|
Post by maggiejones on Sept 11, 2009 12:07:53 GMT -6
Here's one for us all. I've often thought when watching a film " that would of been a great film for Gary Cooper to do. Robin hood Prince of thieves High Plains Drifter Most of the spaghetti westerns, as they call them. Waterworld Field of Dreams. you have mentioned that one before coopsgirl. Pretty women I could go on but want to leave it open for members contribution's
|
|
Marisa
Bit Part Player
Posts: 38
|
Post by Marisa on Sept 12, 2009 15:58:08 GMT -6
I love Gregory Peck, but I think Gary would have been fantastic in A Roman Holiday.
|
|
|
Post by maggiejones on Sept 14, 2009 10:51:43 GMT -6
Once tipped as the next Gary Cooper, Kevin Costner has metamorphosed into Hollywood's awkward outsider who backs films in which he believes, says Tom Leonard
|
|
|
Post by montana on Sept 15, 2009 13:45:15 GMT -6
I see Gary as more of a George Clooney type than Kevin Costner. Ocean's Eleven, etc. / Syriana / Good Night and Good Luck. They both have a nice blend of role cool sophistication and ruggedness ; slickness (rare but fun chez Gary!) and total honesty. And the Nespresso ads we can see Clooney do over here are lovely spoofs of his public image, kind of like in "Along came Jones". What do you think?
|
|
|
Post by maggiejones on Sept 16, 2009 3:39:13 GMT -6
The picture of Kevin doesn't do him justice, and no one could imagine him as the next Gary Cooper. Clooney has the style so does Tom Selleck who I think, like Gary shows alot of himself in his roles. There was a drinks ad here some time ago with Clooney and yes I could of imagined Gary in place of George. To cool for words all those beautiful men.
|
|
|
Post by montana on Sept 16, 2009 13:20:45 GMT -6
You're absolutely right ... but the coolest was our cowboy.
|
|
Marina
Talking Picture Star
My favorite cowboy
Posts: 111
|
Post by Marina on Sept 17, 2009 7:07:08 GMT -6
There is one Kevin Costner movie that I simply love called Dances with Wolves (1990), and I don't know if you guys are going to agree with me but I think Coop would have been perfect in the main role as Lieutenant Dunbar. Dances with Wolves is a beautiful movie and is one of my favorites.
|
|
|
Post by montana on Sept 17, 2009 11:23:25 GMT -6
Yeah, I agree, I think he would have been great in that. In my opinion, that was Kevin Costner's best movie.
|
|
|
Post by maggiejones on Sept 17, 2009 14:54:36 GMT -6
I totally agree re: Dances With Wolves. His versatility would have lent him to many roles in a variety of different film genres, from modern day western to classic period dramas to black comedies. Burn After Reading The Lake House The Notebook J.F.K Mutiny On The Bounty ( or any other chocolate bar ) Mutiny On The Dime Bar doesn't quite sound the same "sorry I digress" Shawshank Redemption Withering Heights "would of been interesting" Gone With The Wind ( even though we know he turned it down ) lucky for Clark Gable
|
|
|
Post by superduper on Sept 5, 2010 13:56:04 GMT -6
My other roles for Coop:
“Superman” (Christopher Reeve) 1978 - Coop would have had to bulk up like Reeve did (Reeve was skinny and had to be trained by bodybuilder and actor David Prowse, the guy who played Darth Vader). At 6'3", Coop was almost as tall as Reeve who was 6'4". Like Reeve, Coop had a boyish innocence and the good looks to play Superman. Obviously, Coop would have had to play Superman while he was in his late 20s or 30s. I see a lot of similarities between Coop and Reeve.
James Bond - Ian Flemming could have allowed Coop to play the part of Bond, considering that Coop's parents were English and Coop spent time there as a boy. Coop could have played the dashing secret agent well.
“Witness” (Harrison Ford) 1985 - This would not be an obvious choice for Coop, but I can see Coop playing the cop trying to protect the innocent Amish girl from the mafia.
“Rain Man” (Dustin Hoffman) 1988 - Another role that I think would have been suitable for Coop but is not very obvious is Hoffman's role as the autistic long lost brother of Tom Cruise. Coop's portrayal as the humble and somewhat naive hero Sergeant York comes to mind here. Coop won the Oscar and played the part of York to perfection. He was able to capture York's humble background as a poor farmer (Coop used his own experience growing up in Montana) who through his courage, dogged pursuit of principles, and skills as a hunter led him to capture an entire German regiment almost singlehandedly. While I see York as a courageous hero, I can also see in him a certain naiveté about the harsh reality of life. Although extremely courageous and possessing high moral fortitude, York is almost child-like in his knowledge of the world. There is a similarity here to the role played by Hoffman in “Rain man”. In a similar vein, I think that Tom Hank's character in "Forrest Gump" may have been inspired by Coop's role as York. Both involved reserved men from the South. Both were extremely humble, principled men, who had very little knowledge of the world yet had the great fortitude to venture out into the world, and through their integrity and courage became unlikely heroes.
“The Bodyguard” (Kevin Costner) 1992 - Others have compared Coop to Costner, and I agree that they both excelled in roles that required the strong silent type. Just like Costner did in his role as Frank Farmer, Coop displayed both a reserved yet commanding personality as Sheriff Will Kane in High Noon. Several Presidents including George W. Bush have gone on record saying that they have used Will Kane's display of moral courage as a model for their own conduct.
