Randolph Scott

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George Randolph Scott (January 23, 1898-March 2, 1987) was an American film actor whose career spanned the years 1928 to 1962.

Scott appeared in a number of genres, including social dramas, crime dramas, comedies, musicals, musicals (but in non-singing and non-dancing roles), adventure tales, war films, and a few horror and fantasy films over the course of his cinematic career.

However, his most popular photograph is of the tall-in-the-saddle Western hero.

Scott was the most popular actor in Western Australia out of more than 60 film appearances; thus, "of all the major actors whose name was associated with the Western was most closely identified with it." "Scott's more than 30 years as a motion picture actor resulted in his work with many well-known film directors, including Henry King, Rouben Mamoulian, John Curtiz, Allan Dwan, Fritz Lang, Sam Peckinpah, Henry Hathaway (six), and, in particular, his seven film collaborations with Budd Boetticher."

Scott has worked with a diverse cast of leading ladies, from Shirley Temple and Irene Dunne to Mae West and Marlene Dietrich. Tall (6 ft 2112 cm), a lanky and handsome actor, had an easygoing charm and courtly Southern drawl in his early films that helped him overcome his shortcomings as an actor, where he was often found to be stiff or "lumbering."

Scott's behavior as he grew, however, as his features became more prominent and leathery, transforming him into the perfect "strong, silent" type of stoic hero.

The BFI Companion to the Western said: The Scott persona in his earlier Westerns is debonair, energetic, graceful, but with the necessary hint of steel.

As he approaches his fifties, his roles change.

Scott is becoming the man who has seen it all, who has suffered with pain, loss, and agony, and now has success (but at what price). A stoic calm demonstration of vicissitude. Scott was a regular box-office draw in the early 1950s.

He ranked tenth in 1950, seventh in 1951, and tenth in both 1952 and 1953.

Scott appeared in the Quigley's Top Ten Money Makers Poll from 1950 to 1953.

Early years

Scott was born in Orange County, Virginia, and raised in Charlotte, North Carolina, the second of six children born to parents of Scottish descent. George Grant Scott, Jr., was born in Franklin, Virginia, and was the first person to be licensed as a licensed public accountant (CPA) in North Carolina. Lucille Crane Scott, a descendant of a wealthy North Carolina family, was born in Luray, Virginia, and was a member of a wealthy North Carolina family. Margaret, Randolph, Katherine, Virginia, Joseph, and Barbara were among the Scott children ordered of birth: most born in North Carolina, Randolph, Randolph, Katherine, Margaret, Joseph, and Barbara.

Because of his family's financial stability, young Randolph was able to attend Woodberry Forest School. Scott demonstrated his athleticism from an early age, excelling in football, baseball, horse racing, and swimming.

The United States entered World War I in April 1917. Scott was stationed with the North Carolina National Guard in July. He was trained as an artillery observer and rose to corporal in October 1917 and sergeant in February 1918. Scott began active service at Fort Monroe, Virginia, as a soldier of the 2nd Trench Mortar Battalion in May 1918. The battalion arrived in France in June 1918 and was involved in war with the United States IV Corps in the Toul sector and the Thiaucourt zone. The 2nd TM Battalion, which died on November 11, 1918, was part of the United States VI Corps, which was part of the Armistice of Berlin.

Following the armistice, Scott was accepted into the Artillery Officer Candidate School, which was located in Saumur. He received his commission in May 1919 as a second lieutenant of Field Artillery and left the country shortly afterwards. He arrived in New York City on June 6 and reported to Camp Mills, where he was awarded his honorable discharge on June 13. Scott made use of his wartime service in his acting career, including his study in horsemanship and firearms use.

Scott continued his education at Georgia Tech, where he was a Kappa Alpha Order member, and set his sights on becoming an all-American football player throughout his military career. However, a back injury prevented him from achieving this aim. Scott then attended the University of North Carolina, where he concentrated on textile engineering and manufacturing. He eventually dropped out and started working as an accountant in the textile company where his father, a CPA, was employed.

Personal life

Randolph Scott owned and co-designed the Cresta Verde golf course in Corona California.

Scott married twice. He became the second husband of Éleuthère du Pont de Nemours and Company in 1936, and the second husband of Marion duPont, daughter of William du Pont Sr. Marion had previously married George Somerville, with Scott serving as the best man at the wedding. In 1939, the Scotts' marriage ended in divorce three years later. There were no children in the union. Although divorced, she retained his name for nearly five decades until her death in 1983.

In 1944, Scott married Patricia Stillman, who was 21 years his junior. Sandra and Christopher were adopted by two children in 1950.

