


Quintanilla de Arriba is a municipality located in the province of Valladolid, Castile and León, Spain. According to the 2017 census (INE), the municipality has a population of 155 inhabitants.

Quintanilla de Arriba


Cuisine of the province of Valladolid

Quintanilla de Arriba


Gary Cooper (born Frank James Cooper; May 7, 1901 – May 13, 1961) was an American actor known for his strong, silent screen persona and understated acting style. He won the Academy Award for Best Actor twice and had a further three nominations, as well as an Academy Honorary Award in 1961 for his career achievements. He was one of the top-10 film personalities for 23 consecutive years and one of the top money-making stars for 18 years. The American Film Institute (AFI) ranked Cooper at number 11 on its list of the 50 greatest screen legends.

Gary Cooper


Cooper's career spanned 36 years, from 1925 to 1961, and included leading roles in 84 feature films. He was a major movie star from the end of the silent film era through almost the end of the golden age of classical Hollywood. His screen persona appealed strongly to both men and women, and his range included roles in most major film 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.

Gary Cooper


Cooper began his career as a film extra and stunt rider, but soon landed acting roles. After establishing himself as a Western hero in his early silent films, he became a movie star with his first sound picture, playing the title role in 1929's   The Virginian. In the early 1930s, he expanded his heroic image to include more cautious characters in adventure films 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 films such as Mr. Deeds Goes to Town (1936), Meet John Doe (1941), Sergeant York (1941), Ball of Fire (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 films such as The Fountainhead (1949) and High Noon (1952). In his final films, he played nonviolent characters searching for redemption in films such as Friendly Persuasion (1956) and Man of the West (1958).

Gary Cooper


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

Gary Cooper


Alice wanted their sons to have a British education, so she took them back to the United Kingdom in 1909 to enroll them in Dunstable Grammar School in Dunstable, England. 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 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 their sons back to the U.S. in August 1912 and Cooper resumed his education in Montana, at Johnson Grammar School in Helena.

Gary Cooper


At age fifteen, Cooper injured his hip in a car accident. On his doctor's recommendation, he returned to the Seven-Bar-Nine ranch to recuperate with horseback riding. The misguided therapy left Cooper 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 his son to attend Gallatin County High School in Bozeman, where English teacher Ida Davis encouraged him to focus on academics and participate in debating and dramatics. Cooper later called Davis "the woman partly responsible for [his] giving up cowboy-ing and going to college".

Gary Cooper


While in high school in 1920, Cooper took three art courses at Montana Agricultural College (now Montana State University) 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.

Gary Cooper


In 1922, to continue his art education, Cooper 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.

Gary Cooper


In autumn 1924, Cooper's father left the state 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 film extras and stunt riders in low-budget Western films 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 film extra for five dollars a day and as a stunt rider for $10. Cooper and Talbot became close friends and hunting companions; Talbot later worked as Cooper's stuntman and stand-in for over three decades.

Gary Cooper


Silent films, 1925–1928

Gary Cooper


In early 1925, Cooper began his film 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 roles, 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.

Gary Cooper


Cooper also found work in a variety of non-Western films, 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 roles that offered him more screen time, in films such as Tricks (1925), in which he played the film's antagonist, and the short film Lightnin' Wins (1926). As a featured player, he began to attract the attention of major film studios. On June 1, 1926, Cooper signed a contract with Samuel Goldwyn Productions for $50 a week.

Gary Cooper


Cooper's first important film role was a supporting part in The Winning of Barbara Worth (1926) starring Ronald Colman and Vilma Bánky, 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 film 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 – 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 roles in Children of Divorce and Wings (both 1927), the latter being the first film to win an Academy Award for Best Picture. That year, Cooper also appeared in his first starring roles in Arizona Bound and Nevada, both films directed by John Waters.

Gary Cooper


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 film, 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 film and receiving 1,000 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 (all 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 films of 1928.

Gary Cooper


Hollywood stardom, 1929–1935

Gary Cooper


Cooper became a major movie star in 1929 playing the lead role in his first talking picture, The Virginian (1929), which was directed by Victor Fleming and co-starred Mary Brian and Walter Huston. Based on the popular novel by Owen Wister, The Virginian was one of the first sound films 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 film. Unlike some silent-film actors who had trouble adapting to the new sound medium, Cooper transitioned naturally, with his "deep and clear" and "pleasantly drawling" voice, which perfectly suited the characters he portrayed on screen. 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 role as The Texan for the cover of The Saturday Evening Post on May 24, 1930.

Gary Cooper


One of the most important performances in Cooper's early career was his portrayal of a sullen legionnaire in Josef von Sternberg's film 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.

Gary Cooper


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 film City Streets (also 1931), co-starring Sylvia Sidney and Paul Lukas, playing a westerner who gets involved with big-city gangsters to save the woman he loves. Cooper concluded the year with appearances in two unsuccessful films: I Take This Woman (also 1931) with Carole Lombard, and His Woman with Claudette Colbert. The demands and pressures of making 10 films in two years left Cooper exhausted and in poor health, suffering from anemia and jaundice. He had lost 30 lb (14 kg), 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.

Gary Cooper


During his time abroad, Cooper stayed with the Countess Dorothy di Frasso, the former Dorothy Cadwell Taylor, 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 10-week big-game hunting safari on the slopes of Mount Kenya in East Africa, where he was credited with more than 60 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, the countess and he 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 films per year, a salary of $4,000 a week, and director and script approval.

