Randolph Scott

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Randolph Scott
Born	January 23, 1898 Orange County, Virginia, United States
Died	March 2, 1987, age 89 Beverly Hills, California, United States

Randolph Scott (January 23, 1898 – March 2, 1987) was an American motion picture actor whose career spanned from 1928 to 1962.

Contents 1 Cinematic legacy 2 Early life 2.1 Birth, family, and schooling 2.2 World War I 2.3 Post-war career 3 Stage and early film appearances 4 Paramount years 4.1 Zane Grey apprenticeship 4.2 Non-western roles for Paramount 4.3 Star on the rise 5 Heroes, heavies and "other" men 6 Personal life 6.1 "Bachelor Hall" 6.2 Marriages 7 World War II 7.1 The real war 7.2 The reel war 8 Tall in the saddle 9 The Boetticher and Kennedy films 10 Ride the High Country 11 Final years 12 Filmography 13 Tributes 14 Trivia 15 Controversy about Scott's supposed homosexual relationships 16 Footnotes 17 Bibliography 18 External links

[edit] Cinematic legacy

As a leading man for all but the first three years of his cinematic career, Randolph Scott appeared in a variety of genres, including social dramas, crime dramas, comedies, musicals (albeit in non-singing and non-dancing roles), adventure tales, war films, and even a few horror and fantasy films. However, his most enduring image is that of the tall-in-the-saddle Western hero. Out of his 100+ film appearances more than 60 were in Westerns, thus "of all the major stars who's name was associated with the Western, Scott most closely identified with it."^[1]

Scott's more than thirty years as a motion picture actor resulted in him working frequently with many acclaimed screen directors, including Henry King, Rouben Mamoulian, Michael Curtiz, John Cromwell, King Vidor, Alan Dwan, Fritz Lang, and Sam Peckinpah. He also worked on multiple occasions with some noted directors: Henry Hathaway (8 times), Ray Enright (7 times), Edwin R. Marin (7 times), Andre DeToth (6 times) and, most notably, his seven film collaboration with Budd Boetticher.

Scott also worked with a widely diverse array of cinematic leading ladies – from Shirley Temple and Irene Dunne to Mae West and Marlene Dietrich. He also appeared with Ann Sheridan, Maureen O'Hara, Nancy Carroll, Donna Reed, Gail Russell, Margaret Sullivan, Virginia Mayo, Bebe Daniels, Carole Lombard and Joan Bennett.

Tall (6' 2"), lanky, and handsome, Randolph Scott displayed an easygoing charm and courtly Southern drawl in his early films that helped offset his limitations as an actor, where he was frequently found to be stiff or "lumbering".^[2] As he matured, however, Scott's acting improved while his features became burnished and leathery, turning him into the ideal "strong, silent" type of stoic hero.

More specifically, The BFI Companion to the Western states:

In his earlier Westerns ... the Scott persona is debonair, easy-going, graceful, though with the necessary hint of steel. As he matures into his fifties his roles change. Increasingly Scott becomes the man who has seen it all, who has suffered pain, loss, and hardship, and who has now achieved (but at what cost?) a stoic calm proof against vicissitude.^[1]

During the early 1950s, Scott was a consistent box-office draw. In the annual Motion Picture Herald Top Ten Polls he was listed as follows:^[3]

• 1950: Tenth place
• 1951: Eight place
• 1952: Tenth place

Thus Scott was in the same league of popularity as John Wayne, Doris Day, Martin and Lewis, Bob Hope, Bing Crosby, Abbott and Costello, James Stewart, Marlon Brando, and Betty Grable.

[edit] Early life

[edit] Birth, family, and schooling

George Randolph Scott was born in Orange County, Virginia on January 23, 1898, the only son of six children born to George Scott, an administrative engineer in a textile firm, and Lucille Crane Scott, a member of a wealthy North Carolina family.^[3] Although Scott's birth was in Virginia, his family lived in North Carolina and it was there that he was raised.

Because of his family's financial status, young Randolph was able to be educated in private schools such as Woodberry Forest School. From an early age Scott developed and displayed an athletic trait, excelling in football, baseball, horse racing, and swimming.^[3]

[edit] World War I

In April 1917 the United States entered World War I. Shortly afterwards, Scott, then 19 years old, joined the Army and served in France as an artillery observer with the 2nd Trench Mortar Battalion, 19th Field Artillery.^[3]

Scott's wartime experience would give him training that would be put to use in his later film career, including the use of firearms and horsemanship.