“Father of the Bride” (Steve Martin) 1991 - Another role that may not be obvious. I can see Coop playing the overprotective father of the bride.
Coop was often criticized for his acting skills, but it is hard to argue with his versatility. He could play the strong silent type (in fact, he invented it) as he did in High Noon, Fountainhead, A Farewell to Arms, and several others. Coop could play the naïve yet courageous country boy (Mr Deeds, Sergeant York, etc), and he could also play the romantic leading man as he did in my personal favorite, “Love in the Afternoon.”
I think that Coop had a similar dilemma has Vivien Leigh. Both were extremely attractive, and because of this may not have been afforded the recognition they deserved as talented and versatile actors.
|
|
|
Post by maggiejones on Sept 5, 2010 14:46:00 GMT -6
What a great analysis of the modern day potential of our Gary. I'm sure he would of fitted into all of those roles and many more.
|
|
|
Post by maggiejones on Feb 8, 2011 8:43:47 GMT -6
DANCES WITH WOLVES 20th Anniversary Extended Cut Blu-ray Review by Andre Dellamorte Posted:February 2nd, 2011 at 11:57 am Kevin Costner’s moment at the top of his arc was undoubtedly Dances with Wolves – everything since has been part of his decline. He had box office hits/classics with such films as The Untouchables, Field of Dreams, No Way Out, and Bull Durham. He was a sex symbol, a guy’s guy, the next Gary Cooper – down to Earth, and sexy in a way that suggested distinct heterosexuality. Then came Dances with Wolves, and it was there the stage for Costner-backlash was set: Wolves trumped Goodfellas and Martin Scorsese for best picture and director. The film had been loved, but there were dissenters (including Pauline Kael), and by the time Costner got around to directing again (1997’s The Postman), he had already made Waterworld and a number of films that won him no fans. Twenty years on it’s interesting to revisit his Dances with Wolves, as the film has both been overrated and over-hated over the course of two decades, and my review of the film on Blu-ray in an extended director’s cut follows after the jump. Costner directs and stars as Lt. John Dunbar, who begins the film on a suicide run after he’s told his foot might be amputated. His stunt starts a fight his side wins, and leads him to a promotion. He chooses a post in the Wild West as he wants to explore the country. He has a sidekick (Robert Pastorelli), who leaves the film shortly after taking him to his station. There he makes friends with a nearby wolf, and notes that the Indians are nearby, but is cautious about approaching them. Eventually an opportunity presents itself, when he rescues Stands with a Fist (Mary McDonnell). With that he gets to know the tribe and ingratiates himself in with them – including the person he most sees as a leader Kicking Bird (Graham Greene). He comes with them as they hunt buffalo, fight off warring tribes, and romances Miss Fist, but he must comes to face with the culture he left behind once more. For modern audiences, Dances with Wolves may come across as a live action version of Avatar. And what was once the great sticking point with the film is still the most interesting thing about it: The racial politics. It’s hard to argue that the film doesn’t follow the now classic “why can’t I be a part of a minority” narrative that seems inherent to liberal white guilt, and has been seen in such films as The Last Samurai and Avatar among others. But the idea of the pure Indians and evil whites is at least toyed with by Costner and his writer Kevin Blake, and if the film benefits from anything in the Director’s cut (which – frankly – is too long and not the best cut of the movie), it’s that the racial polarization seems less apparent. But even in the theatrical cut, there were good white people and bad Indians. There are some gradations, but the movie ends with white people taking shots at the wolf that Dunbar defends. It’s so over the top that instead of having an emotional impact, it feels like overkill. The film is not all that bright or insightful, but if it works – and I think it does for the most part – it’s because it works as a travelogue. Watching it theatrically in 1990, I was 14, and hadn’t seen that many westerns (my father let me grow up on action films of the era). Over the last twenty years, I have seen almost all of the canonical westerns of note, and so my appreciation for the film has changed. You could argue that maybe there’s a little John Ford in there, but Costner isn’t really after imitation, he’s more interested in the landscapes. I would argue that Robert Flaherty had something of a bigger impact, though Costner’s majesty is more of a point and shoot variety. But if this film works (and it does more than it doesn’t – though it’s altogether too long), it’s because of the soundtrack by the recently deceased John Barry and the cinematography by Dean Semler. The film is stunning to look at, and the sweeping vistas are well represented by the Blu-ray presentation. There’s a shot that’s Costner at magic hour that’s so great the film cuts back to it moments later, knowing that it’s a money shot. While John Barry’s score sounds very Barry (you might get a twinge of Bond in there), he was the only person who could give the sort of old school Hollywood sweep. Barry won an Oscar for his work here, and few times has the Academy been so right. With the charging buffalo, and nature photography, Dances with Wolves is at least not boring, but it falls into that category of Oscar winners of the time: Safe, not as terrible as reputation might suggest, but decidedly not a masterpiece. Producers Todd Lieberman and David Hoberman Exclusive Video DANCES WITH WOLVES 20th Anniversary Extended Cut Blu-ray Review Home | Contact Us | About Us | Advertising | Privacy Policy | Terms of Use | RSS | Site MapCopyright ©2005 - 2009. All Rights Reserved. Web Site Development by topLingo
|
|