Although Scott rose to fame as a film actor, he managed to keep his personal life very private. Fred Astaire and Cary Grant's off-screen he was a good friend. Grant appeared on Hot Saturday (1932), and the couple moved in together and shared a beach house in Malibu that was referred to as "Bachelor Hall." At the time, it is widely believed that the two were in a committed relationship. Both men and their spouses and families have consistently denied these allegations. Scott and Grant stopped living together in 1944, but they remained close friends for the remainder of their lives.

Scott died of heart and lung diseases in 1987 in Beverly Hills, California, at the age of 89. He was laid to rest at Elmwood Cemetery in Charlotte, North Carolina. Patricia and his husband were married for 43 years. She died in 2004 and is buried next to her husband. In 2008, the mid-century modern home was torn down. The Randolph Scott papers, which include photographs, scrapbooks, notes, letters, journals, and house plans, were donated to the UCLA Library Special Collections.

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Career

Scott discovered an interest in acting in 1927 and decided to move to Los Angeles to work in motion picture cinema. Fortunately, Scott's father was familiar with Howard Hughes and sent him a letter of introduction for his son, which he delivered to the eccentric millionaire filmmaker. Hughes retaliated by giving Scott a small role in George O'Brien's film Sharp Shooters (1928). In the UCLA Film and Television Archive, a print of the film survives.

Scott continued to act in a number of films, including Weary River (1929), The Far Call (1929), and Uncredited as the Rider in Gary Cooper's The Virginian (1929). Scott was also in this film as Cooper's dialect coach.

Scott was also uncredited on Dynamite (1929) directed by Cecil B. DeMille (1929) and Ford's Born Reckless (1930).

Scott gained much-needed acting experience by appearing in stage plays with the Pasadena Playhouse on Cecil B. DeMille's suggestion. During this period, his stage appearances included: : tv shows include:

Under the name of Under a Virginia Moon, Scott appeared in a play at the Vine Street Theatre in Hollywood in 1932. Several offers for screen tests by the major movie studios followed his participation in this play. Scott eventually joined Paramount Pictures for seven years at a salary of US$400 per week (equivalent to $7,900 in 2021).

Scott made his film debut in between his Pasadena Playhouse days and his appearance at the Vine Street Theatre.

Scott appeared in Women Marry (1931), a film that has now been lost by a Poverty Row studio named Headline Pictures in 1931, his first leading role (with Sally Blane) in Women Marry (1931). At the Filmmuseum in Amsterdam, a silent film made by Edward Dillon's 1922 film has apparently been preserved.

He appeared in a Warner Bros. film starring George Arliss (1932), A Happy Calamity (1932).

Scott's first appearance under his new Paramount banner was a small supporting role in a comedy starring Richard Arlen and Jack Oakie.

Paramount did not say much in this film, however, he appeared in Heritage of the Desert (1932), his first major role and also the one that established him as a Western hero. Sally Blane, his leading lady, was his leading lady at Women's Marry. Henry Hathaway's debut with Heritage of the Desert was directed by him. Scott would continue to make ten "B" Western films loosely based on Zane Grey's novels.

Many of these Grey adaptations were based on earlier silent films or even retitled versions of more recent films. Paramount used stock footage from the silent version to save on production costs, as well as recruiting some of the same actors, such as Raymond Hatton and Noah Beery, to reprise their roles, ensuring that their ages can vary eight to five years within the same scene. Scott's hair was darkened and he sported a trim moustache in 1933's The Thundering Herd and Man of the Forest so that he could be compared to a still image of Jack Holt, the star of the silent films.

Paramount actor Scott appeared in several non-Western roles, including "the other guy" in Hot Saturday (1932), with Nancy Carroll and Cary Grant. After returning to Zane Grey Westerns (1932), Scott became the romantic lead in Hello, Everybody! (1933). The Thundering Herd (1933) was another Zane Grey Western with Hathaway, and after that he appeared in two horror films, Murders in the Zoo (1933), with Lionel Atwill and Supernatural (1933) with Carole Lombard, there was another Zane Grey Western (1933). Paramount loaned Scott to Columbia to be Bebe Daniels' love interest in a minor romantic comedy called Cocktail Hour (1933).

Scott appeared in the Westerns Man of the Forest (1933) and To the Last Man (1933), both with Hathaway's Zane Grey books and starring Noah Beery Sr. as the villain. Scott was loaned to Monogram Pictures for Broken Dreams (1933), but he was back with Hathaway in 1934 for The Last Round-Up (1934).

Scott did three more Zane Grey Westerns without Hathaway (1934), directed by Charles Barton (a remake of 1931's Battle Caravans starring Gary Cooper), Home on the Range (1935) from Arthur Jacobson (1935) with Barton.