[edit] Post-war career

After the Armistice brought the war to an end, Scott stayed in France and enrolled in an Artillery Officer's School. Although he eventually received a commission, Scott decided to return to America and thus journeyed home in or around 1919.^[3]

With his military career over, Scott continued his education at Georgia Tech where he set his sights to become an all-American football player. However a severe back injury prevented him from achieving this goal.^[4] Scott then transferred to the University of North Carolina, where he majored in textile engineering and manufacturing. ^[3] As with his military career, however, he eventually dropped out of college and went to work as an accountant in the textile firm that his father was employed in.^[5]

[edit] Stage and early film appearances

Around 1927, Scott developed in interest in acting and decided to make his way to Los Angeles and seek a career in the motion picture industry. Fortunately, Scott's father had become acquainted with Howard Hughes and provided a letter of introduction for his son to present to the eccentric millionaire filmmaker.^[4] Hughes responded by getting Scott a small part in a George O'Brien film called Sharp Shooters (1928).^[6]

In the next few years, Scott continued working as an extra and bit player in several films, including Weary River (1929) with Richard Barthelmess and The Virginian (1929) with Gary Cooper. Reputedly, Scott also served as Cooper's dialogue coach in this latter film.

On the advice of director Cecil B. DeMille,^[3] Scott also gained much-needed acting experience by performing in stage plays with the Pasadena Playhouse. Scott's stage roles during this period include:^[3]

• A minister in Gentlemen be Seated.
• A butler in Nellie, the Beautiful Model.
• Metellus Cimber in William Shakespeare's Julius Caesar.
• Hector Malone in George Bernard Shaw's Man and Superman.

In 1931, after several years of bit parts in the movies, Scott played his first leading role (with Sally Blane) in Women Men Marry, a now apparently lost film made for a "poverty row" outfit called Headline Pictures. He followed that with a supporting part in a Warner Bros. production starring George Arliss entitled A Successful Calamity.

In 1932 Scott appeared in a play at the Vine Street Theatre in Hollywood entitled Under a Virginia Moon. His performance in this play resulted in several offers for screen tests by the major movie studios. ^[4] Scott eventually signed a seven-year contract with Paramount Pictures at a salary of $400 per week.^[3][7]

[edit] Paramount years

[edit] Zane Grey apprenticeship

Randolph Scott's first role under his new Paramount contract was a small supporting part in a comedy called Sky Bride (1932) starring Richard Arlen and Jack Oakie.

Following that, however, Paramount cast him as the lead in Heritage of the Desert (1932), his first significant starring role and also the one that establish him as a Western hero. As with Women Men Marry, Sally Blane was his leading lady. The film was the first of ten "B" Western films that Scott made for Paramount in a series based (sometimes rather loosely) on the novels of Zane Grey. ^[8] Henry Hathaway made his directorial debut with Heritage of the Desert; he would go on to direct a total of seven out of the ten Zane Grey adaptations that Scott would appear in.^[9]

Many of these Grey adaptations were remakes of earlier silent films. In an effort to save on production costs, Paramount utilized stock footage from the silent version and even hired some of the same actors (such as Raymond Hatton and Noah Beery) to repeat their roles. For The Thundering Herd and Man of the Forest (both 1933), Scott's hair was darkened and he sported a trim moustache so that he could easily be matched to footage of Jack Holt, the star of the silent versions.^[10]

In his book The Hollywood Western, film historian William K. Everson refers to the Zane Grey series as being "uniformly good".^[11] He also writes:

To the Last Man was almost a model of its kind, an exceptionally strong story of feuding families in the post-Civil War era, with a cast worthy of an "A" feature, excellent direction by Henry Hathaway, and an unusual climatic fight between the villain (Jack LaRue) and the heroine (Esther Ralston, in an exceptionally appealing performance). Sunset Pass... was not only one of the best but also one of the most surprising in presenting Randolph Scott and Harry Carey as heavies.

Overall, the Zane Grey series proved to be a boon for Randolph Scott, as they provided him with "an excellent training ground for both action and acting".^[12]

[edit] Non-western roles for Paramount

In between his work in the Zane Grey Western series, Paramount cast Scott in several non-Western roles. These included the "other" man in Hot Saturday (1932), with Nancy Carroll and Cary Grant, and Hello, Everybody! (1933), an odd one-shot attempt to make a movie star out of the popular but heavy-set radio singer Kate Smith.

