Sergeant York (1941) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A hillbilly sharpshooter drafted in WW1 despite his claim to be a pacifist, who ends up becoming a war hero. Director: Abem Finkel (original screen play), Harry Chandlee (original screen play) | 4 more credits » Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 40 titles created 31 Jul 2011 a list of 21 titles created 08 Dec 2011 a list of 38 titles created 29 Dec 2015 a list of 47 titles created 6 months ago a list of 47 titles created 1 month ago Search for " Sergeant York " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 2 Oscars.

Another 2 wins & 10 nominations. See more awards » Photos The story of the life and career of the famed baseball player, Lou Gehrig. Director: Sam Wood A man needing money agrees to impersonate a nonexistent person who said he'd be committing suicide as a protest, and a political movement begins. Director: Frank Capra Longfellow Deeds, a simple-hearted Vermont tuba player, inherits a fortune and has to contend with opportunist city slickers. Director: Frank Capra A group of ivory-tower lexicographers realize they need to hear how real people talk, and end up helping a beautiful singer avoid police and escape from the Mob. Director: Howard Hawks The pacifist attitude of a Quaker family is tested as a result of the American Civil War. Director: William Wyler The life of the renowned musical composer, playwright, actor, dancer, and singer George M. Cohan . Director: Michael Curtiz Dunson leads a cattle drive, the culmination of over 14 years of work, to its destination in Missouri. But his tyrannical behavior along the way causes a mutiny, led by his adopted son.

Directors: Howard Hawks, Arthur Rosson Stars: John Wayne, Montgomery Clift, Joanne Dru Directors: John Ford, Mervyn LeRoy, and 1 more credit » Stars: Henry Fonda, James Cagney, William Powell At a remote South American trading port, the manager of an air freight company is forced to risk his pilots' lives in order to win an important contract. Director: Howard Hawks After being released from prison, notorious thief Roy Earle is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a California resort. Director: Raoul Walsh During World War II, American expatriate Harry Morgan helps transport a French Resistance leader and his beautiful wife to Martinique while romancing a sensuous lounge singer. Director: Howard Hawks Directors: Lloyd Bacon, Byron Haskin, and 1 more credit » Stars: Humphrey Bogart, Raymond Massey, Alan Hale Edit Storyline A hillbilly sharpshooter becomes one of the most celebrated American heroes of WWI when he single-handedly attacks and captures a German position using the same strategy as in turkey shoot.

Written by Keith Loh <loh@sfu.ca> See All (96) » Taglines: America's Greatest Modern Hero! Timelier today than ever . . thrilling and inspiring story of the kind of men that America is made of! See more » Genres: 27 September 1941 (USA) See more » Also Known As: The Amazing Life of Sergeant York See more » Filming Locations: Did You Know? Trivia The actual firearm used by Alvin C. York to dispose of a line of seven Germans was not a Luger as depicted in the film, but rather a 1911 .45 ACP automatic. The Luger was preferred for the filmmaking, however, purely on the basis that they couldn't get the .45 to fire blanks. See more » Goofs When Private York returns from contemplating his exemption back in Tennessee, the clerk permits York into the major's office with, "All right, Sergeant," rather than, "All right, Private," but his promotion to the rank of Corporal has not yet been approved.

See more » Quotes My Country 'tis of Thee (uncredited) Music from "God Save the King" Traditional Played over the opening credits and occasionally throughout the picture Also played at the British medal ceremony A classic and moving war film, even for propaganda 6 August 2002 | by markcarlson2222 (San Diego CA) – See all my reviews This is one of my all-time favorite films. I've seen it dozens of times and probably many more. The moving and deep drama of the Ozark hillbilly working himself to death to obtain some 'bottom land' is heavy and compelling drama in itself, so much so that one tends to wonder when the war will become an issue. But it does and again, it fills the heart and mind with pathos and suspense. Sergeant York was released during WWII, as an obvious war-bond pusher and patriotism builder, and it is no wonder that is was wildly successful. The war scenes and Cooper's acting are set into a realistic and colorful environment of battle and personal conflict.

When York's "You done gimme command" line erupts from the speakers, the viewer is on the edge of his seat, already entranced by the personal heroism of this quiet man. What York did in the war, capturing 132 Germans was real, and the film's portrayal is right on the money, even to the extent, I believe, of filming it on the actual site, but I'm not willing to swear to it. It's the kind of film that makes one proud to be an American and that was its goal. Cooper is entirely believable, although the real Alvin York was hardly as good-looking. It's easy to fall in love with the ever-pretty Joan Leslie, a gem of a woman, as well as the simple and practical Margaret Wycherly as Ma York. Don't you get the idea that she and Pastor Pile have a thing going? Just an irreverent thought. 23 of 38 people found this review helpful. Was this review helpful to you?

Yes 1941 Academy Awards® Winners and History Suspicion (1941) Actor: GARY COOPER in "Sergeant York", Cary Grant in "Penny Serenade", Walter Huston in "All That Money Can Buy", Robert Montgomery in "Here Comes Mr. Jordan", Orson Welles in "Citizen Kane" Actress: JOAN FONTAINE in "Suspicion", Bette Davis in "The Little Foxes", Olivia de Havilland in "Hold Back the Dawn", Greer Garson in "Blossoms in the Dust", Barbara Stanwyck in "Ball of Fire" Supporting Actor: DONALD CRISP in "How Green Was My Valley" , Walter Brennan in "Sergeant York", Charles Coburn in "The Devil and Miss Jones", James Gleason in "Here Comes Mr.

Jordan", Sydney Greenstreet in "The Maltese Falcon" Supporting Actress: MARY ASTOR in "The Great Lie", Sara Allgood in "How Green Was My Valley" , Patricia Collinge in "The Little Foxes", Teresa Wright in "The Little Foxes", Margaret Wycherly in "Sergeant York" Director: JOHN FORD for "How Green Was My Valley" , Alexander Hall for "Here Comes Mr. Jordan", Howard Hawks for "Sergeant York", Orson Welles for "Citizen Kane" , William Wyler for "The Little Foxes" Documentaries were a new category that was added in 1941 (with the Oscar given to Churchill's Island from the Canadian Film Board (and UA), the first of several consecutive WWII documentaries to win in the same category). The Academy Awards ceremony for 1941 was held only a few months after the bombing of Pearl Harbor, on February 26, 1942. Soon, the Hollywood community would rally to boost morale and provide entertainment for the troops.