He also writes:

Scott's Zane Grey series films were a boon for him, since they provided him with "an excellent training ground for both action and acting."

In Roberta (1935), a hugely popular version of the Broadway musical, Paramount loaned Scott to RKO Radio Pictures to help Fred Astaire, Ginger Rogers, and Irene Dunne. RKO loved Scott and kept him on for Village Tale (1935), directed by John Cromwell and She (1935), an American translation of King Kong's H. Rider Haggard's book.

Scott returned to Paramount for So Red the Rose (1935) with Margaret Sullavan, and then RKO in Follow the Fleet (1936). It was another big hit. Scott was featured in a vehicle drama at Paramount, And Sudden Death (1936), directed by Barton, before being loaned to independent filmmaker Edward Small to play Hawkeye in another adventure epic, The Last of the Mohicans, which was based on James Fenimore Cooper's 1826 novel. "Gave Scott his first unqualified 'A' picture success as a lead," the film says.

Scott was only in "A" films at the time, and Paramount restricted him to "A" films. In Go West, Young Man (1936), he was reunited with Irene Dunne in a musical, High, Wide and Handsome (1937). Scott was featured in his "most optimistic role" in this last film, which was a musical directed by Rouben Mamoulian.

In a Shirley Temple film, Rebecca of Sunnybrook Farm (1938), Scott went to 20th Century Fox to play the romantic male lead. At With Joan Bennett, he produced a well-buddied Western The Texans (1938) at He appeared in The Road to Reno (1938) at Universal.

Around this time, there was a one missed opportunity. Scott was considered for the role of Ashley Wilkes in Gone with the Wind, but it was Leslie Howard who eventually got the job.

Scott's He ended his He signed a contract with Fox and left Jesse James (1939), a lavishly romanticized account of the famous outlaw (Tyrone Power) and his brother Frank (Henry Fonda), was placed in Jesse James (1939). After the James brothers, Scott was rated fourth as a sympathetic marshal; it was his first film in color.

In Susannah of the Mounties (1939), Temple's last lucrative film for Fox, Scott was reunited with Temple. After going to Columbia to star in a medium-budget action film, Coast Guard (1939), the studio gave him the lead. 20,000 Men a Year (1939) — He was in a war film at Fox.

Scott went over to Warner Bros to make Virginia City (1940), billed third after Errol Flynn and Miriam Hopkins, playing Flynn's enemy, but not the actual perpetrator, not the Confederate officer (which was played by Humphrey Bogart). Cast Michael Curtiz, actress Laura Wallis, and producer Hal Wallis were all arguing about script changes. Curtiz said Scott tried to escape those arguments: "Randy Scott is a complete anachronism." He is a gentleman." "He's the only one I've encountered in this industry," Nott says, Curtiz and Scott got along well both personally and creatively, with Scott giving one of his best performances in his career.

Scott returned to RKO to appear "other man" in the Irene Dunne-Cary Grant romantic comedy My Favorite Wife (1940), a big hit for RKO. He appeared in When the Daltons Rode (1940), which was Universal's first appearance. Scott returned to Zane Grey country by co-starring Robert Young in Fritz Lang's Technicolor film Western Union. Scott was a "good bad man" in this film and gave one of his finest performances. Bosley Crowther of The New York Times wrote: "We're dead."

Scott appeared with a young Gene Tierney in another western, Belle Starr, in 1941. Elisabeth Bergner's Paris Calling (1941) is the first film to be followed by a spy film.

Scott's only appearance in Universal's The Spoilers (1942), a Rex Beach's 1905 story of the Alaskan gold rush starring Marlene Dietrich and John Wayne. The Dietrich-Scott-Wayne team became Universal Casting of the three characters in Pittsburgh that same year, a war-time action-melodrama. Scott was billed above Wayne in both films, but Wayne was actually playing the heroic leading man roles and getting more screen time in each film.

Shortly after World War II, Scott attempted to obtain an officer's commission in the Marines, but he was turned down due to a back injury years before. However, he contributed to the war effort by appearing in a comedy act with Joe DeRita (who later became a member of the Three Stooges) for the Victory Committee showcases, as well as raising food for the government on a ranch he inherited.

Scott appeared in many war films, including To the Shores of Tripoli (1942), at RKO, the Canadian warship drama Corvette K-225 (1943), produced by Howard Hawks. At RKO, Universal and China Sky (1945) is the most popular television show in RKO. He also produced The Desperadoes (1943), Columbia Pictures' first appearance in Technicolor. Harry Joe Brown, with whom Scott would begin a business relationship many years later, was the film.

