Dimples Cooper: movie star, mistress, and mystery

January 15 marks the birth anniversary of Isabel Rosario "Dimples" Cooper, a name shrouded in both intrigue and controversy in Philippine and American history. Born in 1914, some records suggest Metro Manila, while others point to Washington, D.C. Dimples rose to fame as a pioneering Filipina actress but would ultimately become enmeshed in the life of one of World War II’s most celebrated figures, General Douglas MacArthur.

In 1926, at the age of 12, Dimples performed the first on-screen kiss in Philippine cinema in “Ang Tatlong Hambog” with actor Luis Tuason. However, it was her affair with MacArthur that immortalized her in history.

Despite her notoriety, Dimples’ life remains largely a mystery. Historians have struggled to piece together her story, hampered by a lack of detailed archives. One persistent enigma surrounds her parentage. Early accounts claimed Dimples’ father was a Scottish man and her mother a mestiza from Negros Oriental. However, records and interviews with her relatives later revealed that her parents were Isaac J. Cooper and Josephine Rubin (also known as Protacia Rubin in a 1916 document). Though one genealogy claims Rubin was Portuguese, most records affirm she was Filipino. Even Dimples’ birthplace remains contested --her marriage certificate with Milton Moreno lists Washington, D.C., as her birthplace, adding to the ambiguity of her origins.

Dimples met General MacArthur in the Philippines, and their relationship quickly escalated, becoming the subject of much speculation. Dubbed “Empire’s Mistress” in Vernadette Vicuña Gonzalez’s 2021 biography, Dimples became a figure caught between celebrity and scandal. Unfortunately, there is little documentation of her feelings about her role as MacArthur’s mistress. She left behind no diaries or personal letters, and most accounts of their relationship focus on the general’s life, offering limited insights into her perspective.

After accompanying MacArthur to the United States, Dimples’ life became increasingly restricted. MacArthur kept her secluded to avoid public scrutiny, reportedly telling her she had no need for clothing meant for outings, as her “only job was to lay in bed” for him. This oppressive control underscored the power dynamics of their relationship.

In 1933, as whispers about their affair began to circulate, MacArthur ended the relationship. He gave Dimples $15,000 and a plane ticket back to the Philippines, but she chose to remain in the United States. Attempts to revive her acting career proved unsuccessful, leading to minor roles in films. She also opened a small hair salon, which eventually failed. Dimples married twice, first to Franklin Elmore Kennamer Jr., whom she divorced in 1943, and later to Filipino Milton Moreno in either 1944 or 1946. Records do not indicate when her marriage to Moreno ended, though her death certificate lists her as divorced.

Dimples’ life ended tragically on June 29, 1960, when she died from an acute barbiturate overdose in California. Her death, ruled a suicide, remains shrouded in speculation. Some believe she grew despondent from her unfulfilled potential, failed marriages, and the stigma of her relationship with MacArthur. She was buried six days later at Holy Cross Cemetery.

The trajectory of Dimples’ life speaks to the sacrifices and burdens borne by women entangled with powerful men. For MacArthur, their affair was a mere footnote in his storied career as a “savior of the Philippines”, immortalized by his famous promise: “I shall return.” For Dimples, however, the relationship marked the beginning of her decline --her promising film career ended abruptly, and she lived much of her life in isolation.

As history continues to lionize MacArthur, the story of Isabel R. Cooper remains overshadowed. She was a victim of her times, a woman whose life was shaped --and ultimately overshadowed-- by her association with a powerful man. Dimples deserves more than a fleeting mention in history. Her life, like MacArthur’s, calls for a reevaluation, one that acknowledges the complexities and inequalities of their intertwined legacies. It also mirrors the relationship we continue to have with the US.