Carole Lombard died in a tragic plane crash about a month before the Oscar ceremony, on January 16, 1942, after a War Bond rally tour appearance. The Best Picture winner was John Ford's populist, sentimental tale spanning fifty years of an impoverished and disintegrating Welsh mining town and family that was based on Richard Llewellyn's best-selling novel, How Green Was My Valley (with ten nominations and five wins - Best Picture, Best Supporting Actor (Crisp), Best Director, Best B/W Cinematography by Arthur Miller, and Best Art Direction). Through the eyes of young son Huw (Roddy McDowall), the episodic life (including crises such as strikes and mine disasters, and joys) of the close-knit Morgan family and Welsh coal-mining community were remembered in the narrative.

[In the previous year, Ford had directed another Oscar-nominated family saga, The other nominees for Best Picture included two debut films for its directors, two films with nine nominations each, and one film with eleven nominations: director/writer John Huston's debut film - a fast-paced film noir/mystery based upon Dashiell Hammett's tale The Maltese Falcon (with three nominations for Best Picture, Best Supporting Actor, and Best Screenplay, and no wins), about a search for an elusive Black Bird. This masterpiece is considered one of the greatest detective/film-noir classics ever made, but it did not win a single award in any of its three nominated categories director/actor/producer/writer Orson Welles' first feature film - Citizen Kane (with nine nominations and only one win - the only award that the film won was Best Original Screenplay (by Henry J.

Mankiewicz and Orson Welles) - it should have won the Best Picture award); it is generally acknowledged to be the greatest film ever made by critics and film-fans - an intriguing tale about a newspaper publisher/tycoon from his early childhood to his lonely death, told in a series of flashbacks [Twenty five year-old "boy genius" Welles was the first to ever receive simultaneous nominations in four categories: as producer, actor, director, and writer.

The previous year, Charlie Chaplin was the first to ever receive three simultaneous nominations, as producer, actor, and screenwriter for The Great Dictator (1940).] director William Wyler's filming of Lillian Hellman's own play script, The Little Foxes (with nine nominations and no wins!) about a vicious and destructive Southern matriarch director Hitchcock's thrilling tale Suspicion (with three nominations and one win - Best Actress) about a newlywed bride fearful of her wealthy new husband director Howard Hawks' true story of a country boy who becomes a great WWI hero in Sergeant York (with eleven nominations and two wins - Best Actor and Best Film Editing) director Mervyn LeRoy's filming of Anita Loos' screenplay about an orphanage founder, Blossoms in the Dust (with four nominations and one win - Best Color Interior Decoration) director Alexander Hall's romantic fantasy Here Comes Mr.

Jordan (with seven nominations and two wins - Best Original Story and Best Screenplay) about a heavenly mixup and a prizefighter's body-switch [This film served as the inspiration for director/actor Warren Beatty's Best Picture-nominated Heaven Can Wait (1978), originally filmed by director Ernst Lubitsch as the Best Picture-nominated Heaven Can Wait (1943)] director Mitchell Leisen's romance Hold Back the Dawn (with six nominations and no wins) from a screenplay by Billy Wilder and Charles Brackett director Irving Rapper's tale of a turn-of-the-century minister in One Foot in Heaven (with one nomination and no wins) Even more surprising was that Ford (celebrating his twenty-fifth anniversary in the film industry) also won for Best Director - it was his third Best Director Award and his second Oscar in a row. (He won previous awards for The Informer (1935) and The Grapes of Wrath (1940) .) [Ford would win one more time eleven years later for The Quiet Man (1952) .] John Huston wasn't nominated for Best Director, but he was nominated for his Screenplay for The Maltese Falcon .

Competing Best Director nominee William Wyler's film The Little Foxes was his sixth film in a row to receive a Best Picture nomination without winning. The previous five films were Dodsworth (1936) , Dead End (1937), Jezebel (1938) , Wuthering Heights (1939) , and The Letter (1940) . It was also Wyler's fourth Best Director nomination in six years without winning - he was nominated in 1936, 1939, 1940, and 1941. [Wyler's first of three Best Director career wins came in 1942, for Mrs. Miniver.] In keeping with the times, Gary Cooper (with his second nomination) won his first Best Actor award for his performance as deeply religious backwoods Tennessee Cumberland Mountains farmer and World War I hero Sergeant Alvin C. York in Howard Hawks' morale booster Sergeant York.

Cooper's whimsical performance defeated greater epic performances by the following actors: Orson Welles (with his sole acting nomination in his career!) as the Hearst-like Charles Foster Kane in His Girl Friday (1940) .] Robert Montgomery (with his second and final unsuccessful nomination) as prizefighter Joe Pendleton who is mistakenly sent to heaven and then returns to earth in the body of a soon-to-be murdered millionaire in Here Comes Mr. Jordan and Walter Huston (with his third nomination) as the Devil (Mr.

Scratch) who bargains with a farmer's soul and orator Daniel Webster in director William Dieterle's All That Money Can Buy (with two nominations and one win - Best Dramatic Picture Score) In the Best Actress category, two sisters were rivals for awards: Joan Fontaine (with her second nomination in the second consecutive year for another Rebecca (1940) -like role) as a shy, spinsterish British girl named Lina McLaidlaw (suspicious of and plagued by her new husband, Cary Grant, and a glass of milk) in Hitchcock's mystery Suspicion and her older sister Olivia de Havilland (with her second nomination) as schoolteacher Emmy Brown (involved in an immigration-marriage scam and in love with Charles Boyer) in the soap Hold Back the Dawn Fontaine won her first Oscar, probably as consolation for the previous year's loss. Both roles were as a victimized young bride. [Her win was the only Best Actress award ever for a Hitchcock film.

De Havilland would win twice in the 1940s for: To Each His Own (1946) and The Heiress (1949) .] Other Best Actress nominees included Barbara Stanwyck (with her second of four unsuccessful career nominations from 1937-1948 - she never won!) as burlesque nightclub dancer and gangster moll Sugarpuss O'Shea in director Howard Hawks' Ball of Fire (with four nominations and no wins), Greer Garson (with her second nomination - and the first of five consecutive nominations) as Texas orphanage founder Edna Gladney in Blossoms in the Dust, and Bette Davis (with her fifth nomination - and the fourth of five consecutive nominations) as Southern schemer Regina Giddens in The Little Foxes. Donald Crisp (with his sole career nomination) won the Best Supporting Actor award (it was the only Oscar of his long, fifty-five year career) for his role as the stern father of the closely-knit Morgan family of Welsh miners, who is killed in the mine in the film's conclusion in How Green Was My Valley .

