Movie Stars: Scott, Randolph–Background, Career, Awards

Research in Progress: Sep 27, 2021
Randolph Scott Career Summary:

Occupational Inheritance: No

Social Class: upper-middle; father public accountant; mother wealthy


Family: second of 6 children

Education: private schools

Training: aimed at being football player; back injury

Teacher/Inspirational Figure: his father had connections to Howard Hughes

Radio Debut:

TV Debut:

Stage Debut:

Broadway Debut:

Film Debut: Women Men Marry, 1931; aged 33 (before extras and bit in late 1920s)

Breakthrough Role:

Oscar Role: No

Other Noms: No

Other Awards: No

Frequent Collaborator: Boetticher, Hathaway, Enright

Screen Image: tall, lanky (Western genre)

Last Film: Ride the High Country, 1962; aged 64

Career Output: over 30 years

Film Career Span: 1928-1962



Death: 1987; aged 89

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

Westerns Movie Star

As a leading man for all but the first 3 years of his career, Scott appeared in a variety of genres, including social dramas, crime dramas, comedies, musicals (non-singing and non-dancing roles), adventures, war films, and horror and fantasy films.

Western Hero

However, his most enduring image is that of the tall-in-the-saddle Western hero. Out of his more than 100 films, over 60 were in Westerns.

Scott’s Directors

Scott’s 30 years as actor resulted in his working with many acclaimed directors, including Henry King, Rouben Mamoulian, Michael Curtiz, John Cromwell, King Vidor, Allan Dwan, Fritz Lang, Sam Peckinpah.

Frequent Directors:

Henry Hathaway (eight times)

Ray Enright (seven),

Edwin L. Marin (seven)

Andre DeToth (six)

Budd Boetticher (seven)

Leading Ladies

Scott also worked with a diverse array of leading ladies, from Shirley Temple and Irene Dunne to Mae West, Marlene Dietrich.

Tall at 6 ft 2 in (188 cm), lanky, muscular, and handsome, Scott displayed 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”. As he matured, however, Scott’s acting improved, while his features became burnished and leathery, enabling the portraiture of “strong, silent” type of stoic hero.

Box-Office Star: 1950-1953

During the early 1950s, Scott was a consistent box-office draw. In the annual Motion Picture Herald Top Ten Polls, he ranked 10th in 1950, seventh in 1951, and 10th in both 1952 and 1953. Scott also appeared in the Quigley’s Top Ten Money Makers Poll from 1950 to 1953.

Scott was born in Orange County, Virginia and reared in Charlotte, North Carolina, the second of 6 children born to parents of Scottish descent. His father was George Grant Scott, born in Franklin, Virginia, the first person licensed as a certified public accountant (CPA) in North Carolina. His mother was Lucille Crane Scott, born in Luray, Virginia, member of wealthy North Carolina family.

Scott children in order of birth were: Margaret, Randolph, Katherine, Virginia, Joseph and Barbara, most born in North Carolina.

Family’s financial status allowed the young Randolph to attend private schools such as Woodberry Forest School. From early age, Scott displayed athleticism, excelling in football, baseball, horse racing, and swimming.

World War I
In April 1917, the US entered World War I, and in July, Scott joined unit of the North Carolina National Guard. He was trained as an artillery observer and earned promotion to corporal in October 1917 and sergeant in February 1918. In May 1918, Scott entered active duty at Fort Monroe, Virginia as a member of the 2nd Trench Mortar Battalion. The battalion arrived in France in June 1918, and took part in combat with the U.S. IV Corps in the Toul sector and Thiaucourt zone.After the Armistice of November 11, 1918 ended the war, the 2nd TM Battalion took part in the post-war occupation of Germany as part of U.S. VI Corps.

After the armistice, Scott enrolled in the artillery Officer Candidate School, located in Saumur. He received commission as second lieutenant of Field Artillery in May 1919 and departed for the US soon afterwards. He arrived in New York on June 6 and reported to Camp Mills, where he received his honorable discharge on June 13.

