回复：【档案】加里·库珀的一生。

In yet another successful wartime biopic of an American hero, Cooper played baseball legend Lou Gehrig poster from Samuel Goldwyn's THE PRIDE OF THE YANKEES (1942), directed by Sam Wood and co-starring Teresa Wright and Walter Brennan. Cooper received the third of his five Best Actor nominations for this classic screen romance which is consistently ranked among the greatest sports movies of all-time and is also one of my favorite films.

In his second teaming with THE PRIDE OF THE YANKEES collaborators Sam Wood and Teresa Wright, a romantic comedy called CASANOVA BROWN (1944), Cooper plays a new father who steals his newborn baby in an effort to prevent his ex-wife from putting it up for adoption -- an entertaining 1940s look at "Mr. Mom."

Cooper as 19th-century tobacco farmer, Brant Royle with Patricia Neal in Michael Curtiz's BRIGHT LEAF (1950). This film also starred Donald Crisp and Lauren Bacall.

Back to his movie-making roots, in 1952 Cooper starred in perhaps his best-known western, Fred Zinnemann's HIGH NOON (1952), also starring Grace Kelly and Thomas Mitchell. Although by the time he made the film, Cooper had appeared in some two-dozen westerns, for HIGH NOON's director, Fred Zinnemann, the film marked his first of only two forays into the genre.

HIGH NOON'S seven total Oscar nominations also included one for Best Picture of the Year.
Cooper as lawman Will Kane preparing to meet killer Frank Miller in the climactic finale of HIGH NOON (1952). The screen veteran earned his fifth nomination and second Best Actor Oscar for his performance in this classic western.

In 1956, Cooper once again played a pacifist in wartime, as Jess Birdwell, a Quaker struggling to maintain his faith during the Civil War. Directed by William Wyler and co-starring Dorothy McGuire and a young Anthony Perkins, FRIENDLY PERSUASION is simply a beautiful film.

Cooper engaged in a May-December romance with Parisian schoolgirl and cello player Audrey Hepburn in Billy Wilder's LOVE IN THE AFTERNOON (1957), one of the best and most subtle mockeries of the French I've ever seen on film, and a pretty good little romantic comedy too.