Paramount also cast Scott in two fairly good horror films: Murders in the Zoo (1933) with Lionel Atwill, and Supernatural (1933) with Carole Lombard. Paramount also loaned him to work at other studio, including Columbia, where he appeared with Bebe Daniels in a minor romantic comedy called Cocktail Hour (1933).

[edit] Star on the rise

By 1935, Randolph Scott was firmly established as a popular movie star and, thus, following the release of Rocky Mountain Mystery (1935), Paramount moved him up from his "B" Western status to a star of "A" features, many on loan out.

Scott made four films for RKO Radio Pictures during the 1935-36 period. Two of these were in the popular series of musicals starring Fred Astaire and Ginger Rogers: Roberta (1935), also starring Irene Dunne, and Follow the Fleet (1936). In both of these films Scott played Astaire's lunkheaded but likable pal.

The other two RKO films were among the best in Scott's career: Village Tale (1935), "a touching, still-obscure melodrama about small-town gossip and hypocrisy"^[3] directed by John Cromwell, and She (1935), a superb adventure-fantasy adapted from H. Rider Haggard's 1886 novel.

In 1936, Scott starred (on another loan-out, this time to independent producer Edward Small) in yet another adventure classic, The Last of the Mohicans, adapted from the 1826 novel by James Fenimore Cooper. A big hit in its day, the film "gave Scott his first unqualified 'A' picture success as a lead."^[3]

Scott's films on his home lot at Paramount include the Mae West comedy, Go West, Young Man (1936) which reunited him with director Henry Hathaway, So Red the Rose (1936), directed by King Vidor and starring Margaret Sullivan, and High, Wide, and Handsome. This last film, a musical directed by Rouben Mamoulian, featured Scott in his "most ambitious performance,"^[3] The film is …

… set in 1859 in Pennsylvania, [and] follows the exploits of oil prospector Scott as he struggles against various varmints and vested interests out to wreck his business, and tries to keep his marriage to Irene Dunne intact, despite the tempting presence of saloon singer Dorothy Lamour. ^[1]

[edit] Heroes, heavies and "other" men

In 1938 Scott finished his contract with Paramount and began freelancing. Some of the roles that he took over the next few years were supporting ones, while his other roles during the same time frame had him occasionally lapse into villainy. One missed opportunity also came about around this time. Due to his Southern background, Scott was considered for the role of Ashley Wilkes in Gone with the Wind, but it was Leslie Howard who eventually got the part.

For 20th Century Fox Scott supported child star Shirley Temple in Rebecca of Sunnybrook Farm (1938) and Susanna of the Mounties (1939). For the same studio he played a supporting role in his first Technicolor film, Jesse James (1939), a lavish (albeit highly romanticized) account of the famous outlaw (Tyrone Power) and his brother Frank (Henry Fonda). Shortly after making this film, Scott portrayed Wyatt Earp in Frontier Marshall (1939) and, for Universal, starred with Kay Francis in When the Daltons Rode (1940).

Scott followed this by co-starring with Errol Flynn in Virginia City (1940) and played the "other" man role in the Irene Dunne-Cary Grant romantic comedy My Favorite Wife (1940).

In 1941, Scott returned to the realm of Zane Grey by co-starring with Robert Young in the Technicolor production Western Union, directed by Fritz Lang. Scott played a "good bad man" in this film and gave one of his finest performances. Bosley Crowther of the New York Times wrote of him:

Randolph Scott, who is getting to look and act more and more like William S. Hart, herein shapes one of the truest and most appreciable characters of his career as the party's scout.^[13]

Scott's only role as a truly evil villain was in Universal 's The Spoilers, a rip-roaring adaptation of Rex Beach's 1905 tale of the Alaskan gold rush co-starring Marlene Dietrich and John Wayne. The movie's climax featured Scott and Wayne (and their stunt doubles) in one of most spectacular fistfights ever filmed. The Dietrich-Scott-Wayne combination worked so well that Universal recast the trio the following year in Pittsburgh, a war-time action-melodrama which had Wayne and Scott slugging it out once more.

In 1943 Scott starred in The Desperados, Columbia Pictures' first feature in Technicolor. The film was produced by Harry Joe Brown, with whom Scott would form a business partnership with several years later.