Scott used wartime experience for acting career, training in horsemanship and use of firearms.

Scott continued his education at Georgia Tech, where he was a member of the Kappa Alpha Order and set his sights on becoming an all-American football player. However a back injury prevented him from achieving this goal. Scott then transferred to the University of North Carolina, where he majored in textile engineering and manufacturing.

He dropped out and went to work as accountant in the textile firm where his father, a CPA, was employed.


Early films
Around 1927, aged 29, Scott developed interest in acting and decided to make his way to Los Angeles and seek career in the picture industry. Scott’s father had become acquainted with Howard Hughes and provided letter of introduction for his son to present to the eccentric millionaire filmmaker. Hughes got Scott small part in a George O’Brien film called Sharp Shooters (1928). Despite its title, Sharp Shooters is not a western; it’s romantic comedy.

Scott continued working as extra and bit player in several films, including Weary River (1929) with Richard Barthelmess, The Far Call (1929), The Black Watch (1929) (directed by John Ford with John Wayne also uncredited) and uncredited as the Rider in The Virginian (1929) with Gary Cooper. Scott also served as Cooper’s dialect coach in this latter film.

Scott was also uncredited on Dynamite (1929) directed by Cecil B. De Mille, and Born Reckless (1930).

On the advice of director Cecil B. DeMille, Scott gained acting experience, performing in stage plays with Pasadena Playhouse. Scott’s stage roles during this period include: 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 1932 Scott appeared in a play at the Vine Street Theatre in Hollywood entitled “Under a Virginia Moon.”

Screen Test

His performance in this play resulted in several offers for screen tests by the major studios. Scott eventually signed a 7-year contract with Paramount at salary o $400 per week.

In between his Pasadena Playhouse days and Vine Street Theatre performance Scott made his film debut.

In 1931 Scott played his first lead role (with Sally Blane) in Women Men Marry (1931), a film, now apparently lost, that was made by a Poverty Row studio called Headline Pictures. A silent film by the same name from 1922, directed by Edward Dillon, has apparently been preserved, however, at Filmmuseum Amsterdam.[13]

He followed that movie with a supporting part in a Warner Bros. production starring George Arliss, A Successful Calamity (1932).

Zane Grey apprenticeship

With Verna Hillie in Man of the Forest, 1933

Barton MacLane, Tom Kennedy, Noah Beery, Sr., Scott and Verna Hillie in Man of the Forest, 1933

Noah Beery, Sr. and Scott in Man of the Forest, 1933
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 established him as a Western hero. As with Women Men Marry, Sally Blane was his leading lady. Henry Hathaway made his directorial debut with Heritage of the Desert. The film was popular and Scott would go on to make ten “B” Western films loosely based on the novels of Zane Grey.

(Around the same time, Fox also remade some Zane Grey titles that they owned, with George O’Brien as their star.)

Many of these Grey adaptations were remakes of earlier silent films or even retitled versions of more recent movies. 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, meaning that sometimes their ages would vary eight or more years during the same scene. For the 1933 films The Thundering Herd and Man of the Forest, 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.

In his book, The Hollywood Western: Ninety Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, film historian William K. Everson refers to the Zane Grey series as being “uniformly good”.[14] 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 climactic 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.

The cast of Hathaway’s To the Last Man (1933) featured Noah Beery Sr. in a powerful performance, Buster Crabbe, Gail Patrick, Barton MacLane, John Carradine, and 5-year-old Shirley Temple in a startling scene in which she’s having a “tea party” with her little doll at a table set up outdoors, and a villain suddenly shoots the doll’s head off right in front of the child.

The Zane Grey series films were a boon for Scott, as they provided him with “an excellent training ground for both action and acting”.[15]

In between his work in the Zane Grey Western series, Paramount cast Scott in several non-Western roles, such as “the other man” in Hot Saturday (1932), with Nancy Carroll and Cary Grant.