Gary Cooper


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 film adaptation of an Ernest Hemingway novel. Co-starring Helen Hayes, a leading New York theatre star and Academy Award winner, and Adolphe Menjou, the film presented Cooper with one of his most ambitious and challenging dramatic roles, 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 film 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 film Design for Living, based on the successful Noël Coward play. Co-starring Miriam Hopkins and Fredric March, the film was a box-office success, ranking as one of the top-10 highest-grossing films of 1933. All three of the lead actors – March, Cooper, and Hopkins – received attention from this film, as they were all at the peak of their careers. Cooper's performance, as 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.

Gary Cooper


In 1934, Cooper was lent out to MGM for the Civil War drama film 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 film did poorly at the box office.

Gary Cooper


Back at Paramount, Cooper appeared in his first of seven films by director Henry Hathaway, Now and Forever, with Carole Lombard and Shirley Temple. In the film, he plays a confidence man who tries to sell his daughter to the relatives who raised her, but is eventually won over by the adorable girl. Impressed by Temple's intelligence and charm, Cooper developed a close rapport with her, both on and off screen. The film was a box-office success.

Gary Cooper


In 1935, Cooper was lent to Samuel Goldwyn Productions to appear in King Vidor's romance film The Wedding Night with Anna Sten, who was being groomed as "another Garbo". In the film, Cooper plays an alcoholic novelist who retreats to his family's New England farm, where he meets and falls in love with a beautiful Polish neighbor. Cooper delivered a performance of surprising range and depth, according to biographer Larry Swindell. Despite receiving generally favorable reviews, the film was not popular with American audiences, who may have been offended by the film's depiction of an extramarital affair and its tragic ending.

Gary Cooper


Also in 1935, Cooper appeared in two Henry Hathaway films: the melodrama Peter Ibbetson with Ann Harding, about a man caught up in a dream world created by his love for a childhood sweetheart, and the adventure film The Lives of a Bengal Lancer, about a daring British officer and his men who defend their stronghold at Bengal against rebellious local tribes. While the former, championed by the surrealists became more successful in Europe than in the United States, the latter was nominated for seven Academy Awards and became one of Cooper's most popular and successful adventure films. Hathaway had the highest respect for Cooper's acting ability, calling him "the best actor of all of them".

Gary Cooper


American folk hero, 1936–1943

Gary Cooper


From Mr. Deeds to The Real Glory, 1936–1939

Gary Cooper


Cooper's career took an important turn in 1936. After making Frank Borzage's romantic comedy film Desire with Marlene Dietrich at Paramount, in which he delivered a performance considered by some contemporary critics as one of his finest, Cooper returned to Poverty Row for the first time since his early silent-film days to make Frank Capra's Mr. Deeds Goes to Town with Jean Arthur for Columbia Pictures. In the film, Cooper plays Longfellow Deeds, a quiet, innocent writer of greeting cards who inherits a fortune, leaves behind his idyllic life in Vermont, and travels to New York City, where he faces a world of corruption and deceit. Capra and screenwriter Robert Riskin were able to use Cooper's well-established screen persona as the "quintessential American hero" – a symbol of honesty, courage, and goodness – to create a new type of "folk hero" for the common man. Commenting on Cooper's impact on the character and the film, Capra observed:

Gary Cooper


As soon as I thought of Gary Cooper, it wasn't possible to conceive anyone else in the role. He could not have been any closer to my idea of Longfellow Deeds, and as soon as he could think in terms of Cooper, Bob Riskin found it easier to develop the Deeds character in terms of dialogue. So it just had to be Cooper. Every line in his face spelled honesty. Our Mr. Deeds had to symbolize incorruptibility, and in my mind Gary Cooper was that symbol.

Gary Cooper


Both Desire and Mr. Deeds opened in April 1936 to critical praise and were major box-office successes. In his review in The New York Times, Frank Nugent wrote that Cooper was "proving himself one of the best light comedians in Hollywood". For his performance in Mr. Deeds, Cooper received his first Academy Award nomination for Best Actor.

Gary Cooper


Cooper appeared in two other Paramount films in 1936. In Lewis Milestone's adventure film The General Died at Dawn with Madeleine Carroll, he plays an American soldier of fortune in China who helps the peasants defend themselves against the oppression of a cruel warlord. Written by playwright Clifford Odets, the film was a critical and commercial success.

Gary Cooper


In Cecil B. DeMille's sprawling frontier epic The Plainsman, his first of four films with the director, Cooper portrays Wild Bill Hickok in a highly fictionalized version of the opening of the American western frontier. The film was an even greater box-office hit than its predecessor, due in large part to Jean Arthur's definitive depiction of Calamity Jane and Cooper's inspired portrayal of Hickok as an enigmatic figure of "deepening mythic substance". That year, Cooper appeared for the first time on the Motion Picture Herald exhibitor's poll of top-10 film personalities, where he remained for the next 23 years.

Gary Cooper


In late 1936, Paramount was preparing a new contract for Cooper that would raise his salary to $8,000 a week, when Cooper signed a contract with Samuel Goldwyn for six films over six years with a minimum guarantee of $150,000 per picture. Paramount brought suit against Goldwyn and Cooper, and the court ruled that Cooper's new Goldwyn contract afforded the actor sufficient time to also honor his Paramount agreement. Cooper continued to make films with both studios, and by 1939, the United States Treasury reported that Cooper was the country's highest wage earner, at $482,819 (equivalent to $11.18 million in 2025).