[edit] Personal life

[edit] "Bachelor Hall"

Although Randolph Scott had achieved fame as a motion picture actor, he managed to keep a fairly low profile with his private life. Off screen he became good friends with Fred Astaire and Cary Grant. He met Grant on the set of Hot Saturday and shortly afterwards began rooming together in a beach house in Malibu that became known as "Bachelor Hall".

They would live together, on and off, for about ten years, presumably because they liked each other's company and wanted to save on living expenses (they were both considered notorious tightwads).^[3]

As for no less than 12 years Scott shared "Bachelor Hall" with Cary Grant, it was however rumored that both actors were romantically involved, and that the name "Bachelor Hall" and supposed parade of women there were invented by the studio who wanted to keep their valuable actors away from any public scandal. In his book, Cary Grant: Grant's Secret Sixth Marriage, Marc Eliot claims Grant had a sexual relationship with Scott after they met on the set of Hot Saturday (1932) and that their physical attraction was so immediate and strong that the actors lived together for the next 12 years. In his book, Hollywood Gays, Boze Hadleigh makes various claims for Scott's homosexuality. He cites gay director George Cukor who said about the homosexual relationship between the two: "Oh, Cary won't talk about it. At most, he'll say they did some wonderful pictures together. But Randolph will admit it – to a friend." According to William J. Mann's book, Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1969, photographer Jerome Zerbe spent "three gay months" (his words) in the movie colony taking many photographs of Grant and Scott, "attesting to their involvement in the gay scene." In 1995, Mr. Blackwell published his autobiography From Rags to Bitches, where he stated that he was lovers with both Cary Grant and Scott.

In 1944, Scott and Grant stopped living together but remained close friends throughout their lives. According to biographers Charles Higham and Roy Moseley, Grant and Scott were seen kissing in a public carpark outside a social function both attended in the 1960s.

Prior to his first marriage Scott was romantically linked with several prominent film actresses, including Lupe Velez, Sally Blane, Claire Trevor, and Dorothy Lamour. Some or all of these romances may have been simply fabricated by the studios' publicity departments.

[edit] Marriages

Scott married twice. The first time, in 1936, he became the second husband of heiress Marion Du Pont, daughter of William Du Pont, Sr. and great-granddaughter of Éleuthère Irénée Du Pont de Nemours, the founder of the E.I. du Pont de Nemours and Company. Reputedly the couple spent little time together and the marriage ended in divorce three years later.

In 1944, Scott married Patricia Stillman, with whom he adopted two children. The marriage lasted 43 years until Scott's death in 1987.

[edit] World War II

[edit] The real war

Shortly after the United States entered World War II Scott attempted to obtain an officer's commission in the Marines but, due to his back injury from years earlier^[4] he was turned down. However, he did his part for the war effort by touring in a comedy act with Joe DeRita^[14] for the Victory Committee showcases and also raised food for the government on a ranch that he owned.^[3]

[edit] The reel war

Between 1942 and 1943, Scott appeared, like many film actors of the time, in several war movies, notably To the Shores of Tripoli, Bombardier, Corvette K-225 (a superb drama dealing with Canadian war ships), Gung Ho!, and China Sky.

[edit] Tall in the saddle

In 1946, after playing roles that had him wandering in and out of the saddle for many years, Randolph Scott appeared in Abilene Town, an RKO release which cast him in what would become one of his classic images, the fearless lawman cleaning up a lawless town. The film "cemented Scott's position as a cowboy hero"^[12] and from this point on all but two of his starring films would be Westerns. The Scott Westerns of the late 1940s would be budgeted around $1 million each.^[15]

Scott renewed his acquaintance with producer Harry Joe Brown and together they began producing many of Scott's Westerns, including several that where shot in the two-color Cinecolor process. Their collaborations together the superior Coroner Creek (1948) with Scott as a vengeance-driven cowpoke who "predates the Budd Boetticher/Burt Kennedy heroes by nearly a decade",^[12] and The Walking Hills (1949), a modern-day tale of gold hunters.

During late 1940s and early 1950s Scott's films were made mainly for Columbia or Warner Bros. His salary for the latter studio was $100,000.^[16] per picture.^[12]

Scott's pictures from this period include such fine fare as Fort Worth, Man in the Saddle, and Carson City, (all 1951), and Hangman's Knot, Man Behind the Gun, The Stranger Wore a Gun (film in 3-D), and Thunder Over the Plains (all 1952). Also, in 1953, Scott appeared in Riding Shotgun, an unusual Western that presents (probably unintentionally) some McCarthyistic overtones. Most of these films were directed by Andre De Toth.