Scott returned to Zane Grey Westerns with Wild Horse Mesa (1932), then was the romantic male lead in Hello, Everybody! (1933), an odd one-shot attempt to make a film star out of the popular but heavy-set radio singer Kate Smith.

The Thundering Herd (1933) was another Zane Grey Western with Hathaway, then he was in two horror movies, Murders in the Zoo (1933) with Lionel Atwill and Supernatural (1933) with Carole Lombard.

After the Western Sunset Pass (1933), Paramount loaned Scott to Columbia, to play Bebe Daniels’s love interest in a minor romantic comedy called Cocktail Hour (1933).

Back at Paramount Scott did the Westerns Man of the Forest (1933) and To the Last Man (1933), both with Hathaway from Zane Grey novels and featuring Noah Beery Sr. as the villain. Scott was loaned to Monogram Pictures for Broken Dreams (1933) then was back with Hathaway for The Last Round-Up (1934).

Scott did three more Zane Grey Westerns without Hathaway: Wagon Wheels (1934) directed by Charles Barton (a remake of 1931’s Fighting Caravans starring Gary Cooper), Home on the Range (1935) from Arthur Jacobson, and Rocky Mountain Mystery (1935) with Barton.

RKO and “A” Films
Paramount loaned Scott to RKO Radio Pictures to support Fred Astaire, Ginger Rogers and Irene Dunne in Roberta (1935), a hugely popular adaptation of the Broadway musical.

RKO liked Scott and kept him on for Village Tale (1935), directed by John Cromwell, and She (1935), an adaptation of the classic novel by H. Rider Haggard from the makers of King Kong.

Scott went back to Paramount for So Red the Rose (1935) with Margaret Sullavan, then was reunited with Astaire and Rogers at RKO in Follow the Fleet (1936).[16] It was another big hit.[17]

Scott was in a car drama at Paramount, And Sudden Death (1936), directed by Barton, then was loaned to independent producer Edward Small, to play Hawkeye in 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.”

Paramount now only put Scott in “A” films. He was love interest for Mae West in Go West, Young Man (1936) and reunited with Irene Dunne in musical, High, Wide, and Handsome (1937).

This musical directed by Rouben Mamoulian, featured Scott in his “most ambitious performance,” The film is …… set in 1859 in Pennsylvania, and follows the exploits of oil prospector Scott as he struggles against varmints and vested interests out to wreck his business, and tries to keep his marriage to Irene Dunne intact, despite tempting presence of saloon singer Dorothy Lamour.

Scott went to 20th Century Fox to play romantic male lead in  Shirley Temple film, Rebecca of Sunnybrook Farm (1938).

At Paramount he made Western The Texans (1938) with Joan Bennett, then he starred in The Road to Reno (1938) at Universal.

Missed opportunity: Due to 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.

20th Century Fox
Scott’s contract with Paramount ended and he signed deal with Fox. Jesse James (1939), a lavish highly romanticized account of the famous outlaw (Tyrone Power) and his brother Frank (Henry Fonda). Scott was billed fourth as sympathetic marshal after the James brothers; it was his first film in color.

Scott was reunited with Temple in Susannah of the Mounties (1939), Temple’s last profitable film for Fox.

The studio gave him the lead in Frontier Marshal (1939), playing Wyatt Earp.

Scott went to Columbia to star in action film, Coast Guard (1939). Back at Fox he was in a war movie, 20,000 Men a Year (1939).

Scott went to Warner Bros to make Virginia City (1940), billed third after Errol Flynn and Miriam Hopkins, playing Flynn’s antagonist, a Confederate officer – but a sympathetic one, and not the villain (played by Humphrey Bogart). There were frequent disputes between director Michael Curtiz, actors and producer Hal Wallis about script changes. But Curtiz recalled that Scott tried to stay out of those arguments: “Randy Scott is a complete anachronism,” said Curtiz. “He’s a gentleman. And so far he’s the only one I’ve met in this business…” Curtiz and Scott got along well both personally and creatively, with Scott giving top performance.