Gary Cooper


In contrast to his output the previous year, Cooper appeared in only one picture in 1937, Henry Hathaway's adventure film Souls at Sea. A critical and box-office failure, Cooper referred to it as his "almost picture", saying, "It was almost exciting, and almost interesting. And I was almost good." In 1938, he appeared in Archie Mayo's biographical film The Adventures of Marco Polo. Plagued by production problems and a weak screenplay, the film became Goldwyn's biggest failure to date, losing $700,000. During this period, Cooper turned down several important roles, including the role of Rhett Butler in Gone with the Wind. Cooper was producer David O. Selznick's first choice for the part. He made several overtures to the actor, but Cooper had doubts about the project, and did not feel suited to the role. Cooper later admitted, "It was one of the best roles ever offered in Hollywood ... But I said no. I didn't see myself as quite that dashing, and later, when I saw Clark Gable play the role to perfection, I knew I was right."

Gary Cooper


Back at Paramount, Cooper returned to a more comfortable genre in Ernst Lubitsch's romantic comedy Bluebeard's Eighth Wife (1938) with Claudette Colbert. In the film, Cooper plays a wealthy American businessman in France who falls in love with an impoverished aristocrat's daughter and persuades her to become his eighth wife. Despite the clever screenplay by Charles Brackett and Billy Wilder, and solid performances by Cooper and Colbert, American audiences had trouble accepting Cooper in the role of a shallow philanderer. It succeeded only at the European box-office market.

Gary Cooper


In the fall of 1938, Cooper appeared in H. C. Potter's romantic comedy The Cowboy and the Lady with Merle Oberon, about a sweet-natured rodeo cowboy who falls in love with the wealthy daughter of a presidential hopeful, believing her to be a poor, hard-working lady's maid. The efforts of three directors and several eminent screenwriters could not salvage what could have been a fine vehicle for Cooper. While more successful than its predecessor, the film was Cooper's fourth consecutive box-office failure in the American market.

Gary Cooper


In the next two years, Cooper was more discerning about the roles he accepted and made four successful large-scale adventure and cowboy films. In William A. Wellman's adventure film Beau Geste (1939), he plays one of three daring English brothers who join the French Foreign Legion in the Sahara to fight local tribes. Filmed in the same Mojave Desert locations as the original 1926 version with Ronald Colman, Beau Geste provided Cooper with magnificent sets, exotic settings, high-spirited action, and a role tailored to his personality and screen persona. This was the last film in Cooper's contract with Paramount.

Gary Cooper


In Henry Hathaway's The Real Glory (1939), he plays a military doctor who accompanies a small group of American Army officers to the Philippines to help the Christian Filipinos defend themselves against Muslim radicals. Many film critics praised Cooper's performance, including author and film critic Graham Greene, who recognized that he "never acted better".

Gary Cooper


From The Westerner to For Whom the Bell Tolls, 1940–1943

Gary Cooper


Cooper returned to the Western genre in William Wyler's The Westerner (1940) with Walter Brennan and Doris Davenport, about a drifting cowboy who defends homesteaders against Roy Bean, a corrupt judge known as the "law west of the Pecos". Screenwriter Niven Busch relied on Cooper's extensive knowledge of Western history while working on the script. The film received positive reviews and did well at the box office, with reviewers praising the performances of the two lead actors. That same year, Cooper appeared in his first all-Technicolor feature, Cecil B. DeMille's adventure film North West Mounted Police (1940). In the film, Cooper plays a Texas Ranger who pursues an outlaw into western Canada, where he joins forces with the Royal Canadian Mounted Police who are after the same man, a leader of the North-West Rebellion. While not as popular with critics as its predecessor, the film was another box-office success, the sixth-highest grossing film of 1940.

Gary Cooper


The early 1940s were Cooper's prime years as an actor. In a relatively short period, he appeared in five critically successful and popular films that produced some of his finest performances. When Frank Capra offered him the lead role in Meet John Doe before Robert Riskin even developed the script, Cooper accepted his friend's offer, saying, "It's okay, Frank, I don't need a script." In the film, Cooper plays Long John Willoughby, a down-and-out bush-league pitcher hired by a newspaper to pretend to be a man who promises to commit suicide on Christmas Eve to protest all the hypocrisy and corruption in the country. Considered by some critics to be Capra's best film at the time, Meet John Doe was received as a "national event" with Cooper appearing on the front cover of Time on March 3, 1941. In his review in the New York Herald Tribune, Howard Barnes called Cooper's performance a "splendid and utterly persuasive portrayal" and praised his "utterly realistic acting which comes through with such authority". Bosley Crowther, in The New York Times, wrote, "Gary Cooper, of course, is 'John Doe' to the life and in the whole – shy, bewildered, nonaggressive, but a veritable tiger when aroused."

