<ul><li>Born February 1, 1901, Cadiz, Ohio, U.S.—died November 16, 1960, Hollywood, California) American film actor who epitomized the American ideal of masculinity and virility for three decades. An enormously popular star during his lifetime, Gable was dubbed the “King of Hollywood.” </li></ul><ul><li>The only son of an itinerant oil-field worker, Gable embarked on an acting career while in his early 20s and soon found himself the protégé of veteran actress Josephine Dillon, who coached Gable in poise and elocution and paid for his orthodontic work. Although several years her junior, Gable married Dillon in 1924, about the same time he began to land small roles in silent films. His first big break came when he was cast in the lead of the Broadway play Machinal (1928). </li></ul>
<ul><li>In 1930 Gable's performance in a Los Angeles stage production of The Last Mile brought him to the attention of Hollywood producers. Although he failed his first screen test at Metro-Goldwyn-Mayer—in part because producers thought Gable's ears too big for a leading man—his supporting performance in the low-budget western The Painted Desert (1931) convinced MGM executives of Gable's talent and screen presence. The actor garnered public attention with his aggressive, masculine performances in such films as A Free Soul (1931) and Night Nurse (1931); this forceful persona—equal parts “man's man” and “ladies' man”—helped make him one of Hollywood's top stars within a year. </li></ul>
<ul><li>Among Gable's most successful films for MGM during this period were Red Dust (1932), Strange Interlude (1932), Dancing Lady (1933), Hold Your Man (1933), Manhattan Melodrama (1934), and Men in White (1934). Despite his macho persona in such films, Gable's screen presence was largely nonthreatening: his magnetic smile and playful winks rendered him a charming rogue who did not take himself too seriously. Although Gable himself maintained a self-deprecating attitude toward his own talent throughout the years, he often proved himself most competent in demanding roles and was equally deft at romantic comedy and epic drama. </li></ul>
<ul><li>As punishment for refusing a role, MGM lent Gable to Columbia Pictures—a studio then known derisively as “poverty row”—for the Frank Capra comedy It Happened One Night (1934). The punishment turned out to be a coup for Gable, as the film—the story of a spoiled, runaway heiress (portrayed by Claudette Colbert) and the newspaper reporter (Gable) who tries to exploit her story—swept the Academy Awards in all five major categories: best picture, actress, director, screenplay, and best actor for Gable. Many of Gable's best films of the period were either those he resisted doing or those that were made on loan-out to other studios. </li></ul>
<ul><li>He did not feel himself right for the role of mutineer Fletcher Christian in Mutiny on the Bounty (1935), yet the film proved hugely popular and earned Gable another Academy Award nomination. He played Jack London's hero in The Call of the Wild (1935) for Twentieth Century Fox, before reluctantly accepting the role of rakish political boss Blackie Norton in San Francisco (1936), one of the most praised and popular films of Gable's career. It was also the first movie in which he costarred with Spencer Tracy; they would also team in the hit films Test Pilot (1938) and Boom Town (1940). </li></ul>
<ul><li>Wary of period films after flopping in the costume drama Parnell (1937), Gable at first declined the role of Rhett Butler in David O. Selznick's production of the Margaret Mitchell best-seller, Gone with the Wind (1939). As the book had been the best-selling novel of all time, Gable also felt that no screen adaptation could live up to the expectations of the general public. Studio coercion and widespread public demand compelled Gable to reconsider, and the resulting film was, and remains to this day, one of the most popular movies ever made. The grand, epic-scale, four-hour Civil War melodrama won the Oscar for best picture (during what many historians consider to be the benchmark year for Hollywood filmmaking), and Gable garnered his third Oscar nomination for the role with which he is most associated. </li></ul>
<ul><li>After two failed marriages, Gable found his perfect mate in actress Carole Lombard. The two were married in 1939, but Gable's happiness was short-lived when in 1942 the gifted comedienne was killed in a plane crash while returning home from a war-bond rally. The business of making movies suddenly seemed frivolous to the devastated Gable, who walked away from his Hollywood commitments to join the Army Air Corps, even though he was well past draft age. He served as a tail gunner during the war, making him a greater hero than ever in the eyes of his fans, and attained the rank of major. Gable returned to films upon his discharge, but the joyous insouciance of his earlier performances was largely absent in the films he made after Lombard's death. </li></ul>
<ul><li>Gable made several good films during the 1940s and '50s, but none rank as classics. With the possible exceptions of The Hucksters (1947) and Mogambo (1953), the best of Gable's later films were those he made near the end of his career, including Band of Angels (1957), a Civil War potboiler in which he played a plantation owner; Run Silent, Run Deep (1958), a tense submarine adventure in which Gable costarred with Burt Lancaster; and the romantic farces Teacher's Pet (1958) with Doris Day and It Started in Naples (1960) with Sophia Loren. His final film, The Misfits (1961), was his best in many years and features one of Gable's finest performances, but it is a film clouded by tragedy. </li></ul>
<ul><li>It was the final film for both Gable and Marilyn Monroe, two of Hollywood's most enduring icons, and it was one of the last films for the gifted Montgomery Clift. Gable, who insisted on doing his own stunt work for grueling scenes involving the roping of wild horses, died of a heart attack within days of the film's completion. The Misfits , in which Gable portrays a cowboy out of place in the modern world, was a fitting final movie for an actor who epitomized Hollywood's Golden Age and who himself was something of a misfit in the era of television and method actors. Upon his death, several newspapers throughout the country displayed the same banner headline: “The King is Dead.” </li></ul>
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