Scott went back to RKO to play the “other man” role in the Irene Dunne–Cary Grant romantic comedy My Favorite Wife (1940), huge hit for RKO.

For Universal, he starred with Kay Francis in When the Daltons Rode (1940).

Back at Fox, Scott returned to Zane Grey country by co-starring with Robert Young in the Technicolor Western Union, directed by Fritz Lang. Scott played a “good bad man” in this film and gave one of his finest performances.

In 1941, Scott also co-starred with a young Gene Tierney in another western, Belle Starr.

After spy film with Elisabeth Bergner, Paris Calling (1941), he was in a hugely popular war film at Fox with John Payne and Maureen O’Hara, To the Shores of Tripoli (1942).

Co-Starring with John Wayne

Scott’s only role as a truly evil villain was in Universal’s The Spoilers (1942), an adaptation of Rex Beach’s 1905 tale of the Alaskan gold rush also starring Marlene Dietrich and John Wayne.

The Dietrich-Scott-Wayne combination led to Universal casting the trio same year in Pittsburgh, a war-time action-melodrama. Scott was billed above Wayne in both films but Wayne actually played the heroic lead man and enjoyed more screen time in each movie.

World War II
Shortly after the US entered World War II, Scott attempted to obtain an officer’s commission in the Marines, but because of  back injury, he was rejected. However, he did for the war effort by touring in a comedy act with Joe DeRita (who later became  member of the Three Stooges) for the Victory Committee showcases, and he also raised food for the government on ranch he owned.

In 1942 and 1943, Scott appeared in war films, notably To the Shores of Tripoli (1942) at Fox, Bombardier (1943) at RKO, the Canadian warship drama Corvette K-225 (1943) (produced by Hawks), Gung Ho! at Universal and China Sky (1945) at RKO.

He also made The Desperadoes (1943), Columbia’s first feature in Technicolor. The film was produced by Harry Joe Brown, with whom Scott would form business partnership several years later.

Scott was one of many Universal stars who made a cameo in Follow the Boys (1944). He was in a “northern” with Gypsy Rose Lee, Belle of the Yukon (1944), and made swashbuckler film for producer Benedict Bogeaus with Charles Laughton, the cheaply made production Captain Kidd (1945).

Post-World War II Career

In 1946, after playing roles that had him wandering in and out of the saddle for many years, Scott appeared in Abilene Town, a UA[24] 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” and from this point on all but two of his starring films would be Westerns. The Scott Westerns of the late 1940s would each be budgeted around US$1,000,000, equal to $13,300,000 today. Scott mostly made Westerns for producers Nat Holt or Harry Joe Brown at Warner Bros, although he did make Albuquerque (1948) at Paramount.

The BFI Companion to the Western noted: 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.

Scott’s last non-Westerns were a mystery with Peggy Ann Garner at Fox, Home Sweet Homicide (1947), and family drama for Bogeaus, Christmas Eve (1947). He also had a cameo in Warners’ Starlift (1951).

Nat Holt
Scott did two Westerns for Nat Holt at RKO, Badman’s Territory (1946) and Trail Street (1947). He followed it with another pair for Holt at that studio, Return of the Bad Men (1948) at RKO and Canadian Pacific (1949), then they did Fighting Man of the Plains (1950) and The Cariboo Trail (1950) at Fox.

Scott also made Rage at Dawn in 1955 for Nat Holt, which was released by RKO starring Scott and Forrest Tucker, and featuring Denver Pyle, Edgar Buchanan, and J. Carrol Naish. It purports to tell the true story of the Reno Brothers, an outlaw gang which terrorized the American Midwest, particularly Southern Indiana, soon after the American Civil War.