Gary Cooper


That same year, Cooper made two films with director and good friend Howard Hawks. In the biographical film Sergeant York, Cooper portrays war hero Alvin C. York, one of the most decorated American soldiers in World War I. The film chronicles York's early backwoods days in Tennessee, his religious conversion and subsequent piety, his stand as a conscientious objector, and finally his heroic actions at the Battle of the Argonne Forest, which earned him the Medal of Honor. Initially, Cooper was nervous and uncertain about playing a living hero, so he traveled to Tennessee to visit York at his home, and the two quiet men established an immediate rapport and discovered they had much in common. Inspired by York's encouragement, Cooper delivered a performance that Howard Barnes of the New York Herald Tribune called "one of extraordinary conviction and versatility", and that Archer Winston of the New York Post called "one of his best". After the film's release, Cooper was awarded the Distinguished Citizenship Medal by the Veterans of Foreign Wars for his "powerful contribution to the promotion of patriotism and loyalty". York admired Cooper's performance and helped promote the film for Warner Bros. Sergeant York became the top-grossing film of the year and was nominated for 11 Academy Awards. Accepting his first Academy Award for Best Actor from his friend James Stewart, Cooper said, "It was Sergeant Alvin York who won this award. Shucks, I've been in the business 16 years and sometimes dreamed I might get one of these. That's all I can say ... Funny when I was dreaming I always made a better speech."

Gary Cooper


Cooper concluded the year back at Goldwyn with Howard Hawks to make the romantic comedy Ball of Fire with Barbara Stanwyck. In the film, Cooper plays a shy linguistics professor who leads a team of seven scholars who are writing an encyclopedia. While researching slang, he meets Stanwyck's flirtatious burlesque stripper Sugarpuss O'Shea who blows the dust off their staid life of books. The screenplay by Charles Brackett and Billy Wilder provided Cooper the opportunity to exercise the full range of his light comedy skills. In his review for the New York Herald Tribune, Howard Barnes wrote that Cooper handled the role with "great skill and comic emphasis" and that his performance was "utterly delightful". Though small in scale, Ball of Fire was one of the top-grossing films of the year and Cooper's fourth consecutive picture to make the top 20.

Gary Cooper


Cooper's only film appearance in 1942 was also his last under his Goldwyn contract. In Sam Wood's biographical film The Pride of the Yankees, Cooper portrays baseball star Lou Gehrig, who established a record with the New York Yankees for playing in 2,130 consecutive games. Cooper was reluctant to play the seven-time All-Star, who had died only the previous year from ALS (now commonly called "Lou Gehrig's disease"). Beyond the challenges of effectively portraying such a popular and nationally recognized figure, Cooper knew very little about baseball and was not left-handed like Gehrig.

Gary Cooper


After Gehrig's widow visited the actor and expressed her desire that he portray her husband, Cooper accepted the role that covered a 20-year span of Gehrig's life: his early love of baseball, his rise to greatness, his loving marriage, and his struggle with illness, culminating in his farewell speech at Yankee Stadium on July 4, 1939, before 62,000 fans. Cooper quickly learned the physical movements of a baseball player and developed a fluid, believable swing. The handedness issue was solved by reversing the print for certain batting scenes. The film was one of the year's top-10 pictures and received 11 Academy Award nominations, including Best Picture and Best Actor (Cooper's third).

Gary Cooper


Soon after the publication of Ernest Hemingway's novel For Whom the Bell Tolls, Paramount paid $150,000 for the film rights with the express intent of casting Cooper in the lead role of Robert Jordan, an American explosives expert who fights alongside the Republican loyalists during the Spanish Civil War. The original director, Cecil B. DeMille, was replaced by Sam Wood, who brought in Dudley Nichols for the screenplay. After the start of principal photography in the Sierra Nevada in late 1942, Ingrid Bergman was brought in to replace ballerina Vera Zorina as the female lead, a change supported by Cooper and Hemingway. The love scenes between Bergman and Cooper were "rapturous" and passionate. Howard Barnes in the New York Herald Tribune wrote that both actors performed with "the true stature and authority of stars". While the film distorted the novel's original political themes and meaning, For Whom the Bell Tolls was a critical and commercial success and received 10 Academy Award nominations, including Best Picture and Best Actor (Cooper's fourth).

Gary Cooper


World War II related activities

Gary Cooper


Due to his age and health, Cooper did not serve in the military during World War II, but like many of his colleagues, he got involved in the war effort by entertaining the troops. In June 1943, he visited military hospitals in San Diego, and often appeared at the Hollywood Canteen serving food to the servicemen. In late 1943, Cooper undertook a 23,000-mile (37,000 km) tour of the South West Pacific with actresses Una Merkel and Phyllis Brooks and accordionist Andy Arcari.

Gary Cooper


Traveling on a B-24A Liberator bomber, the group toured the Cook Islands, Fiji, New Caledonia, Queensland, Brisbane – where General Douglas MacArthur told Cooper he was watching Sergeant York in a Manila theater when Japanese bombs began falling – New Guinea and Jayapura, then throughout the Solomon Islands.

Gary Cooper


The group often shared the same sparse living conditions and K-rations as the troops. Cooper met with the servicemen and women, visited military hospitals, introduced his attractive colleagues and participated in occasional skits. The shows concluded with Cooper's moving recitation of Lou Gehrig's farewell speech. When he returned to the United States, he visited military hospitals throughout the country. Cooper later called his time with the troops the "greatest emotional experience" of his life.