Another nominee - Sydney Greenstreet (with his sole career nomination in his 'talking' film debut at age 61), nominated for his performance as obsessed, statuette searcher "Fat Man" Casper Gutman in The Maltese Falcon , was equally deserving. The other nominees were Walter Brennan (with his fourth and last nomination - the only nomination in his career which wasn't a winner) as village Pastor Rosier Pile in Sergeant York, Charles Coburn (with his first nomination) as the world's richest man/department store owner John P. Merrick (who masquerades as a salesclerk) in director Sam Wood's romantic comedy The Devil and Miss Jones (with two nominations and no wins), and James Gleason (with his sole career nomination) as co-star Robert Montgomery's boxer/manager Max Corkle in Here Comes Mr. Jordan. Mary Astor (with her sole career nomination) won the Best Supporting Actress award and her first and only Oscar for her performance as Sandra Kovak - a sharp-tongued, selfish and ambitious concert pianist who gives away her baby (when befriended by Bette Davis, wife of her former lover George Brent) in The Great Lie (the film's sole nomination).

The defeated nominees included two co-stars from The Little Foxes: Teresa Wright (with her first nomination in her debut performance) as Alexandra Giddens (daughter of co-stars Bette Davis and Herbert Marshall), and Patricia Collinge (with her sole nomination) as Aunt Birdie Hubbard. The remaining nominees were Sara Allgood (with her sole career nomination) as the loving, supportive, and gentle mother figure Mrs. Morgan in How Green Was My Valley , and Margaret Wycherley (with her sole career nomination) as devoted Mother York in Sergeant York. Disney won another Short Subject: Cartoon Oscar for Lend a Paw - his ninth win in the category. Leopold Stokowski received a Special Award for "unique achievement in the creation of a new form of visualized music" in Walt Disney's technologically-innovative production of Fantasia - a big commercial flop at the time. The film's innovators (Walt Disney, William Garity, John N.A. Hawkins, and the RCA Manufacturing Company) also won a second Special Award for "their outstanding contribution to the advancement of the use of sound in motion pictures." Oscar Snubs and Omissions: The Lady Eve went unrecognized.

Peter Lorre and Humphrey Bogart (as cool, yet tough-talking anti-hero detective Sam Spade) weren't nominated for their work in John Huston's film-noirish mystery The Maltese Falcon . [In fact, Peter Lorre was never nominated for an Oscar.] Bogart had another amazing non-nominated performance also this year, as Roy "Mad Dog" Earle in Raoul Walsh's classic gangster film High Sierra (with no nominations). And Mary Astor, who won for The Great Lie, is better remembered (and would have preferred to have been nominated and victorious) for the murderous femme fatale Brigid O'Shaughnessy in The Maltese Falcon . Although there was no Oscar awards category for Best Makeup until 1981, Citizen Kane was remarkable in the way that its characters aged from start to finish. And although the film had nine nominations, only one was in an acting category (Best Actor for Orson Welles). Others who had notable performances included: Joseph Cotten as Jedediah Leland, Dorothy Comingore as Susan Alexander, Everett Sloane as Mr. Bernstein, and George Coulouris as Walter Parks Thatcher.

Another unforgivable omission was denying the award of Best B/W Cinematography to nominee Gregg Toland for the film's marvelous photography. Howard Hawks' Ball of Fire and Alexander Korda's That Hamilton Woman were not included in the group of Best Picture nominees. Vivien Leigh's performance in That Hamilton Woman was also unnominated. Although Gary Cooper won Best Actor for Sergeant York, he had two other equally important hits in 1941 without nominations: Ball of Fire, and Meet John Doe . Bernard Herrmann who wrote some of the most dramatic film scores in the history of cinema (Welles' Sergeant York - (Re-issue Trailer) You will receive an email shortly to confirm your email address. Sergeant York - (Re-issue Trailer) title details and video sharing options now playing Sergeant York - (Re-issue Trailer) Gary Cooper won his first Best Actor Oscar portraying Sergeant York (1941), the pacifist who becomes a war hero. View the TCMDb entry for Sergeant York (1941) share video SERGEANT YORK (1941), the true story of...

Sergeant York - (Re-issue Trailer) Gary Cooper won his first Best Actor Oscar portraying Sergeant York (1941), the pacifist who becomes a war hero.> Elvis Mitchell: Under the Influence -- (Clip)... Actor Richard Gere offers some thoughts on Gary Cooper and... Elvis Mitchell: Under the Influence -- (Clip) Richard Gere: Cooper and Fonda Actor Richard Gere offers some thoughts on Gary Cooper and Henry Fonda in this excerpt from TCM's Elvis Mitchell: Under the Influence, 2008.> Sergeant York (1941) -- (Movie Clip) Render Unto... Sent home to Tennessee by his superiors to consider whether,... Sergeant York (1941) -- (Movie Clip)... Sergeant York (1941) -- (Movie Clip) Render Unto Caesar Sent home to Tennessee by his superiors to consider whether, as a gifted marksman, he ought to serve in combat in World War One, Alvin York (Gary Cooper title character) hears various influences, then returns with his decision to Major Buxton (Stanley Ridges), in Sergeant York, 1941.

> Sergeant York (1941) -- (Movie Clip) Old Time... Returned to drinking after being beaten in a land deal by a... Sergeant York (1941) -- (Movie Clip) Old... Sergeant York (1941) -- (Movie Clip) Old Time Religion Returned to drinking after being beaten in a land deal by a romantic rival, Tennesseean Alvin York (Gary Cooper, title character), who has made clear he feels religion ought to come to a man unbidden, ventures into a storm, then preacher Walter Brennans church, in Sergeant York, 1941. > Sergeant York (1941) -- (Movie Clip) What Are We... East Tennessee, 1916, joining the first scene for Gary... Sergeant York (1941) -- (Movie Clip)... Sergeant York (1941) -- (Movie Clip) What Are We Drinkin' To?