Scott renewed his acquaintance with producer Harry Joe Brown at Columbia with Gunfighters (1947). They began producing many of Scott’s Westerns, including several that were shot in the two-color Cinecolor process. Their collaboration resulted in the film Coroner Creek (1948) with Scott as vengeance-driven cowpoke who “predates the Budd Boetticher/Burt Kennedy heroes by nearly a decade,” and The Walking Hills (1949), modern-day tale of gold hunters directed by John Sturges.

They followed it with The Doolins of Oklahoma (1949), The Nevadan (1950), Santa Fe (1951), Man in the Saddle (1951), Hangman’s Knot (1952), The Stranger Wore a Gun (1953) (shot in 3-D), Ten Wanted Men (1955), and A Lawless Street (1955) (with Angela Lansbury.)

Warner Bros.
Scott did Colt .45 (1950) at Warner where his salary was US$100,000 per picture (equal to $1,100,000 today). He stayed at the studio to do Sugarfoot (1951), Fort Worth (1951), Carson City (1952), The Man Behind the Gun (1953), Thunder Over the Plains (1953), Riding Shotgun (1954), Tall Man Riding (1955) Most of these were directed by André de Toth.

Shootout at Medicine Bend shot in 1955, but released in 1957, Scott’s last movie in black and white, co-starring James Garner and Angie Dickinson.

By 1956, Scott turned 58, an age where careers of most leading men wind down. Scott, however, was about to enter his finest and most acclaimed period.

Boetticher and Kennedy films

In 1955, screenwriter Burt Kennedy wrote a script 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 already committed to John Ford’s The Searchers. Wayne therefore suggested Scott as his replacement. The film, in 1956, did not make a great impact at the time but is now regarded by many as one of Scott’s best, as well as the one that launched Scott and Boetticher into successful collaboration that totaled seven films.

Ranown Cycle

While each film is independent with no shared characters or settings, this set of films is often called the Ranown Cycle, for the company run by Scott and Harry Joe Brown, which was involved in their production. Kennedy scripted four of them. In these films …

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

After 7th Cavalry (1956), Boetticher, Kennedy and Scott were reunited for their second film, The Tall T (1957), co-starred Richard Boone.

The third in the series was Decision at Sundown (1957), though that script was not written by Kennedy. The unofficial series continued with Buchanan Rides Alone (1958).

Westbound (1959) is not considered part of the official cycle although Boetticher directed it. However the last two, both written by Kennedy, were: Ride Lonesome (1959) and Comanche Station (1960)

Last film: Ride the High Country
In 1962 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 and McCrea’s farewell Western 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.

McCrea, like Scott, retired from filmmaking after this picture, although he returned to the screen twice in later years.

McCrea’s role in the film is slightly larger than Scott’s, although arguably less colorful, but Scott was billed above McCrea after the director tossed a coin over top billing that came up favoring Scott.

Following Ride the High Country, Scott retired from film at the age of 64. A wealthy man, Scott had managed shrewd investments throughout his life, eventually accumulating a fortune worth a reputed $100 million, with holdings in real estate, gas, oil wells, and securities.[31]

He and his wife Patricia continued to live in Beverly Hills.[32][33] During his retirement years he remained friends with Fred Astaire, with whom he attended Dodgers games. An avid golfer with a putting green in his yard, Scott was a member of the Bel Air Country Club, Los Angeles Country Club and Eldorado Country Clubs.[34] Scott also became friends with the Reverend Billy Graham. Scott was described by his son Christopher as a deeply religious man.[35] He was an Episcopalian and the Scott family were members of All Saints’ Episcopal Church in Beverly Hills,[36] and St. Peter’s Episcopal Church in Charlotte, North Carolina.

Scott married twice. In 1936, he became the second husband of heiress Marion duPont, 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.

Marion had previously married George Somerville, with Scott serving as best man at the wedding. The Scotts’ marriage ended in divorce 3 years later, in 1939. They had no children. Though divorced, she kept his last name nearly five decades, until her death in 1983.