Gary Cooper


Mature roles, 1944–1952

Gary Cooper


In 1944, Cooper appeared in Cecil B. DeMille's wartime adventure film The Story of Dr. Wassell with Laraine Day – his third movie with the director. In the film, Cooper plays American doctor and missionary Corydon M. Wassell, who leads a group of wounded sailors through the jungles of Java to safety. Despite receiving poor reviews, Dr. Wassell was one of the top-grossing films of the year. With his Goldwyn and Paramount contracts now concluded, Cooper decided to remain independent and formed his own production company, International Pictures, with Leo Spitz, William Goetz, and Nunnally Johnson. The fledgling studio's first offering was Sam Wood's romantic comedy Casanova Brown with Teresa Wright, about a man who learns his soon-to-be ex-wife is pregnant with his child, just as he is about to marry another woman. The film received poor reviews, with the New York Daily News calling it "delightful nonsense", and Bosley Crowther, in The New York Times, criticizing Cooper's "somewhat obvious and ridiculous clowning". The film was barely profitable.

Gary Cooper


In 1945, Cooper starred in and produced Stuart Heisler's Western comedy Along Came Jones with Loretta Young for International. In this lighthearted parody of his past heroic image, Cooper plays comically inept cowboy Melody Jones, who is mistaken for a ruthless killer. Audiences embraced Cooper's character, and the film was one of the top box-office pictures of the year – a testament to Cooper's still vital audience appeal. It was also International's biggest financial success during its brief history before being sold off to Universal Studios in 1946.

Gary Cooper


Cooper's career during the postwar years drifted in new directions as American society was changing. While he still played conventional heroic roles, his films now relied less on his heroic screen persona and more on novel stories and exotic settings. In November 1945, Cooper appeared in Sam Wood's 19th-century period drama Saratoga Trunk with Ingrid Bergman, about a Texas cowboy and his relationship with a beautiful fortune hunter. Filmed in early 1943, the movie's release was delayed for two years due to the increased demand for war movies. Despite poor reviews, Saratoga Trunk did well at the box office and became one of the top moneymakers of the year for Warner Bros. Cooper's only film in 1946 was Fritz Lang's romantic thriller Cloak and Dagger, about a mild-mannered physics professor recruited by the Office of Strategic Services during the last years of World War II to investigate the German atomic-bomb program. Playing a part loosely based on physicist J. Robert Oppenheimer, Cooper was uneasy with the role and unable to convey the "inner sense" of the character. The film received poor reviews and was a box-office failure. In 1947, Cooper appeared in Cecil B. DeMille's epic adventure film Unconquered with Paulette Goddard, about a Virginia militiaman who defends settlers against an unscrupulous gun trader and hostile Indians on the Western frontier during the 18th century. The film received mixed reviews, but even long-time DeMille critic James Agee acknowledged the picture had "some authentic flavor of the period". This last of four films made with DeMille was Cooper's most lucrative, earning the actor over $300,000 (equal to $4,325,633 today) in salary and percentage of profits. Unconquered was his last unqualified box-office success for the next five years.

Gary Cooper


In 1948, after making Leo McCarey's romantic comedy Good Sam, Cooper sold his company to Universal Studios and signed a long-term contract with Warner Bros. that gave him script and director approval and a guaranteed $295,000 (equal to $3,953,082 today) per picture. His first film under the new contract was King Vidor's drama The Fountainhead (1949) with Patricia Neal and Raymond Massey. In the film, Cooper plays an idealistic and uncompromising architect who struggles to maintain his integrity and individualism in the face of societal pressures to conform to popular standards. Based on the novel by Ayn Rand, who also wrote the screenplay, the film reflects her philosophy and attacks the concepts of collectivism while promoting the virtues of individualism. For most critics, Cooper was hopelessly miscast in the role of Howard Roark. In his review for The New York Times, Bosley Crowther concluded he was "Mr. Deeds out of his element". Cooper returned to his element in Delmer Daves' war drama Task Force (1949), about a retiring rear admiral, who reminisces about his long career as a naval aviator and his role in the development of aircraft carriers. Cooper's performance and the Technicolor newsreel footage supplied by the United States Navy made the film one of Cooper's most popular during this period. In the next two years, Cooper made four poorly received films: Michael Curtiz' period drama Bright Leaf (1950), Stuart Heisler's Western melodrama Dallas (1950), Henry Hathaway's wartime comedy You're in the Navy Now (1951), and Raoul Walsh's Western action film Distant Drums (1951).

Gary Cooper


Cooper's most important film during the postwar years was Fred Zinnemann's Western drama High Noon (1952) with Grace Kelly and Katy Jurado for United Artists. In the film, Cooper plays retiring sheriff Will Kane, who is preparing to leave town on his honeymoon when he learns that an outlaw he helped put away and his three henchmen are returning to seek their revenge. Unable to gain the support of the frightened townspeople, and abandoned by his young bride, Kane nevertheless stays to face the outlaws alone. During the filming, Cooper was in poor health and in considerable pain from stomach ulcers. His ravaged face and discomfort in some scenes "photographed as self-doubt", according to biographer Hector Arce, and contributed to the effectiveness of his performance. Considered one of the first "adult" Westerns for its theme of moral courage, High Noon received enthusiastic reviews for its artistry, with Time placing it in the ranks of Stagecoach and The Gunfighter. Bosley Crowther, in The New York Times, wrote that Cooper was "at the top of his form", and John McCarten, in The New Yorker, wrote that Cooper was never more effective. The film earned $3.75 million in the United States and $18 million worldwide. Following the example of his friend James Stewart, Cooper accepted a lower salary in exchange for a percentage of the profits, and ended up making $600,000. Cooper's understated performance was widely praised, and earned him his second Academy Award for Best Actor.