East Tennessee, 1916, joining the first scene for Gary Cooper as Alvin York (title character), with his buddies (Ward Bond, Noah Beery Jr.) conversing over a bottle when younger brother George (Dickie Moore), sent by mother, comes to collect him, in Howard Hawks Sergeant York , 1941. > Sergeant York (1941) -- (Movie Clip) Maybe In A... Having trouble changing his ways, Gary Cooper as rural... Sergeant York (1941) -- (Movie Clip)... Sergeant York (1941) -- (Movie Clip) Maybe In A Flash Having trouble changing his ways, Gary Cooper as rural Tennesseean Alvin York is visited at work by non-denominational long-time family pastor Pile (Walter Brennan), who offers telling metaphors, early in Howard Hawks Sergeant York, 1941. > Meet John Doe (1941) Pages: ( 1 ) ( 2 ) ( 3 ) Background Meet John Doe (1941) is Frank Capra's wonderful, message-laden populist melodramatic tale about the common man.

The sentimental, hard-hitting film is often grouped into a populist trilogy of Capra films about American individualism - associated with Mr. Deeds Goes to Town (1936) and Mr. Smith Goes to Washington (1939) , although it is generally considered the weakest of the three. The socially-conscious film was Capra's first independent film production - and a departure from his traditional, twelve year association with Columbia Studios and tyrannical studio head Harry Cohn during the 30s. It was much more serious than his previous 'Capra-corn' comedic efforts, such as It Happened One Night (1934) and You Can't Take It With You (1938). The screenplay, written by screenwriter Robert Riskin, was derived from a 1939 film treatment, titled The Life and Death of John Doe, written by Richard Connell and Robert Presnell (the recipients of the film's sole Academy Awards nomination for Best Original Story). The treatment was based upon Connell's 1922 Century Magazine story titled A Reputation (collected in Apes and Angels).

With all-time persuasive performances by both Barbara Stanwyck and Gary Cooper, this sobering film remains an important social commentary. Cooper won the Best Actor Oscar for his performance in Sergeant York (1941) in the same year. Stanwyck's role as a sassy journalist (similar to Jean Arthur's part in Mr. Smith Goes to Washington (1939) ), was originally considered by actresses Ann Sheridan and Olivia de Havilland. The film was intended to combat pro-Nazi Fascist forces present in America with its story of a young female newspaper reporter (Barbara Stanwyck) who writes a fraudulent column after threatened with being fired. In the spoof, she invents a fictitious reader as the author of a letter - a suicide-martyr who protests against an injust political and social system. And then because of public interest and demand (and soaring newspaper sales), she incarnates an American ex-minor-league baseball player/hobo (named John Doe - an Everyman character) to sell his services as an imposter and impersonate the non-existent character. The has-been tramp preaches charity, kindness, plain-speaking, homely aphorisms, and a doctrine of good-neighborliness.

He becomes a national figure, and causes the spread of 'John Doe Clubs' across the country. The benevolent, empowering fraud is eventually uncovered (and opposed by corrupting, unscrupulous political influences), and Doe is forced to publicly admit the charade. The dangers of a complacent nation (with hunger amidst a land of plenty) being manipulated and taken over by neo-Fascist forces and Hitler's Third Reich (a reality in the early 1940s) are countered in the film by the actions of the ordinary 'little man.' Suffering humiliation and near failure, John Doe decides to prove his sincerity by leaping from the top of City Hall, but is persuaded otherwise by the real John Does of the world. [The greatest difficulty with the film was that five alternative endings were shot (or created in the editing room), and it was undecided how the film would conclusively end.

The conclusion that seemed most inevitable and unavoidable was John Doe's sacrificial suicide on Christmas Eve (a deeply-religious act) but that downbeat ending was rejected by preview audiences.] The Story As the film opens, a struggling, sassy newspaper columnist Ann Mitchell (Barbara Stanwyck) is threatened with being fired (along with many others who are considered "deadwood" after a change in the paper's ownership) by her new managing editor Henry Connell (James Gleason) because her writing has too much "lavendar and old lace" and lacks "fireworks." [During the scene, a sign painter struggles to paint the name of Henry Connell on his office door - eventually, he scribbles out the name after becoming totally exasperated with all the comings and goings.] Her metropolitan newspaper, The Bulletin, has recently been bought and is renamed The New Bulletin by right-wing tycoon and high-pressured financier-publisher D. B. Norton (Edward Arnold).

The 1862 paper's motto is chiseled off the front of the newspaper offices and changed from: "A FREE PRESS MEANS A FREE PEOPLE," to a face-plate plaque reading "A STREAMLINED NEWSPAPER FOR A STREAMLINED AGE." Norton's major intention is to ruthlessly stimulate circulation. Attempting to save her job on her last day because she supports both her mother and two younger sisters, the normally-tame and subdued columnist spitefully writes a fiery last column as a publicity stunt. Her face glows above her typewriter as she fabricates a letter to the editor, written by an imaginary, idealist underdog "John Doe" character, in which "the disgusted American citizen" protests against four years of his own unemployment, hypocrisy, greed, inhumanity and other injustices, miseries and mistreatments suffered by the nation's poor on account of big business tycoons, corrupt moguls and slimy politicians. To make a statement, her "John Doe" also promises to commit suicide by jumping from the roof of City Hall on Christmas Eve. Below is a letter which reached my desk this morning. It's a commentary on what we laughingly call a civilized world.

Dear Miss Mitchell: Four years ago, I was fired out of my job. Since then, I haven't been able to get another one. At first, I was sore at the state administration because it's on account of the slimy politics here. We have all this unemployment. But in looking around, it seems the whole world is goin' to pot. So in protest, I'm goin' to commit suicide by jumping off the City Hall roof. Signed, a disgusted American citizen. John Doe. Editor's Note: If you ask this column, the wrong people are jumping off the roofs. There is much publicity, uproar and ruckus following its publication (in the offices of the Governor (Vaughan Glaser), the Mayor (Gene Lockhart), the Chamber of Commerce and others) - and newspaper circulation improves. City Hall is flooded with offers of housing and employment (and pleadings to John Doe to abandon his plan to kill himself). There are also charges of fraud ("amateur journalism") from a rival newspaper (the Daily Chronicle).

Connell puts out an all-points search to find Ann (described by Connell as "'bout five-foot-five, brown eyes, light chestnut hair, and as fine a pair of legs as ever walked into this office") to help identify the man who wrote the letter. As he finishes the description on the phone, Ann appears at his door. When the letter is demanded, Ann tells them it is only a phony letter ("There is no letter, I made it up") - the "fireworks" they asked for. To save face and safeguard her job, she suggests that she can continue to play up the story every day and sell more newspapers: "This is good for at least a couple of months." He [John Doe] wants to get a few things off his chest and that's the only way he can get himself heard...So he writes me a letter and I dig him up. He pours out his soul to me. From now on, we quote: "I PROTEST" - by John Doe. He protests against all the evils in the world - the greed, the lust, the hate, the fear, all of man's inhumanity to man. Arguments will start. Should he commit suicide or should he not?

