Long gone, the publishing company Citadel Press put out of series of books as “The Films Of..” which focused on actors, genres, directors and decades, with The Films of The Sixties being a prime example. Written by Douglas Brode and published in 1980, it contains a series of essays chosen by the author in chapters broken down by each year within the decade. Brode was one of the better writers in Citadel’s stable and his insight into a given film is highly perceptive. That’s the good news about this title. The bad news is   in the amount of information he got wrong, either by misinformation or by omission.  By omission it can be stated that he includes only two Lee Marvin films in his assessment, The Professionals and The Dirty Dozen. Since the book came out in 1980, the cult status and influence of Point Blank was well enough established to have included in the book, as well as several others.

The cover of the Citadel Press book, THE FILMS OF THE SIXTIES by Douglas Brode.

When researching Lee Marvin Point Blank, I perused all available sources but was left wanting by Brode’s essay on the film. Why, you may ask? Well, the essay is below but here’s what to look for in terms of what went wrong.
-Donald Sutherland may be complimented to be referred to as intellectual but he’s certainly not English. He was born and raised in Canada and his character, Vernon Pinkley is neither Southern nor retarded. Slow-witted maybe, but his standout scene inspecting Robert Ryan’s troops shows him to be anything but retarded.
– Jim Brown’s character of R.T. Jefferson (Napoleon White in the novel) has good reason to be anti-white but Trini Lopez was certainly not his character’s Puerto Rican sidekick. Brown’s sidekick in the film is clearly Charles Bronson’s character.
– Although it’s a point that’s open to interpretation, Maggot’s murder of the young German girl is hardly on par with the inceneration of german officers and their civilian female counterparts.
– The author even misspelled Telly Savalas’ TV alter ego, Theo Kojak. Oy!
His overall assessment of the film and its importance is on the money, but the wince-inducing mistakes left me cold. This month being the 50th anniversary of The Dirty Dozen’s release, I invite you read for yourself the essay written on the film’s impact….

Page 1 of Douglas Brode’s DIRTY DOZEN essay.

Page 2 of DIRTY DOZEN essay.

Conclusion of DIRTY DOZEN essay.



The Dirty Dozen, the biggest box office hit Lee Marvin had in his career, was released in theaters June 15, 1967 and in the 50 years since, fans have speculated what Marvin really thought about the film. Despite social media comments to the contrary, in my nearly 20 years of researching Lee Marvin Point Blank, nowhere have I found any reliable quotes attributed to the actor in which he claimed to dislike the film. How that got started I have no idea, but I do know that Marvin had his opinion of the film and it was not a negative one. As late as 1986, a year before he died, he told the L.A. Daily News in his own inimitable style: “Here I am a reclusive major going no place in the military, and they really want to court martial me. So rather than do that they say, ‘Let’s kill him doing something good for the movement.’ They get me all these baddies and we go over and blow ourselves up getting the German generals. So that’s it — the American underdog, right?” Does that sound like someone who didn’t like the film and did it only for the money? By the way, it may not seem like it looking at the final products, but Marvin never did a film just for the money, and that includes such bombs as Paint Your Wagon, The Klansman, Pocket Money, and more. The script is what ignited his interest, but of course the sizable paydays helped. So, for the record, Marvin was as proud of The Dirty Dozen as he was of any of the films he ever made.
The making of the film provided some of the best anecdotes I ever encountered in researching his life — the tales of costar and Marvin crony Bob Phillips (Cpl. Morgan) being a prime example — but for that, you must read the book!
In the meantime, here’s a rare 1967 British magazine heralding the film’s release. Enjoy and all hail The Dirty Dozen on its 50th anniversary!

November 1967 cover of ABC FILM REVIEW highlighting the release of The Dirty Dozen.


Double trunk spread of ABC FILM REVIEW article. Sorry for the cut-off caption. Blame my scanner.

Article page 3

Dirty Dozen article featuring artwork and quotes used in the film’s advertising.

Article page 4



ABC FILM REVIEW article conclusion.




Long before the immediate gratification of information via the internet, and the misinformation that goes with it, there used to be this thing called books, and one particular series that was always worth looking forward to was the latest edition of Screen World. The annual compendium of the previous year’s releases was highly anticipated by yours truly. In fact, being an avid movie fan at a very young age, I can say my library’s acquisition of it was akin to the anticipation I felt when the Fall preview issue of TV Guide came in the mail. Anybody besides me remember that?
The Screen World annuals were produced under the guidance of John Willis, beginning in the 1940s as a sister publication to Theater World, which chronicled the same for the legitmate theater. Unlike contemporary film chronicles, Screen World gave no snarky reviews, cutesy summaries or even box office receipts. It simply showed the year’s releases, with the main cast and crew accompanied by press release photos. As such, it has proven to be a a wonderful time-tested archive of film history.
Take the year 1973, for example. I chose this year as it was my personal favorite of year of U.S. film releases.

Dust jacket for SCREEN WORLD 1974 which illustrated the releases of the previous year.

Luckily, for the purposes of this blog, it also proved to be a very good year for Lee Marvin. Working on Lee Marvin Point Blank and having the majority of each year’s copy of Screen World helped me to get the exact month of his film’s releases and as the two examples below bear out, Emperor of the North Pole and The Iceman Cometh are two of Marvin’s best. The production of both films, by the way, are detailed in Lee Marvin Point Blank, of course. Screen World had other features of note, such as illustrious obits, foreign films, actors to watch, and bio data for pretty much every living actor at the time. May not seem like much now, but back for the web and undocumented ‘wikis’ it was a treasure trove of information. As shown below…..

Screen World’s entry on Emperor of the North Pole.

The Iceman Cometh’s release a few months later as shown in Screen World.