Gary Cooper


Later films, 1953–1959

Gary Cooper


After appearing in Andre de Toth's Civil War drama Springfield Rifle (1952) – a standard Warner Bros. film that was overshadowed by the success of its predecessor – Cooper made four films outside the United States. In Mark Robson's drama Return to Paradise (1953), Cooper plays an American wanderer who liberates the inhabitants of a Polynesian island from the puritanical rule of a misguided pastor. Cooper endured spartan living conditions, long hours, and ill health during the three-month location shoot on the island of Upolu in Western Samoa. Despite its beautiful cinematography, the film received poor reviews. Cooper's next three films were shot in Mexico. In Hugo Fregonese's action adventure film Blowing Wild (1953) with Barbara Stanwyck, he plays a wildcatter in Mexico, who gets involved with an oil-company executive and his unscrupulous wife with whom he once had an affair.

Gary Cooper


In 1954, Cooper appeared in Henry Hathaway's Western drama Garden of Evil, with Susan Hayward, about three soldiers of fortune in Mexico hired to rescue a woman's husband. That same year, he appeared in Robert Aldrich's Western adventure Vera Cruz with Burt Lancaster. In the film, Cooper plays an American adventurer hired by Emperor Maximilian I to escort a countess to Vera Cruz during the Mexican Rebellion of 1866. All these films received poor reviews, but did well at the box office. For his work in Vera Cruz, Cooper earned $1.4 million in salary and a percentage of the gross.

Gary Cooper


During this period, Cooper struggled with health problems. He suffered a severe shoulder injury during the filming of Blowing Wild when he was hit by metal fragments from a dynamited oil well, as well as his ongoing treatment for ulcers. During the filming of Vera Cruz, he reinjured his hip by falling from a horse, and was burned when Lancaster fired his rifle too close and the wadding from the blank shell pierced his clothing.

Gary Cooper


Cooper appeared in Otto Preminger's 1955 biographical war drama The Court-Martial of Billy Mitchell, about the World War I general who tried to convince government officials of the importance of air power, and was court-martialed after blaming the War Department for a series of air disasters. Some critics felt Cooper was miscast, and that his dull, tight-lipped performance did not reflect Mitchell's dynamic and caustic personality. In 1956, Cooper was more effective playing a gentle Indiana Quaker in William Wyler's Civil War drama Friendly Persuasion with Dorothy McGuire. Like Sergeant York and High Noon, the film addresses the conflict between religious pacifism and civic duty. For his performance, Cooper received his second Golden Globe nomination for Best Motion Picture Actor. The film was nominated for six Academy Awards, was awarded the Palme d'Or at the 1957 Cannes Film Festival, and went on to earn $8 million worldwide.

Gary Cooper


Cooper traveled to France in 1956 to make Billy Wilder's romantic comedy Love in the Afternoon with Audrey Hepburn and Maurice Chevalier. In the film, Cooper plays a middle-aged American playboy in Paris who is pursued by—and eventually falls in love with—a much younger woman. Despite receiving some positive reviews, including from Bosley Crowther, who praised the film's "charming performances", most reviewers concluded that Cooper was simply too old for the part. While audiences may not have welcomed seeing Cooper's heroic screen image tarnished by his playing an aging roué having an affair with a young girl, the film was still a box-office success. The following year, Cooper appeared in Philip Dunne's romantic drama Ten North Frederick. In the film, which was based on the novel by John O'Hara, Cooper plays an attorney whose life is ruined by a double-crossing politician and his own secret affair with his daughter's young roommate. While Cooper brought "conviction and controlled anguish" to his performance, according to biographer Jeffrey Meyers, it was not enough to save what Bosley Crowther called a "hapless film".

Gary Cooper


Despite his ongoing health problems and several operations for ulcers and hernias, Cooper continued to work in action films. In 1958, he appeared in Anthony Mann's Western drama Man of the West (1958) with Julie London and Lee J. Cobb, about a reformed outlaw and killer who is forced to confront his violent past when the train in which he is riding is held up by his former gang members. The film has been called Cooper's "most pathological Western", with its themes of impotent rage, sexual humiliation, and sadism. According to biographer Jeffrey Meyers, Cooper, who struggled with moral conflicts in his personal life, "understood the anguish of a character striving to retain his integrity ... [and] brought authentic feeling to the role of a tempted and tormented, yet essentially decent man". Mostly ignored by critics at the time, the film is now well-regarded by film scholars and is considered Cooper's last great film.

Gary Cooper


After his Warner Bros. contract ended, Cooper formed his own production company, Baroda Productions, and made three unusual films in 1959 about redemption. In Delmer Daves' Western drama The Hanging Tree, Cooper plays a frontier doctor who saves a criminal from a lynch mob, and later tries to exploit his sordid past. Cooper delivered a "powerful and persuasive" performance of an emotionally scarred man whose need to dominate others is transformed by the love and sacrifice of a woman. In Robert Rossen's historical adventure They Came to Cordura with Rita Hayworth, he plays an army officer who is found guilty of cowardice and assigned the degrading task of recommending soldiers for the Medal of Honor during the Pancho Villa Expedition of 1916. While Cooper received positive reviews, Variety and Films in Review felt he was too old for the part.