People will write in, pleading with him - but NO! No sir, John Doe will remain adamant. On Christmas Eve, hot or cold, he goes. See? Ann is dismayed that her earnest and practical idea isn't immediately embraced: "If it was raining hundred dollar bills, you'd be out looking for a dime you lost someplace." The reluctant managing editor is eventually impressed and convinced that they should recruit and hire an unemployed hobo as a bogus hero (who can claim he wrote the letter) so they can fulfill the public's interest in an "typical average man" hero for the little man. He would be a Messianic figure of sorts. And Ann finagles her job back (her "meal ticket"), with a $1,000 bonus. A number of likely individuals are escorted into Connell's office for covert interviews. The door opens on "Long John" Willoughby (Gary Cooper) - a plain-speaking, penniless homeless man and an ex-ballplaying (bush-league, sand-lot) pitcher with a sore arm (his "wing went bad"). He faints into a chair at the sight of food.

He has the perfect media profile to impersonate "John Doe": He's perfect, a baseball player. What could be more American?...that face is wonderful. They'll believe him...That's our man, he's made-to-order. [A desire to return to baseball, after receiving the promise of a contract to have his injured pitching arm repaired by "bone-setter Brown," is the main motivation for Willoughby to accept his assignment and engage in the deal - it shows that he is corruptible.] John (aka John Doe) is joined by his vagrant, anti-social tramp companion who is simply named "The Colonel" (Walter Brennan). The Colonel continually spouts comments - he skeptically tells his buddy John: All this John Doe business is batty if you ask me...Trying to improve the world by jumping off buildings. You couldn't improve the world if the buildings jumped on you. The two perform a duet of the William Tell Overture tune. (John plays the tune on a harmonica while the Colonel plays a musical instrument called an ocarina!) They are provided with a luxurious Imperial Hotel suite (with bodyguards), new clothes, and spending money, while Ann continues to ghost-write the column to help bolster circulation.

The anti-establishment, anti-materialistic Colonel warns John about the corrupting, decadent influence of money and luxury: "You're gonna get used to a lot of stuff that's gonna wreck ya...I've seen guys like you go under before, guys that never had a worry. Then they got ahold of some dough and went goofy." In a marvelous monologue, he has a term for people who are corrupted by wealth - they're heels or "heelots." And when they got ya, you've got no more chance than a road rabbit...You're walkin' along, not a nickel in your jeans, you're free as the wind. Nobody bothers ya. Hundreds of people pass you by in every line of business. Shoes, hats, automobiles, radios, furniture, everything, and they're all nice loveable people. And they let you alone. Is that right? Then you get ahold of some dough and what happens? All those nice, sweet, lovable people become heelots. A lotta heels! They begin creepin' up on ya, tryin' to sell ya something.

They get long claws and they get a stranglehold on ya and ya squirm and ya duck and ya holler and ya try to push 'em away, but you haven't got a chance. They've got ya. The first thing you know, you own things - a car, for instance. Now your whole life is messed up with a lot more stuff. You get license fees and number plates and gas and oil and taxes and insurance and identification cards and letters and bills and flat tires and dents and traffic tickets and motorcycle cops and courtrooms and lawyers and fines - and a million and one other things! And what happens? You're not the free and happy guy you used to be. You've gotta have money to pay for all those things. So you go after what the other fella's got. And there you are - you're a heelot yourself.

In the hotel room after he has been shaved and costumed, John Doe is photographed - and posed by Ann to strike a serious, "crabby" expression as if he's "disgusted with all of civilization" and "sore at the world." (She inspires his pose by having him imagine a plate umpire calling one of his fast-ball pitches that "cut the heart of the plate" a ball.) His picture is taken for the "I PROTEST" column, with subtitles that appear in a montage of the front pages of newspapers: Against Collapse of Decency in World Against Corrupt Local Politics Against Graft in State Relief Against County Hospital Shutting Doors to Needy Circulation and sales of the New Bulletin newspaper escalate over the months, shown in an animated chart, doubling up to 275,000. The columns inspire citizens to "march on city hall and state capitol" to institute change in the Mayor's and Governor's offices and create "a clean city" and a "clean government." The governor, who suspects that the whole "John Doe" has been a phony set-up and "engineered by a vicious man with a vicious purpose," demands that Norton schedule a public appearance of John Doe.

The first view of D. B. Norton - the influential, self-interested, would-be 'vicious' politician (and fifth-column Fascist leader) - is on horseback as he watches his own black-jacketed para-military corps of motorcycle corps (the D. B. Norton Motor Corps) conducting maneuvers on a field. His intentions are to expand his power base, "crash national politics," and "reach a lot of people." [One of his lieutenants commands his men with a police whistle.] Knowing that she will profit from John Doe's exposure, Ann pressures Norton to put the larger-than-life Doe on the radio (a Norton-owned station): "He can say anything he wants and they'll listen to him...This can arouse national interest. If he made a hit around here, he could do every place else in the country - and you'll be pulling the strings, Mr.

Norton." As Norton wipes and cleans his glasses [here and at other crucial junctures in the film], he questions her career intentions and learns that she cynically wants only "money." To smoothly exploit her, he proposes a raise (and financial security) from $30/week to $100/week if she agrees to script a radio speech for John Doe: "That's only the beginning. You play your cards right and you'll never have to worry about money again." Playing matchmaker, he introduces her to Ted Sheldon (Rod La Rocque), his handsome "Casanova" nephew. At her typewriter, Ann finds herself "stuck" and at a loss for words for John's radio speech - her wastebasket is stuffed with failed script attempts: "I created somebody who's going to give his life up for a principle. Hundreds and thousands of people are going to listen to him over the radio. And unless he says something that's - well, that's sensational, it's just no good." Her widowed, kindly mother (Spring Byington), who was married to her philanthropic father Dr.