By 1956 Randolph Scott was 58 years old, an age where the careers of most leading men would be winding down. Scott, however, was about to enter his finest and most acclaimed period.

[edit] The Boetticher and Kennedy films

Lobby Card for Ride Lonesome. [Source: Western Movies Database and Photograph Album.]

Scott with Maureen O'Sullivan in The Tall T. [Source: Western Movies Database and Photograph Album.]

In 1955 screenwriter Burt Kennedy had written a screenplay entitled Seven Men from Now which was scheduled to be filmed by John Wayne's Batjac Productions with Wayne as the film's star and Budd Boetticher as its director. However Wayne was committed to begin filming John Ford's The Searchers. Wayne suggested Randolph Scott as his replacement.^[12] The resulting film, released in 1956, is now generally regarded as a cinema classic, and one that launched Scott and Boetticher into a highly successful collaboration that eventually totaled seven films. Burt Kennedy scripted four of them. In these films …

Boetticher achieved works of great beauty, formally precise in structure and visually elegant, notably for their use of the distinctive landscape of the California Sierras. As the hero of these "floating poker games" (as Andrew Sarris calls them), Scott tempers their innately pessimistic view with quiet, stoical humour, as he pits his wits against such charming villains as Richard Boone in The Tall T and Claude Akins in Comanche Station.^[1]

The seven films that Scott and Boetticher made together are:^[17]

• Seven Men from Now (1956)

• The Tall T (1956)

• Decision at Sundown (1957)

• Buchanan Rides Alone (1958)

• Westbound (1958)

• Ride Lonesome (1959)

• Comanche Station (1960)

[edit] Ride the High Country

In 1962 Randolph Scott made his final film appearance in Ride the High Country, a film now regarded as a classic. It was directed by Sam Peckinpah and co-starred Joel McCrea, an actor who had a screen image similar to Scott's and who also from the mid-1940s on devoted his career almost exclusively to Westerns.

Scott's and McCrea's farewell Western^[18] is characterized by a nostalgic sense of the passing of the Old West; a preoccupation with the emotionality of male bonding and of the experiential 'gap' between the young and the old; and the fearful evocation, in the form of the Hammonds [the villains in the film], of these preoccupations transmuted into brutal and perverse forms.^[1]

[edit] Final years

Follow the making of Ride the High Country Randolph Scott retired from film making at the age of 64. Having made shrewd investments throughout his life he eventually accumulated a fortune worth a reputed $100 million.^[3]

During his retirement years he remained friends with Fred Astaire and also became friends with Reverend Billy Graham. (Scott was described by his son Christopher as being a deeply religious man.)^[3]

Randolph Scott died at age 89 in Beverly Hills, California. He was interred in the Elmwood Cemetery in Charlotte, North Carolina.

[edit] Filmography

For details see: Filmography of Randolph Scott

[edit] Tributes

Esther Ralston, Scott's leading lady in To the Last Man (1933):

What a lovely and charming man.^[19]

Michael Curtiz, who directed Scott in Virginia City (1940):

Randy Scott is a complete gentleman, and so far, he's the only one I've met in this business full on self-promoting sons-of-bitches.^[20]

[edit] Trivia

• The Statler Brothers’ recorded a song a top country music song in 1973 entitled "Whatever Happened to Randolph Scott?"

• Satirical song writer Tom Lehrer mentions Scott (and John Wayne) in his song "Send the Marines."

• Scott's high stature as a Western actor was spoofed in Mel Brooks' 1974 comedy Blazing Saddles; after a group of townspeople refuses a request, the sheriff replies, "You'd do it for Randolph Scott." The people immediately take off their hats and whisper, "Randolph Scott!" A chorus singing "Randolph Scott" is then heard.

• For his contribution to the motion picture industry, Randolph Scott has a star on the Hollywood Walk of Fame at 6243 Hollywood Blvd. In 1975, he was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.