In 1944, Scott married the actress Patricia Stillman, who was 21 years his junior. In 1950, they adopted two children, Sandra and Christopher.

Roommate with Cary Grant

Although Scott achieved fame as actor, he managed to keep a fairly low profile with his private life. Offscreen he was a good friend of Fred Astaire and Cary Grant. He met Grant on the set of Hot Saturday (1932), and shortly afterwards, they moved in together and shared a beach house in Malibu that became known as “Bachelor Hall”. In 1944, Scott and Grant stopped living together, but they remained close friends for the rest of their lives.[30]

Scott died of heart and lung ailments in 1987 at the age of 89 in Beverly Hills, California.

He and his wife Patricia had been married for 43 years. She died in 2004 and is buried next to her husband. Their mid-century modern home was torn down in 2008.

The Randolph Scott papers, photos, scrapbooks, notes, letters, articles and house plans are at the UCLA Library Special Collections.

Popular Culture
Scott’s face was used as the model for Oakland Raiders logo in 1960; the logo was redesigned in 1963. For over 50 years, the iconic Raiders head would experience minor modifications and remain consistent with the original design.

In Thomas Pynchon’s 1963 book V., the character Profane watches an unspecified Randolph Scott film and compares himself unfavorably with his hero, whom he describes as “cool, imperturbable, keeping his trap shut and only talking when he had to – and then saying the right things and not running off haphazard and inefficient at the mouth”.

In the 1963 film Soldier in the Rain, when Master Sergeant Maxwell Slaughter (Jackie Gleason) defends his date’s honor by protecting her from jealous suitor, Bobby Jo Pepperdine (Tuesday Weld) exclaims, “You know what? You were just like Randolph Scott on the late, late movies…a fat Randolph Scott.”.

He is caricatured in the Lucky Luke comic book album Le Vingtième de cavalerie (1965) as Colonel McStraggle.

The 1974 comedy film Blazing Saddles paid homage to Scott. When faced by a crowd refusing to cooperate, Sheriff Bart (Cleavon Little) exclaims “You’d do it for Randolph Scott!” whereupon the crowd in unison hymns “Randolph Scott!” and sets about working.

Scott is the subject of the 1974 Statler Brothers song “Whatever Happened to Randolph Scott?” lamenting the passing of Western films.

Scott is the subject of guitarist Leo Kottke’s song “Turning into Randolph Scott (Humid Child)” on his 1994 album Peculiaroso.

“We’ll send them all we’ve got, John Wayne and Randolph Scott” is a line in Tom Lehrer’s song, “Send the Marines”.

During the seventh season “NYPD Blue” episode “Jackass,” Andy Sipowicz acknowledges that he isn’t handsome, saying “I’m not Randolph Scott.

Scott is the subject of a Rodney Dangerfield joke told on the 1981 NBC special “The Stars Salute the President”. In a veiled reference to Ronald Reagan (who attended), Dangerfield muses how he is surprised he was invited to perform at the special, because he “voted for Randolph Scott” (both Reagan and Scott were actors in Westerns who became involved in conservative politics).

In 1975, Scott was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma. He also received an In Memoriam Golden Boot Award for his work in Westerns.

For his contribution to the motion picture industry, Scott has a star on the Hollywood Walk of Fame at 6243 Hollywood Blvd. In 1999, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him.

Randolph Scott was an active Republican. In 1944, he attended the massive rally organized by David O. Selznick in the Los Angeles Coliseum in support of the Dewey-Bricker ticket as well as Governor Earl Warren of California, who would become Dewey’s running mate in 1948. The gathering drew 93,000, with Cecil B. DeMille as the master of ceremonies and short speeches by Hedda Hopper and Walt Disney. Among those in attendance were Ann Sothern, Ginger Rogers, Adolphe Menjou, and Gary Cooper. Scott also supported Barry Goldwater in the 1964 United States presidential election.