Mitchell who served the needy common people, suggests that the speech that she is writing shouldn't be one of those "complaining political speeches. We're tired of hearing nothing but doom and despair on the radio." Mrs. Mitchell proposes that it be "something simple and real, something with hope in it." She finds her husband's leatherbound diary and entrusts it to Ann: "There's enough in it for a hundred speeches, things people ought to hear nowadays." Meanwhile, John Doe is sequestered in his posh hotel room, where he passes the time by playing a pantomime, imaginary baseball game (with himself as pitcher and the Colonel as catcher). During the bizarre past-time, the distrustful Colonel offers catcher's signals and tips to the pitcher - he states the real reason for his partner's complicity in the deal, although Willoughby calls off certain signals: He's stuck on the girl. That's all a guy needs is to get hooked up with a woman...A guy has a woman on his hands. The first thing you know is, his life is balled up in a lot more things. Furniture...

John soon becomes uneasy with the manufactured role and the whole phenomenon when he realizes that he may never be able to play big-league baseball again, even if his arm is treated, if people discover his fakery: "...you know how they are in baseball. If a guy's mixed up in a racket...I was just thinking about this John Doe business. Why, as soon as it comes out it's all a fake, you'll be washed up in baseball, won't ya?...And another thing, what about all the kids in the country - the kids that idolize ball-players? What are they gonna think about ya?" So John re-considers his options before the staged, radio speech. Should he: confess the hoax, say the "whole thing is a frame-up," and admit being an imposter after accepting a $5,000 bribe from the Chronicle to "tell the truth" and read an alternate speech ? vindicate the New Bulletin and prove that the John Doe thing isn't a hoax ? deliver Ann's scripted speech taken from idealistic, philosophical, and populist maxims and thoughts in her late father's diary ?

follow the advice of the Colonel to get out of his dilemma and avoid the coming of the heelots ("The elevators are still running" for their escape) ? Gary Cooper born - May 07, 1901 - HISTORY.com Gary Cooper born Publisher A+E Networks On this day in 1901, Gary Cooper, who will become famous for his performances in such movies as High Noon and The Pride of the Yankees, is born in Helena, Montana. Cooper grew up on the ranch owned by his wealthy father, a Montana Supreme Court Justice. He was educated largely in England through high school, and the diverse experiences of his upbringing later informed his screen persona, at once rugged frontier hero and blue-blooded gentleman. In 1924, after dropping out of college, Cooper headed to Hollywood, where he got his start in movies as a cowboy extra in a Western film. He landed his first starring role two years later, in the silent film The Winning of Barbara Worth.

His first successful “talkie,” The Virginian (1929), elevated Cooper to A-list status, and he went on to appear in a number of films in the 1930s, including Morocco (1930), A Farewell to Arms (1932), Design for Living (1933), The Lives of a Bengal Lancer (1935), Desire (1936), The Plainsman (1937), Beau Geste (1939) and The Westerner (1940). Cooper and his notably understated, laconic acting style won special notice as the unlikely everyman hero in two films directed by Frank Capra: Mr. Deeds Goes to Town (1936), for which he received an Academy Award nomination, and Meet John Doe (1941). Also in 1941, Cooper won the Oscar for Best Actor for his portrayal of the real-life World War I hero Alvin York in Sergeant York. He turned in another acclaimed performance as the baseball legend Lou Gehrig in Pride of the Yankees (1942).

Cooper’s other notable 1940s films included Ball of Fire (1941), For Whom the Bell Tolls (1943) and The Fountainhead (1949). In 1947, Cooper appeared as a “friendly” witness before the House Un-American Activities Committee, testifying as to the existence of a Communist influence in Hollywood. According to Cooper, he had “turned down quite a few scripts because I thought they were tinged with communistic ideas.” Despite his indirect participation in the hated blacklisting practice that followed, Cooper retained his status as one of Hollywood’s most revered leading men. He won his second Best Actor Oscar as an aging lawman in the classic High Noon (1952). Among his last films were Friendly Persuasion (1956) and Love in the Afternoon (1957). In all, Cooper made more than 100 films over the course of his career.

Married to the socialite Veronica Balfe (who had a short-lived acting career as Sandra Shaw) since 1933, Cooper was also known for his many romances with co-stars, including Clara Bow, Marlene Dietrich, Grace Kelly and Patricia Neal. Late in his life, Cooper suffered from recurring illnesses, including lung cancer. Though he kept the information secret, the public got a hint in April 1961, when Jimmy Stewart made an emotional speech while accepting a lifetime achievement Academy Award for his ailing friend. Cooper died a month later, days after his 60th birthday. Related Videos Gary Cooper Movies: Lover-Daddy to Joan Leslie, Audrey Hepburn Gary Cooper movies: Screen icon at his best and his worst in three star vehicles. Gary Cooper movies on TCM: Iconic star at both his best and his worst Gary Cooper is Turner Classic Movies' “Summer Under the Stars” star today, Aug. 30, '15. Unfortunately, TCM isn't presenting any Cooper movie premiere despite the fact that most of his Paramount movies of the '20s and '30s remain unavailable on television or home video/DVD. Tonight's features are Frank Capra's Mr.

Deeds Goes to Town (1936), Howard Hawks' Sergeant York (1941), and Billy Wilder's Love in the Afternoon (1957). 'Mr. Deeds Goes to Town': Sentimental social consciousness A Columbia release, Mr. Deeds Goes to Town solidified Gary Cooper's stardom and helped to turn Jean Arthur into the studio's top female star. The socially conscious tale – screenplay by Robert Riskin – of a small-town Vermont hick who becomes the prey of city slickers after inheriting a fortune, Mr. Deeds Goes to Town is a tad overlong and, like just about every Frank Capra movie, highly sentimental. What saves the film from that section of hell reserved for earnest, well-intentioned movies are several clever lines/situations and the acting of the two leads – Cooper and Arthur are both excellent – and of several supporting players (Douglas Dumbrille, Margaret Seddon, etc.). Gary Cooper in 'Sergeant York': Too old or no, role earned him the 1941 Best Actor Oscar.

