Gary Cooper...commemorative stamp unveiled @ Gene Autry Museum! September 10th...

Gary Cooper was larger-than-life - a dazzling screen idol - and adored by many.

Now, it has been announced that a U.S. commemorative stamp in his honor, will be uveiled next month at the Gene Autry Museum in Los Angeles (September 10th).

The Postmaster General is making a big ta-do about it, too.

Leonard Maltin will be on hand to act as the Master of Ceremonies.

At press time, it was announced there will be a tribute to the cowboy hero and follow-up speeches by Maria Cooper Janis (the handsome actor's daughter), Alan C. Kessler (Board of Governors; U.S. Postal Service), and scholarship receipient (Sonya Oberly).

The general public is invited to participate in the festivities (free) and take a gander at  Gary Cooper's Oscar (High Noon/1952)  which will be on exhibit in the Gene Autry Imagination Gallery.

In addition, a poster for the Classic Western will be on display alongside a Norman Rockwell portrait of Cooper, which was commissioned for an "Along Came Jones" ad campaign many moons ago.

John Gray (President & CEO of the Autry National Center) sang the screen idol's praises.

“Gary Cooper projected an image of honesty and sincerity that resonated with the average American."

"His long and distinguished career deserves continued recognition, and the Autry is proud to help preserve his legacy for future generations," Gray added.

Gary Cooper appeared in more than 100 films during his acting career.

Film historians have noted over the years that  Cooper's quiet understated acting style was particularly well suited to the stoic Western heroes he often portrayed.

Critics raved about his portrayal of Marshal Will Kane in "High Noon" which was a big box office hit, for instance.

Cooper's first all-talking feature was "The Virginian" shot in 1929.

On the heels of that breakthrough role, Cooper went on to flesh out the character of  "Wild Bill Hickok" in The Plainsman (1936), which was directed by the infamous Cecil B. DeMille.

"Along Came Jones" and "High Noon"  (Cooper's best-known film)  followed.

The Autry National Center is an intercultural history center dedicated to exploring the experiences and perceptions of the diverse peoples of the American West.

The Autry celebrates the cultures of the American West through three institutions on two Los Angeles campuses: the Southwest Museum of the American Indian in Mt. Washington; the Museum of the American West in Griffith Park; and the Institute for the Study for the American West, which comprises the Braun Research Library and the Autry Library and is headquartered in Griffith Park.

Admission to the U.S. Postal Service event is free.

Gene Autry Museum / Hours
Tuesday through Friday, 10:00 a.m. to 4:00 p.m.

Museum Store / Hours
Tuesday through Friday
(10:00 a.m. to 4:30 p.m.)
Saturday and Sunday
(11:00 a.m. to 5:00 p.m.)
Thursdays from July 1 to August 31
(10:00 a.m. to 8:00 p.m.)
(Closed on Mondays)

Info: http://www.autrynationalcenter.org/

 

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The Assassination of Jesse James by the Coward Robert Ford...movie review!

When I first sauntered into the Landmark Theatre to take in "Assassination of Jesse James", I was unfamiliar with the events leading up to the demise of the notorious outlaw.

As the opening scenes unfolded, I was fascinated by the psychological facets of the intriguing tale.

A young gun idolizes Jesse James, slyly maneuvers to be within a hair's breath of his hero, angles for the role of sidekick, and then - when spurned like an unwanted lover - turns on him.

In adept hands, "Jesse James" would have been a taut, powerful, character-driven story.

Here, we're treated to a plodding, sloppy, throw-away vehicle for Brad Pitt which ultimately gets stolen out from under him by relative newcomer Casey Affleck.

In the role of Ford, Affleck - with one, suggestive glance - manages to convey what it takes Pitt a minute or two of serious over-acting to accomplish.

Obviously, the pop culture icon approached the role on the premise that "uneasy is the head that wears the crown".

His portrayal amounts to a rogue's gallery of oft-misunderstood glances, and the occasional searing one that hints at gears turning clickety-clack inside a shrewd, calculating head; but in the final analysis, each is devoid of insight or depth.

If there's a mysterious persona beneath the skin of Jesse James, it fails to register up on the screen.

One scene sums up the underlying theme of the film to a "t".

One lazy afternoon, Ford is bathing in a wide deep tub outdoors when he turns to encounter a gang member studying him.

At one point, during a brief conversation, the unshaven cowboy leans over and observes that for a guy who's small in the scheme of things he's pretty well-endowed.

Without batting an eye, Ford replies, "You here to look at dick?"

Ah, yes.

The film is about posturing, guys sizing each other up, and falling into line accordingly.

The big honcho that he is - Jesse need only bark "lick my boots" - and one of the boys would oblige, "Sir!"

Ford, at least.

In fact, there are so many curious meaningful glances between Ford and James, that one half expects the two to haplessly fall into each other's arms at one juncture and kiss. Yes, an underlying theme appears to be that the two were inclined towards latent homo-erotic tendencies.

Although the saga unfolds lamely enough on its own - to help things along - some genius at the studio concocted the idea to facilitate the use of a narrative; a clever (!) device to fill in the gaps (many!), head the audience in the right direction (did we care?), with the ultimate aim of dissipating the surreal fog that most assuredly clouds our sensibilities as the movie jogs along at a snail's pace.

Heck, even the gravely high-pitched tone of the narrator's voice grated on my nerves. Just awful!

When it came to casting voice-over talent the director couldn't even get that right!