Gary Cooper


In Michael Anderson's action drama The Wreck of the Mary Deare with Charlton Heston, Cooper plays a disgraced merchant-marine officer who decides to stay aboard his sinking cargo ship to prove the vessel was deliberately scuttled and to redeem his good name. Like its two predecessors, the film was physically demanding. Cooper, who was a trained scuba diver, did most of his own underwater scenes. Biographer Jeffrey Meyers observed that in all three roles Cooper effectively conveyed the sense of lost honor and desire for redemption – what Joseph Conrad in Lord Jim called the "struggles of an individual trying to save from the fire his idea of what his moral identity should be".

Gary Cooper


Cooper was formally introduced to his future wife, 20-year-old New York debutante Veronica Balfe, on Easter Sunday 1933 at a party given by her uncle, art director Cedric Gibbons. Called "Rocky" by her family and friends, she grew up on Park Avenue and attended finishing schools. Her stepfather was Wall Street tycoon Paul Shields. Cooper and Rocky were quietly married at her parents' Park Avenue residence on December 15, 1933. According to his friends, the marriage had a positive impact on Cooper, who turned away from past indiscretions and took control of his life. Athletic and a lover of the outdoors, Rocky shared many of Cooper's interests, including riding, skiing, and skeet-shooting. While she organized their social life, her wealth and social connections provided Cooper access to New York high society. Cooper and his wife owned homes in the Los Angeles area in Encino (1933–36), Brentwood (1936–53), and Holmby Hills (1954–61), and owned a vacation home in Aspen, Colorado (1949–53).

Gary Cooper


Gary and Veronica Cooper's daughter, Maria Veronica Cooper, was born on September 15, 1937. By all accounts, he was a patient and affectionate father, teaching Maria to ride a bicycle, play tennis, ski, and ride horses. Sharing many of her parents' interests, she accompanied them on their travels and was often photographed with them. Like her father, she developed a love for art and drawing. As a family, they vacationed together in Sun Valley, Idaho, spent time at Rocky's parents' country house in Southampton, New York, and took frequent trips to Europe. Cooper and Rocky were legally separated on May 16, 1951, when Cooper moved out of their home. For over two years, they maintained a fragile and uneasy family life with their daughter. Cooper moved back into their home in November 1953, and their formal reconciliation occurred in February 1954.

Gary Cooper


Romantic relationships

Gary Cooper


Prior to his marriage, Cooper had a series of romantic relationships with leading actresses, beginning in 1927 with Clara Bow, who advanced his career by helping him get one of his first leading roles in Children of Divorce. Bow was also responsible for getting Cooper a role in Wings, which generated an enormous amount of fan mail for the young actor. In 1928, he had a relationship with another experienced actress, Evelyn Brent, whom he met while filming Beau Sabreur. In 1929, while filming The Wolf Song, Cooper began an intense affair with Lupe Vélez, which was the most important romance of his early life. During their two years together, Cooper also had brief affairs with Marlene Dietrich while filming Morocco in 1930 and with Carole Lombard while making I Take This Woman in 1931. During his year abroad in 1931–32, Cooper had an affair with the married Countess Dorothy di Frasso, the former Dorothy Cadwell Taylor, while staying at her Villa Madama near Rome.

Gary Cooper


After he was married in December 1933, Cooper remained faithful to his wife until the summer of 1942, when he began an affair with Ingrid Bergman during the production of For Whom the Bell Tolls. Their relationship lasted through the completion of filming Saratoga Trunk in June 1943. In 1948, after finishing work on The Fountainhead, Cooper began an affair with Patricia Neal, his co-star. At first, they kept their affair discreet, but eventually it became an open secret in Hollywood, and Cooper's wife confronted him with the rumors, which he admitted were true. He also confessed that he was in love with Neal, and continued to see her. Cooper and his wife were legally separated in May 1951, but he did not seek a divorce. Neal later claimed that Cooper hit her after she went on a date with Kirk Douglas, and that he arranged for her to have an abortion when she became pregnant with Cooper's child. Neal ended their relationship in late December 1951. During his three-year separation from his wife, Cooper was rumored to have had affairs with Grace Kelly, Lorraine Chanel, and Gisèle Pascal.

Gary Cooper


Cooper biographers have explored his relationship in the late 1920s with the actor Anderson Lawler, with whom Cooper shared a house on and off for a year, while at the same time seeing Clara Bow, Evelyn Brent, and Lupe Vélez. Vélez once told Hedda Hopper of Lawler's alleged affair with Cooper; whenever he would come home after seeing Lawler, she would sniff for Lawler's cologne. Vélez's biographer Michelle Vogel wrote that Vélez consented to Cooper's alleged sexual behavior with Lawler, but only as long as she, too, could participate.

Gary Cooper


In later life, Cooper became involved with costume designer Irene, and was, according to her, "the only man she ever loved". A year after his death in 1961, Irene committed suicide by jumping from the 11th floor of the Knickerbocker Hotel, after telling Doris Day of her grief over Cooper's death.

Gary Cooper


Friendships, interests, and character

Gary Cooper


... the really satisfying things I do are offered me, free, for nothing. Ever go out in the fall and do a little hunting? See the frost on the grass and the leaves turning? Spend a day in the hills alone, or with good companions? Watch a sunset and a moonrise? Notice a bird in the wind? A stream in the woods, a storm at sea, cross the country by train, and catch a glimpse of something beautiful in the desert, or the farmlands? Free to everybody ...