'Sergeant York': Sentimental jingoism Directed by Howard Hawks, the jingoistic Sergeant York was a huge box office hit – the biggest domestic release of the year – eventually earning Academy Award nominations in 11 categories, including Best Picture, Best Director, Best Actor (Gary Cooper), Best Supporting Actress (Margaret Wycherly), Best Supporting Actor (Walter Brennan), and Best Original Screenplay (Harry Chandlee, Abem Finkel, John Huston, Howard Koch.) In fact, Sergeant York was so popular that despite well-regarded efforts such as The Dawn Patrol, Twentieth Century, Bringing Up Baby, His Girl Friday, The Big Sleep, Red River , I Was a Male War Bride , Gentlemen Prefer Blondes, and Rio Bravo, this long-winded, sentimental flag-waver turned out to be the one movie to earn Howard Hawks an Oscar nomination. Gary Cooper had done (and would do) more effective work elsewhere and, at age 40, looked about 45 and much too old for the part of the 30-year-old, turkey- and German-killing Tennessee hick Alvin C. York.

Much too old to be 16-year-old Joan Leslie 's romantic interest, too. (Not from a moralistic standpoint; it was just hard to believe she would have been so infatuated with a man who looked – much – more than old enough to be her father.) But no matter. Cooper took home that year's Best Actor Oscar and the New York Film Critics Circle Award, thus beating William Randolph Hearst 's bête noire and one of the greatest screen characterizations of the decade: Orson Welles ' Charles Foster Kane of Citizen Kane fame. First (and last) Walter Brennan Oscar loss As an aside, a somewhat surprising Sergeant York loser was Walter Brennan, who had been previously nominated for three Best Supporting Actor Academy Awards – and who had taken home three Best Supporting Actor Academy Awards: Come and Get It (1936), Kentucky (1938), The Westerner (1940). The 1941 winner was veteran Donald Crisp for John Ford's How Green Was My Valley. Now, it's good to remember that back in those days, Screen Actors Guild and Screen Extra Guild members could vote for the Academy Award winners in the acting categories, Best Picture, and Best Original Song.

That may help to explain several of the Academy's top choices from the mid-1930s to the mid-1940s. Walter Brennan's career continued all the way into the late 1960s (in addition to the 1975 release Smoke in the Wind), but he would never receive another Oscar nomination. Brennan died at age 80 in 1974. Gary Cooper and Audrey Hepburn in 'Love in the Afternoon': Billy Wilder misfire. 'Love in the Afternoon': Sentimentalized Lubitsch rehash Billy Wilder's Love in the Afternoon attempts to recreate an Ernst Lubitsch movie of the early '30s – and fails miserably. In fact, this romantic comedy-drama is one of Wilder's very worst films despite a prestigious cast: Gary Cooper as an American businessman, Audrey Hepburn as the Parisian woman half his age with whom he falls in love, and Maurice Chevalier as her father.

A key part of the problem is that both Cooper and Hepburn – the latter made up and coiffed to look as if she were in her mid-teens – are at their most calculatingly “cute.”* And that means a shockingly subdued Maurice Chevalier – who had hammed it up in the Lubitsch classics The Love Parade, The Smiling Lieutenant, One Hour with You, and The Merry Widow – is the film's chief thespian asset.† What's mind-boggling about Love in the Afternoon being such a misfire is that in the late 1930s Billy Wilder, then a screenwriter, had collaborated with Lubitsch on Bluebeard's Eighth Wife and Ninotchka . In other words, Wilder had felt The Lubitsch Touch . For that reason, one would have expected to feel at least a soupçon of it in Wilder's effort. But no; Love in the Afternoon is a showcase for the filmmaker's usual heavy hand all the way through.

Screenwriter and Lubitsch collaborator Samson Raphaelson (Broken Lullaby, Trouble in Paradise) summed up Love in the Afternoon while commenting on a particular scene at the beginning of the film, when a street-cleaning truck aims its water jet at two young Parisian lovers who remain oblivious to the fact that they've been drenched. What a mistake! Now, if I were doing that scene with Lubitsch, we would have first shown the truck spraying water moving toward the young lovers. But when the truck gets to them, the water shuts off. After it passes them, then the water starts up again. Now, that's the Lubitsch Touch! Gary Cooper's (much) younger leading ladies Audrey Hepburn (b. 1929) was hardly an unusual leading lady/romantic interest for Gary Cooper in the later stages of his career. Below is the list of his movie babes throughout the 1950s. Keep in mind that Cooper – born in 1901 – began the decade nine years older than he was when he starred in Sergeant York. And that Joan Leslie was born in 1925. Lauren Bacall (b.

1924) and Patricia Neal (b. 1926) in Bright Leaf (1950). Mari Aldon (b. 1925) in Distant Drums (1951). Ruth Roman (b. 1922) in Dallas (1951) and Blowing Wild (1953).§ Jane Greer (b. 1924) in You're in the Navy Now (1951). Grace Kelly (b. 1929) and Katy Jurado (b. 1924) in High Noon (1952). Phyllis Thaxter (b. 1919) in Springfield Rifle (1952). Roberta Haynes (b. 1929) in Return to Paradise (1953). Susan Hayward (b. 1917) in Garden of Evil (1954). Denise Darcel (b. 1925) and Sara Montiel (b. 1928) in Vera Cruz (1954). Dorothy McGuire (b.

1916 or 1918) in Friendly Persuasion (1956). Julie London (b. 1926) in Man of the West (1958). Suzy Parker (b. 1932) in Ten North Frederick (1958).§ Maria Schell (b. 1926) in The Hanging Tree (1959). Rita Hayworth (b. 1918) in They Came to Cordura (1959). Gary Cooper's final leading lady was Deborah Kerr (b. 1921) in The Naked Edge (1961). § Barbara Stanwyck (b. 1907) had the female lead in Blowing Wild, but she played the part of a domineering wench. Ruth Roman is the one who gets our hero at the end. In Ten North Frederick, Geraldine Fitzgerald (b. 1913) is Cooper's shrewish wife from hell. Maurice Chevalier † Maurice Chevalier's co-stars were Miriam Hopkins and Claudette Colbert in The Smiling Lieutenant, and Jeanette MacDonald in the other three films.

One Hour with You was co-directed by George Cukor . TCM's “Summer Under the Stars” series ends tomorrow with a multi-film Shelley Winters showcase. Gary Cooper in 'Mr. Deeds Goes to Town,' with Jean Arthur: At his effortless best. Gary Cooper movies: TCM schedule (PT) 3:00 AM IT'S A BIG COUNTRY (1952). Dir.: Clarence Brown. Don Hartman. John Sturges. Richard Thorpe. Charles Vidor. Don Weis. William A. Wellman. Cast: Van Johnson . Janet Leigh . Fredric March . Ethel Barrymore . William Powell. Keefe Brasselle. Gary Cooper. Gene Kelly. Marjorie Main. Leon Ames. S.Z. Sakall. Lewis Stone. James Whitmore. George Murphy. Nancy Reagan (as Nancy Davis). Keenan Wynn. Angela Clarke. Robert Hyatt (as Bobby Hyatt). Sharon McManus. Uncredited: John Ericson. Ned Glass. John Gordon. Narrator: Louis Calhern. Deleted Scenes: Ann Harding. Jean Hersholt. B&W. 89 mins.