Over the years, Westerns have transformed into a form of distinctive American entertainment.

Typically, a plot may fix on a gang of tight-lipped cowboys who shoot from the hip, ready to spring into action, nab the villain, save the homestead - whatever.

Heh, when the going gets tough, the tough get going.

The larger-than-life Western is usually played for keeps against a breathtaking expanse or captivating wild-west backdrop.

And, conflicts are often resolved spur-of-the moment in a drunken brawl or impromptu moment of trigger-happy deadly gun play.

In the final stretch - order is resolved - you betcha! Come hell or high water.

Film scholars point out the genre has portrayed much about America's past - exalted faded values - for instance; often taken a sacred bow to a mythical by-gone era in the process.

In a nutshell, a lot was accomplished by pure physical action - with a keen eye towards wild runaway stagecoaches, bold-faced on-the-run holdups, and determined lawmen in hot pursuit.

In Jesse James, the cowboys belly-ache a lot, gossip (oh, I forgot; women gossip, men discuss), and quite generally, chortle endlessly ad nauseam about this 'n that.

The whole Kit 'n Kaboodle slip-slides along about about as fast as molasses in January.

About the time the audience starts to flip out their cell-hones to check the time, yawn, or doze off like the guy seated next to me - the film embarks on a wide turn into an epilogue. By this time, the filmgoer is half asleep or too groggy from all the lethargic goings-on to snap out of the haze they've fallen into.

When the final days of Ford's life are revealed, at least it's a sign that the curtain may be falling down soon on the whole sorry scenario.

As one historian astutely observed,

"The Western film genre often portrays the conquest of the wilderness and the subordination of nature, in the name of civilization, or the confiscation of the territorial rights of the original inhabitants of the frontier."

"It is the major defining genre of the American film industry, a nostalgic eulogy to the early days of the expansive, untamed American frontier (the borderline between civilization and the wilderness)."

In sum, the Western may be the oldest most enduring and flexible of genres - one most characteristically American - rooted in mythical origins.

Over the past few decades, Westerns has been written off, resurrected, redefined, even reinvented.

Although the genres' popularity waned in recent years, it has returned with new vigor with the resounding success of the release of movies like, "3:10 to Yuma".

In the instance of "Jesse James", the filmmakers have managed to "Assassinate an American Art Form", the Western.

3:10 to Yuma...Russell Crowe Western thrills!

If you're into macho dudes swaggering around in chaps, dusty leather boots, and ubiquitous cowboy hats - "3:10 to Yuma" is the movie for you!

To date, the western has held a captive audience in its sway - mainly because of the charismatic on screen presences of Christian Bale and Russell Crowe - among others.

The tight intelligent script propels the storyline along without too many hitches.

Of course, there are a couple of lapses in judgment (moments of disbelief) but the audience is able to forgive some of the detours and implausible plot twists, so engaging are the characterizations on screen.

All the high-pitched action - and the screen is chock full of it from beginning to end - starts out simply enough.

A gang of outlaws swoop down on a Stage Coach and make off with the booty.

The Sheriff catches up with one of the lone criminals at a local watering hotel in town and faces the task of hauling him to the station where he'll have to embark on an arduous train ride to the State Prison in Yuma with prisoner in tow.

Hence, the title, "3:10 to Yuma".

With the gang leader's cohorts still at large, the law man is forced to hire out a handful of locals to ensure the outlaw is securely placed on the train without incident.

Christian Bale's character, a down-on-his-luck rancher, steps forward to sign up.

Although he's a real sharp shooter, it's the lure of cold hard cash that prompts him to take on the task.

The rancher reckons the payload will save his farm on the brink of foreclosure from the greedy clutches of a corrupt local lender.

Along the treacherous way - there are a number of clever twists and humorous turn-abouts - and enough rough-housing and fancy gun play to satisfy any fan of the western genre hungry for thrills.

Yes, "Yuma" is buoyed up by a well-crafted script and a cast of believable characters who are a delight to second-guess.

What we have here is a fistful of rugged individuals determined to succeed in their goal whatever the sacrifice may be.

There's the tough-as-nails bounty hunter out to haul the wanted man back to Yuma to face justice at any cost, the humble rancher out to earn an honest day's pay, and the crafty - but likable outlaw - biding time 'til his pals set him free.

There are no holds barred here.

And, to its credit, the action-packed western doesn't cop out at the end.

Russell Crowe is at the top of his game here, mainly because his performance is seamless, never stilted or phony.

His acting stint in "Yuma" is worth the price of admission alone.

Bale never disappoints either.

The actor's actor inhabits the role of a tough son-of-a-gun with ease.

In this well-directed, lush screen adventure, the characters not only think - but subtly reveal their conniving machinations convincingly on screen - by virtue of well-thought out story-telling devices.

In fact, on occasion, a character or two transforms right before the eyes.

When this occurs, it's a memorable moment captured on celluloid.

In sum, "Yuma" is a revealing look at the human condition.

But, because the tale flows from the whimsical pen of a screenwriter, not entirely true to life on occasion.

But, the theatre-goer can excuse its follies, because it is so darn rich in its layers elsewhere.

There is a lot of action, some dalliance with time-honored ideas about father-son relationships, and a struggle between the forces of good and evil.

A touch of morality is thrown in for good measure.

Not a great film, but the project is rendered well on screen, and will undoubtedly satisfy across the demographic.

One of the best westerns to come down the pike in a while.