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This was probably my introduction, and for millions of others, to the memoir that is Lou Gehrig. And for so many years, I had Gehrig and Gary Cooper completely confused in my mind–they seemed inseparable. But there’s well-behaved reason for it: the role of the Iron Horse seemed to be made for Cooper. Gehrig was a low-key, almost self-effacing athlete and person, which was unbiased the type of character that Cooper built his career on. Their sizes were unprejudiced about the same. Cooper nailed down Lou Gehrig’s drawl, especially for the eminent “luckiest man” farewell speech. Hell, Gary Cooper LOOKS like Lou Gehrig! Maybe my confusion is justified, at least on this subject.

PRIDE OF THE YANKEES is the grand-daddy of all baseball movies. Cooper’s performance, as I can’t relieve but withhold mentioning, is stellar. Teresa Wright as his wife helps support the hankies moist but she is also very spunky and strong. Walter Brennan (who also played opposite Cooper in MEET JOHN DOE where John Doe is a semi-pro pitcher) is in a supporting role here but provides desperately needed humorous relief.

And perhaps I’m substandard to categorize PRIDE OF THE YANKESS as merely a baseball film. It is about human potential, human frailty, and above all human strength during times of crisis. Lou Gehrig’s tragedy occurred during a time of indecent crisis in America, and, I have, his strong accurate public appearances helped the nation through it. PRIDE OF THE YANKEES could easily have been named “Strength of America” in my mind. It’s that well-known a film.

There are all sorts of slight imperfections in the 1943 film “The Pride of the Yankees.” The screenwriters rearranged Lou Gehrig’s well-known farewell speech at Yankee Stadium so that the best line, “Today, I reflect myself the luckiest man on the face of the earth,” becomes his exit line (it was the second line in his speech with his right last line being, “So I conclude in saying that I may have had a tough demolish, but I have an terrible lot to live for”) . Gary Cooper had enough problems batting right-handed let alone left-handed like Gehrig, so the actor wore a uniform with “KROY WEN” on the front, ran to third tainted when he managed to hit the ball, and then they reversed the print. Gehrig is shown wearing his distinguished number 4 when the Yankees play the World Series, but that happened in 1926 and 1928 while the Bronx Bombers did not begin wearing uniform numbers until 1929 (Gehrig batted cleanup and was 4, Babe Ruth batted in front of him and was therefore 3) . The film talks about how Gehrig won the Triple Crown on the day he was married but Gehrig won the Triple Crown in the 1934 season, the year after Lou and Eleanor were married in 1933.

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But none of that really matters because “The Pride of the Yankees” remains the standard by which all sports biopics, whether of baseball players or anyone else, are judged. Even those who were not weaned and raised on baseball know that the title character is going to die of Lou Gehrig’s disease and the film takes pudgy advantage of that foreshadowing: when Gehrig gets into his first game and refuses to advance out after being hit in the head by a thrown ball, manager Miller Huggins asks, “What do we have to do to gain you out of the game? Slay you? ” Irving Berlin’s song “Always” becomes a recurring musical theme throughout the film, another reminder of Gehrig’s mortality.

In many ways “The Pride of the Yankees” is more of a savor memoir than a baseball theme. It starts off as a rags-to-riches tale, where Gehrig’s mother (Elsa Janssen) insists her son will be an engineer and does want him wasting time playing baseball. Eventually the fame and money opens her eyes, but then Lou meets Eleanor Twitchell (Teresa Wright) and has a unusual “best girl.” One of the most impressive aspects of this film is how it touches on the two darker sides of the Lou Gehrig account, the friction between his overbearing mother and his society wife along with the strained relationship that developed between Gehrig and Babe Ruth. The film really only touches on these aspects and Ruth, playing himself, is usually a smiling figure when he shows up on cloak, except for when Gehrig is eating his fresh hat and he is listening to Gehrig’s farewell speech.

Cooper was nominated for an Oscar for his performance and even though he is rather awkward and a bit primitive for the role, he captures the principal dignity and class of Gehrig. It makes sense that one American icon is being played by another. Having been nominated of a Best Actress in a Supporting Role Oscar for “The Diminutive Foxes” in 1941 she received another nomination in that category in 1942 for “Mrs. Miniver” and also one for Best Actress that same year for “The Pride of the Yankees.” Wright won for “Mrs. Miniver” and lost out to Greer Garson for Best Actress (because of the war the Oscars were made of plaster for the first time, but were replaced by “accurate” Oscars when the war ended) . “The Pride of the Yankees” was nominated for 11 Oscars, including Best Narrate, but only won for Daniel Mandell’s Film Editing.

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Walter Brennan as sportswriter Sam Blake and Ludwig Stössel as Pop Gehrig provide a lot of the silly relief in the film. Brennan’s role is rather low-keyed for him while Stössel has several sparkling moments where he tries, usually without success, to stand up to his wife. Appearing as themselves are Yankee players Bill Dickey, Bob Meusel, and Tag Koenig, and the familiar express of Bill Stern makes it on shroud as well.

Gehrig’s tragic death at the age of 38 makes all of his records even more improbable given that his career was gash short. Sportswriter Jim Murray once described the expansive, strong Gehrig as a “Gibraltar in cleats,” and “The Pride of the Yankees” provides a sense of that. For me the most poignant scene comes before Gehrig enters Yankee Stadium on July 4, 1939, when he encounter 17-year-old Billy (David Holt), the lame boy in the hospital (Gene Collins) for whom Gehrig hit two home runs in a World Series game in the film’s most extended baseball sequence. The irony that Gehrig could inspire Billy to rise up and dash but Fate had conspired to strike down the Iron Horse who played in 2,130 is enough to slash most of us to tears before Gehrig ever steps to the plate for the last time to talk about how lucky he is.
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