Gary Cooper


Cooper's 20-year friendship with Ernest Hemingway began at Sun Valley in October 1940. The previous year, Hemingway drew upon Cooper's image when he created the character of Robert Jordan for the novel For Whom the Bell Tolls. The two shared a passion for the outdoors, and for years they hunted duck and pheasant, and skied together in Sun Valley. Both men admired the work of Rudyard Kipling--Cooper kept a copy of the poem "If—" in his dressing room--and retained as adults Kipling's sense of boyish adventure.

Gary Cooper


As well as admiring Cooper's hunting skills and knowledge of the outdoors, Hemingway believed his character matched his screen persona, once telling a friend, "If you made up a character like Coop, nobody would believe it. He's just too good to be true." They saw each other often, and their friendship remained strong through the years.

Gary Cooper


Cooper's social life generally centered on sports, outdoor activities, and dinner parties with his family and friends from the film industry, including directors Henry Hathaway, Howard Hawks, William Wellman, and Fred Zinnemann, and actors Joel McCrea, Barbara Stanwyck, James Stewart, and Robert Taylor. In addition to hunting, Cooper enjoyed riding, fishing, skiing, and, later in life, scuba diving. He never abandoned his early love for art and drawing, and over the years, he and his wife acquired a private collection of modern paintings, including works by Pierre-Auguste Renoir, Paul Gauguin, and Georgia O'Keeffe. Cooper owned several works by Pablo Picasso, whom he met in 1956. Cooper also had a lifelong passion for automobiles, with a collection that included a 1930 Duesenberg.

Gary Cooper


Cooper was naturally reserved and introspective, and loved the solitude of outdoor activities. Not unlike his screen persona, his communication style frequently consisted of long silences with an occasional "yup" and "shucks". He once said, "If others have more interesting things to say than I have, I keep quiet." His friends said that Cooper was also an articulate, well-informed conversationalist on topics ranging from horses, guns, and Western history to film production, sports cars, and modern art. He was modest and unpretentious, frequently downplaying his acting abilities and career accomplishments. His friends and colleagues described him as charming, well-mannered, and thoughtful, with a lively, boyish sense of humor. He maintained a sense of propriety throughout his career and never misused his movie-star status, never seeking special treatment or refusing to work with a director or leading lady. Cooper's close friend Joel McCrea recalled, "Coop never fought, he never got mad, he never told anybody off that I know of; everybody [who] worked with him liked him."

Gary Cooper


Like his father, Cooper was a conservative Republican; he voted for Calvin Coolidge in 1924 and Herbert Hoover in 1928 and 1932, and campaigned for Wendell Willkie in 1940. When Franklin D. Roosevelt ran for an unprecedented fourth presidential term in 1944, Cooper campaigned for Thomas E. Dewey and criticized Roosevelt for being dishonest and adopting "foreign" ideas. In a radio address he had paid for himself just before the election, Cooper said, "I disagree with the New Deal belief that the America all of us love is old and worn-out and finished – and has to borrow foreign notions that don't even seem to work any too well where they come from ... Our country is a young country that just has to make up its mind to be itself again." He also attended a Republican rally at the Los Angeles Memorial Coliseum that drew 93,000 Dewey supporters. In 1952, Cooper, along with Glenn Ford, Adolphe Menjou, and John Wayne, supported Robert A. Taft over Dwight D. Eisenhower in the Republican primaries.

Gary Cooper


Cooper was one of the founding members of the Motion Picture Alliance for the Preservation of American Ideals, a conservative organization dedicated, according to its statement of principles, to preserving the "American way of life" and opposing communism and fascism. The organization (members included Walter Brennan, Laraine Day, Walt Disney, Clark Gable, Hedda Hopper, Ronald Reagan, Barbara Stanwyck, and John Wayne) advised the United States Congress to investigate communist influence in the motion-picture industry. On October 23, 1947, Cooper was subpoenaed to appear before the House Un-American Activities Committee (HUAC) and was asked if he had observed any "communistic influence" in Hollywood.

Gary Cooper


Cooper recounted statements he had heard suggesting the Constitution was out of date and that Congress was an unnecessary institution, comments which Cooper said he found to be "very un-American", and testified that he had rejected several scripts because he thought they were "tinged with communist ideas". Unlike some other witnesses, Cooper did not name any individuals or scripts.

Gary Cooper


In 1951, while making High Noon, Cooper befriended the film's screenwriter, Carl Foreman, who had been a member of the Communist Party. When Foreman was subpoenaed by the HUAC, Cooper put his career on the line to defend Foreman. When John Wayne and others threatened Cooper with blacklisting and the loss of his passport if he did not walk off the film, Cooper gave a statement to the press in support of Foreman, calling him "the finest kind of American". When producer Stanley Kramer removed Foreman's name as screenwriter, Cooper and director Fred Zinnemann threatened to walk off the film if Foreman's name were not restored. Foreman later said that of all his friends and allies and colleagues in Hollywood, "Cooper was the only big one who tried to help. The only one." Cooper even offered to testify on Foreman's behalf before the committee, but character witnesses were not allowed. Foreman always sent future scripts to Cooper for first refusal, including The Bridge on the River Kwai, The Key, and The Guns of Navarone. Cooper had to turn them down because of his age.

Gary Cooper


Cooper was baptized in the Church of All Saints, Houghton Regis, in Bedfordshire, England, in December 1911, and was raised in the Episcopal Church in the United States. While he was not an observant Christian for most of his adult life, many of his friends believed he had a deeply spiritual side.

Gary Cooper