4:30 AM TODAY WE LIVE (1933). Dir.: Howard Hawks. Cast: Joan Crawford . Gary Cooper. Robert Young . Franchot Tone. Roscoe Karns. Louise Closser Hale. Rollo Lloyd. Hilda Vaughn. Uncredited: Murray Kinnell. Ernie Alexander. Carlyle Moore Jr. Frank Marlowe. David Newell. Bert Moorhouse. Glen Cavender. Jimmy Aubrey. Ronald R. Rondell. B&W. 113 mins. 6:30 AM FRIENDLY PERSUASION (1956). Dir.: William Wyler . Cast: Gary Cooper. Dorothy McGuire. Anthony Perkins. Marjorie Main. B&W. 138 mins. 9:00 AM ONE SUNDAY AFTERNOON (1933). Dir.: Stephen Roberts. Cast: Gary Cooper. Fay Wray . Neil Hamilton. Frances Fuller. B&W. 69 mins. 10:30 AM MEET JOHN DOE (1941). Dir.: Frank Capra. Cast: Gary Cooper. Barbara Stanwyck. Edward Arnold. Walter Brennan. Spring Byington.

James Gleason. Gene Lockhart. Rod La Rocque. Irving Bacon. Regis Toomey. J. Farrell MacDonald. Warren Hymer. Harry Holman. Andrew Tombes. Pierre Watkin. Stanley Andrews. Mitchell Lewis. Sterling Holloway. M.J. Frankovich. Uncredited: Fritzi Brunette. Harry Davenport. Ann Doran. Sarah Edwards. Pat Flaherty. Bess Flowers. Franklyn Farnum. Kenneth Harlan. Edward Hearn. Stuart Holmes. Forrester Harvey. Selmer Jackson. Hank Mann. Frank Mayo. Edward Keane. Tom McGuire. George Melford. James Millican. Bert Moorhouse. Paul Panzer. Susan Peters. Hal Prince. Stanley Price. Wedgwood Nowell. Russell Simpson. Vera Steadman. Jim Thorpe. Wyndham Standing. Leo White. Maris Wrixon. B&W. 123 mins. 12:45 PM TASK FORCE (1949). Dir.: Delmer Daves. Cast: Gary Cooper. Jane Wyatt . Wayne Morris. Color. 117 mins.

3:00 PM THE WRECK OF THE MARY DEARE (1959). Dir.: Michael Anderson. Cast: Gary Cooper. Charlton Heston. Michael Redgrave. Color. 105 mins. Letterbox Format. 5:00 PM MR. DEEDS GOES TO TOWN (1936). Dir.: Frank Capra. Cast: Gary Cooper. Jean Arthur. George Bancroft . Lionel Stander. Douglas Dumbrille. Raymond Walburn. H.B. Warner . Ruth Donnelly. Walter Catlett. John Wray. Uncredited: Margaret Seddon. Margaret McWade. Irving Bacon. Billy Bevan. Gino Corrado. Ann Doran. Emma Dunn. Muriel Evans. George Cooper. Bess Flowers. Robert Ellsworth. George 'Gabby' Hayes. Arthur Hoyt. Paul Hurst. Warren Hymer. Gladden James. Charles Lane. Edwin Maxwell. Frank McClure. George Meeker. Mayo Methot. James Millican. Dennis O'Keefe. Bert Moorhouse. Franklin Pangborn. Paul Porcasi. Hal Price.

Lillian Ross. Arthur Rankin. Gustav von Seyffertitz. Pierre Watkin. B&W. 116 mins. 7:15 PM SERGEANT YORK (1941). Dir.: Howard Hawks. Cast: Gary Cooper. Walter Brennan. Joan Leslie. Margaret Wycherly. George Tobias. Stanley Ridges. Ward Bond. Noah Beery Jr. June Lockhart . Dickie Moore . Clem Bevans. Howard Da Silva. Charles Trowbridge. Harvey Stephens. David Bruce. Carl Esmond (as Charles Esmond). Joe Sawyer (as Joseph Sawyer). Pat Flaherty. Uncredited: Lane Chandler. Murray Alper. Elisha Cook Jr. Clyde Cook. Jean Del Val. Frank Faylen. Donald Douglas. Roland Drew. Creighton Hale. George Irving. Russell Hicks. Selmor Jackson. Joe King. Rita La Roy. Edward Keane. Tully Marshall. Frank Mayo. Charles Middleton. Frank Orth. Ray Teal. Theodore von Eltz. Gig Young. B&W. 134 mins. 9:45 PM LOVE IN THE AFTERNOON (1957).

Dir.: Billy Wilder. Cast: Gary Cooper. Audrey Hepburn. Maurice Chevalier. B&W. 130 mins. 12:00 AM DALLAS (1950). Dir.: Stuart Heisler. Cast: Gary Cooper. Ruth Roman. Steve Cochran . Color. 94 mins. 1:45 AM GARY COOPER: AMERICAN LIFE, AMERICAN LEGEND (1991). Dir.: Richard Schickel. Cast: Clint Eastwood. Color. 46 mins. Gary Cooper - Microsoft Store Gary Cooper Once considered becoming a political cartoonist. His father was a Montana State Supreme Court Justice. Took the first name Gary at the suggestion of his agent, Nan Collins, who grew up in Gary, IN. Started his film career as a cowboy extra in silent Westerns. U.S. Treasury Department claimed he was the highest paid American in 1939. Was WWI hero Alvin York's personal choice to portray him in 1941's Sergeant York, for which he won Best Actor.

Played Major League great Lou Gehrig in 1942's The Pride of the Yankees despite not being able to play baseball, and not being a left-hander. Was good friends with Ernest Hemingway and starred in two films, A Farewell to Arms and For Whom the Bell Tolls, based on the author's novels. Pictured on a 25-cent commemorative U.S. postage stamp in 1990. Awards

Question: For which film did Gary Cooper win Best Actor Oscar in 1941?
Answer: SERGEANT YORK