[edit] Controversy about Scott's supposed homosexual relationships

As mentioned above, in the 1930s Randolph Scott shared an apartment with Cary Grant called "Bachelor Hall." Therefore, a rumor has persisted for many years that Scott and Grant had a homosexual relationship. Several books, mostly on Grant, have been written where the authors' mention this alleged relationship without giving proof to validate their claims. Scott also reportedly had dalliances with Maurice Chevalier, Jimmy Durante and Al Jolson.^{[citation needed]}

However, Cary Grant sued actor Chevy Chase when Chase stated, during an appearance on Tom Snyder's Tomorrow Show on NBC in 1980, that Grant was gay. (Chase's precise words were "He's a fag, you know.") Grant collected a settlement from Chase. Grant always vehemently denied being gay, and many of his friends have concurred over the years. Grant's insistence that he had "nothing against gays, I'm just not one myself" is treated at length in Peter Bogdanovich's book of essays about actors, Who the Hell's in It. Following Randolph Scott's death his adopted son, Christopher Scott, wrote a book entitled Whatever Happened to Randolph Scott, in which he refutes rumors of his father's alleged homosexuality.

Budd Boetticher (a film director during the classical period in Hollywood most famous for the series of low-budget Westerns he made in the late 1950s starring Randolph Scott) had this to say about the rumors: "Bullshit."^[12]

On the other hand, being outed as homosexual at that time could instantly end an actor's career. Thus most gay and lesbian actors in America were forced to keep their sexuality a secret and lead double lives.

[edit] Footnotes

1. ^ ^{a b c d e} Boscombe, Edward (ed). The BFI Companion to the Western. New York, NY. DiCapo Press, 1988.
2. ^ Mueller, John. Astaire Dancing. New York, NY. Alfred A. Knopf, p.65.
3. ^ ^{a b c d e f g h i j k l m n o p} Nott, Robert. The Films of Randolph Scott. Jefferson, NC, and London. McFarland Press, 2004.
4. ^ ^{a b c d} Thomas, Tony. Hollywood and the American Image. Westport, CN. Arlington House, 1981.
5. ^ Ringgold, Gene. "Randolph Scott: Everyone's Idea of a Southern Gentleman", Films in Review. 1972.
6. ^ Despite its title and the presence of George O'Brien, Sharp Shooters is not a western, as some film historians claimed. Rather, it's a romantic comedy. A print of the film survives in the UCLA Film and Television Archive.
7. ^ Adjusted for inflation, $400 in 1932 is the equivalent of approximately $4800 in 2006.
8. ^ Around the same time Fox also remade some Zane Grey titles that they owned, with George O'Brien as their star.
9. ^ Henry Hathaway also direct one film in the Zane Grey series without Randolph Scott: Under the Tonto Rim (1933) starring Stuart Erwin.
10. ^ Around this time, Warner Bros. did the same thing. John Wayne starred in a series of Westerns for them that utilized footage from an earlier series from the silent era that starred Ken Maynard.
11. ^ Everson, William K. The Hollywood Western. New York, NY. Citadel Press, 1969/1992.
12. ^ ^{a b c d e f} Nott, Robert. Last of the Cowboy Heroes. Jefferson, NC, and London. McFarland Press, 2000.
13. ^ The New York Times, February 7, 1941.
14. ^ Joe DeRita later became a member of The Three Stooges.
15. ^ Adjusted for inflation, $1 million in 1946 is equal to around $10.2 million in 2006.
16. ^ Roughly $750,000 with an inflation adjustment to 2006 prices.
17. ^ during these period Scott also appeared in 7th Cavalry and Shoot-Out at Medicine Bend.
18. ^ McCrea, like Scott, retired from filmmaking after this picture, although he returned to the screen twice in later years.
19. ^ Ralston, Esther, Someday We'll Laugh, Metchen, New Jersey: Scarecrow, 1985.
20. ^ Thomas, Tony, The West That Never Was, Secaucus, New Jersey: Citadel, 1989.

[edit] Bibliography

• Crow, Jefferson Brim, III. Randolph Scott: The Gentleman From Virginia. Wind River Publishing, 1987. ISBN 0940375001
• Everson, William K. The Hollywood Western. New York, NY. Citadel Press, 1969/1992.
• Nott, Robert. The Films of Randolph Scott. Jefferson, NC: McFarland & Company, 2004. ISBN 0786417978
• Nott, Robert. Last of the Cowboy Heroes – The Westerns of Randolph Scott, Joel McCrea, and Audie Murphy. Jefferson, NC: McFarland, 2000.
• Scott, C.H. Whatever Happened to Randolph Scott? Empire Publishing, 1994. ISBN 0944019161

[edit] External links

• IMDb filmography
• NNDB profile