Scott was one of many Universal actors to make a cameo in Follow the Boys (1944). He was in a "northern" with Gypsy Rose Lee, Belle of the Yukon (1944), and directed a swashbuckler film for producer Benedict Bogeaus (1945).

Scott appeared in Abilene Town, a UA release that casts him in what would be one of his classic images, the fearless lawman cleaning up a lawless town in 1946, after being out and out of the saddle for many years. Scott's reputation as a "cowboy hero" was cemented in the film, and only two of his supporting films will be Westerns from this point. The late 1940s Scott Westerns would each be worth about US$1,000,000, equal to $13,900,000.000 today. Scott made Westerns for producers Nat Holt or Harry Joe Brown at Warner Bros, but he did make Albuquerque (1948) at Paraguo.

The BFI Companion to the Western noted:

With Peggy Ann Garner of Fox, Home Sweet Homicide (1947), and a family feud for Bogeaus, Christmas Eve (1947), Scott's last non-Westerns were a mystery. In Warners' Starlift (1951), he appeared on a cameo.

At RKO, Badman's Territory (1946) and Trail Street (1947), Scott did two Westerns for Nat Holt. He joined the Bad Boys (1948) at RKO and Canadian Pacific (1949), then they did Combat Man of the Plains (1950) and The Cariboo Trail (1950) at Fox.

Scott and Forrest Tucker's catalogue, which also stars Denver Pyle, Edgar Buchanan, J. Carrol Naish, and Myron Healey, appeared in Rage at Dawn in 1955. It purports to relay the true story of the Reno Brothers, an outlaw gang that terrorized the American Midwest, particularly in the Seymour, Indiana area immediately after the American Civil War.

With Gunfighters (1947), Scott revisited his acquaintance with producer Harry Joe Brown at Columbia (1947). They began making many of Scott's Westerns, some of which were shot in the two-color Cinecolor process. Their collaboration culminated in the film Coroner Creek (1948), a modern-day tale of gold hunters directed by John Sturges, with Scott as a vengeance-driven cowpoke who "predates the Budd Boetticher/Burt Kennedy heroes by almost a decade."

(with Angela Lansbury) They followed it with The Doolins of Oklahoma (1949), Man in the Saddle (1951), Man in the Saddle (1951), The Stranger Wore a Gun (1953), The Doolins of Oklahoma (1951), The Stranger Wore a Gun (1951), The Nevadan (1951), One of a Hundred Men (1953)

Scott did Colt.45 (1950) at Warner Bros., where his compensation was US$100,000 per picture (equivalent to $1,100,000 today). Pedro de Toth (1951) was in the studio to do Sugarfoot (1951), Carson City (1953), The Man Behind the Gun (1953), Riding School (1954)

Shootout at Medicine Bend shot in 1955, but it was relaunched in 1957, Scott's last film in black and white. James Garner and Angie Dickinson appear in the film co-stars.

Scott turned 58 in 1956, the era in which most leading men's careers are ending. Scott, on the other hand, was about to begin his most celebrated period.

Burt Kennedy, a screenwriter from 1955, wrote a script called Seven Men from Now, which was supposed to be shot by John Wayne's Batjac Productions with Wayne as the film's lead actor and Budd Boetticher as the film's director. However, Wayne was already committed to John Ford's The Searchers, as a result. Scott was therefore recommended as his replacement by Wayne. The resulting film, which was released in 1956, was not immediately popular at the time, but it is now considered by many as one of Scott's finest films, as well as one that launched Scott and Boetticher into a fruitful partnership that had seven films.

Although each film is original and there are no shared characters or settings, this series of films, directed by Scott and Harry Joe Brown, is often referred to as the Ranown Cycle for the production company that was involved in their development. Four of them were scripted by Kennedy. In these films,...

Boetticher, Kennedy, and Scott were reunited in their second film, The Tall T (1957), which co-starred Richard Boone. Decision at Sundown (1957), the third in the series, although it was not written by Kennedy. With Buchanan Rides Alone (1958), the informal series continued. Although Boetticher directed it, Westbound (1959) was not included in the official cycle. However, Ride Lonesome (1959) and Comanche Station (1960) were both written by Kennedy.

Scott made his last film appearance in Ride the High Country in 1962. It was directed by Sam Peckinpah and co-starred Joel McCrea, an actor who had a similar screen shot in Scott's and who also worked in Westerns from the mid-1940s to the mid-1970s.

McCrea's role in the film is marginally larger than Scott's, although perhaps less colorful, but Scott was billed above McCrea after the director dropped a coin over top billing that ended up favoring Scott.

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