Cook Islands 5 Dollars Silver Coin 2013 Gregory Peck, Hollywood Legends
Commemorative issue: Hollywood Legends Series - Bernard of Hollywood
Despite obscurity and lack of funds, Bruno Bernard (1912-1987) set up his first darkroom in the basement of his Hollywood apartment in 1940. Shortly thereafter, he moved his studio to the famous Sunset Strip. “No one knew the name Bernard, but they all knew Hollywood“, and hence the optical trademark signature Bernard of Hollywood, which ensured the image of glamour visually for decades, was created.
Bruno Bernard was considered as "Rembrandt of photography" and the “The king of Hollywood glamour” and Marilyn Monroe’s discoverer. In 1984 Bernard was the first still photographer to be honoured with an Oscar at the Academy of Motion Picture Arts and Sciences.
Obverse: Head of Queen Elizabeth II with tiara facing right.
Lettering: ELIZABETH II COOK ISLANDS 5 DOLLARS.
Engraver: Ian Rank-Broadley.
Reverse: Gregory Peck photograph by Bruno Bernard and a Star on the Hollywood Walk of Fame in the Motion Pictures category at right (Classic film camera representing motion pictures).
Lettering: HOLLYWOOD LEGENDS GREGORY PECK 2013.
Value: 5 Dollars = 5 New Zealand Dollars.
Metal: Silver (.925).
Weight: 25 g.
Diameter: 38.61 mm.
Shape: Round.
Mintage: 2500 pcs.
Partially coloured on relief.
Hollywood Legends
Clark Gable Gregory Peck Robert Mitchum John Wayne
Gregory Peck
Gregory Peck, in full Eldred Gregory Peck (born April 5, 1916, La Jolla, California, U.S. — died June 12, 2003, Los Angeles, California), tall, imposing American actor with a deep, mellow voice, best known for conveying characters of honesty and integrity.
A pharmacist’s son, Peck attended military school and San Diego State College before enrolling as a premed student at the University of California at Berkeley. There he developed a taste for acting, and upon graduation he headed to New York, where he studied at the Neighborhood Playhouse and supported himself as an usher at Radio City Music Hall and as a concession barker at the 1939 World’s Fair. He made his Broadway debut in The Morning Star (1942), the first of three consecutive flops in which he appeared, although critics liked Peck’s performances.
Invited to Hollywood, Peck made his first film appearance as a Russian guerrilla fighter in Days of Glory (1944). Because of an earlier spinal injury, he was unable to serve in World War II. This circumstance enabled him to emerge as one of the most popular leading men of the 1940s. He earned his first Academy Award nomination for his performance as an idealistic missionary priest in The Keys of the Kingdom (1944), and three years later he received a second Oscar nomination for his interpretation of a journalist who poses as a Jew in order to expose anti-Semitism in Gentleman’s Agreement (1947). Peck’s other notable films from this decade include The Valley of Decision (1945), Alfred Hitchcock’s Spellbound (1945), Duel in the Sun (1946), The Yearling (1946), and Yellow Sky (1948).
Although Peck worked with most of the major Hollywood directors of the day, including Hitchcock, King Vidor, William Wellman, William Wyler, Vincente Minnelli, and Lewis Milestone, he did some of his finest work for Henry King. In King’s Twelve O’Clock High (1949), The Gunfighter (1950), David and Bathsheba (1951), The Snows of Kilimanjaro (1952), The Bravados (1958), and Beloved Infidel (1959), Peck portrayed outwardly strong and authoritative individuals whose inner demons and character flaws threaten to destroy them. He was finally honoured with an Academy Award for his performance as the ethical and compassionate Alabama lawyer Atticus Finch in the screen adaptation of Harper Lee’s To Kill a Mockingbird (1962). His subsequent screen roles included an anguished father in the popular horror film The Omen (1976), the titular American general in MacArthur (1977), and a rare villainous turn as Nazi doctor Josef Mengele in The Boys from Brazil (1978). Although Peck continued to work into the early 1990s (at which time he announced that he was largely retired), his final films are mostly forgettable.
Throughout his career, Peck received the most praise for his portrayals of stoical men motivated by a quest for decency and justice; he was less successful in performances demanding a broad emotional range, such as his interpretation of Captain Ahab in Moby Dick (1956), in which critics felt he failed to convey the compulsive qualities of one of American literature’s most complex characters. Nevertheless, he was an ingratiating performer, fully capable in roles that required him to be the moral centre of a film. Peck was also widely admired and respected as one of the motion picture industry’s most cooperative and least egotistical stars. Outside of his film work, he was tirelessly active in civic, charitable, and political causes. He served as chairman of the American Cancer Society and of the trustee board of the American Film Institute (which he cofounded), and for three years he was president of the Academy of Motion Picture Arts and Sciences.