WHY DALTON TRUMBO OPENS LEE MARVIN POINT BLANK

There are several reasons why I chose to open Lee Marvin Point Blank with this quote from Dalton Trumbo:
“You plan the wars you masters of men
plan the wars and point the way
and we will point the gun.”

My hardcover and well-read copy of JOHNNY GT HIS GUN, the book that started it all.

First and foremost is the fact that it fit the theme of Lee Marvin’s life, work and legacy. Just as important is the fact that Trumbo was, is, and will always reman my favorite writer of all time. As a matter of fact, when I was able to land my first professional writing job in the late 1980s on a local newspaper in New Jersey, my then bulky Mac office computer boasted only one image on the side of its screen….

The image that adorned the side of my Mac in the 1980s depicted Dalton Trumbo hard at work.

Like most writers, I have both classic favorites (Jack London, Mark Twain) as well as contemporary ones (William Goldman, Richard Price). All choices are based both on subject matter as well as style. For me, Dalton Trumbo remains neck-creakingly high in both categories. Why? No other writer has ever come close to achieving his level of haunting, simple prose. In my opinion, it’s an amazing accomplishment. I read Johnny Got His Gun as a freshman in high school. Read it again as an adult. I’ve read it several times since in the intervening years and it just gets better and better every time!
Explaining the premise of the book to anyone has often resulted in being told that it sounds too depressing to read. On the contrary. Granted the premise is quite dark: In the waning days of WWI, Joe Bonham becomes the ultimate victim of war as a bomb leaves him without limbs, face, or the use of any his five senses other than touch. However, his struggle to reconnect with the outside world, flashbacks of his life before the war (both comical and poignant) and the ultimate resolution of his plight, makes for a book more than just depressing but an amazing exploration of the human condition. It goes without saying that I highly recommend it, if just for the spare and powerful writing alone.
When I was working as managing editor for a multi-educational and distribution book company, I suggested putting it in our catalog. The company owner, Mike Miller, was reticent but agreed on the condition that at least one order had to be placed for it to remain in the catalog each year. Interestingly enough, in the seven years I worked there, and titles were to be either added or removed, there was always at least one wise teacher somewhere in the country smart enough to order a copy for their class or library.  Luckily, the heavy metal band Metallica also managed to keep it the minds of their fans by buying the rights and recording the song “One” in homage to the book, with a music video incorporating scenes from the 1970 film directed by (ad costarring) Dalton Trumbo.
In these days of rising international tensions and U.S. wars now stretching into decades, the book is clearly now more relevant than ever. It might not be a popular consideration but when high school and college students are required to read certain titles before going out into the world, Johnny Got His Gun should be at the top of the list. It just might help end those international tensions and decades long wars. It might not. Certainly worth a try as at the very least a classic anti-war novel will be consumed and kept alive for the next generation.
I wonder if Lee Marvin ever read it.
-Dwayne Epstein

Other titles in the Dalton Trumbo canon…

One of Trumbo’s first books, later turned into a film starring a young William Holden as small town accountant helped by the spirit of Andrew Jackson.

Two of Dalton Trumbo’s pamphlets addressing his experiences as one of The Hollywood Ten.

A long sought title by yours truly finally discovered at The Strand Bookstore in New York.

Trumbo’s last work, left unfinished at the time of his death in 1976 but published with its first ten chapters and subsequent notes. A riveting read and powerful companion to JOHNNY GOT HIS GUN.

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LISA RYAN, DAUGHTER OF ROBERT RYAN, ON HER FATHER & LEE MARVIN

The passage of time has kept me from interviewing many of those who knew Lee Marvin, but I have had the good fortune to interview many of their offspring, such as Robert Ryan’s daughter, Lisa Ryan. I was able to get in contact with her through a friend of friend and, like many individuals, she was reluctant at first. Not because she didn’t want to speak about her father but because she didn’t think she had anything worthwhile to share. Once I convinced her otherwise, readers of Lee Marvin Point Blank know she contributed one of the best anecdotes concerning the making of The Dirty Dozen. I won’t repeat it here as it should be read in its context. I will, however, reprint excerpts from our talk that didn’t go in the book as I think some of her memories and observations concerning the underrated work of her father is worth it. Spoiler alert: Her story about seeing  Bad Day at Black Rock should not be read if you haven’t seen the movie. If you have seen it, you’ll love the story.  And so, here are the musings and anecdotes of Lisa Ryan, daughter of the great Robert Ryan….

The Ryan family: Clockwise from the bottom, father Robert, his wife Jessica Cadwalader, son Timothy and daughter Lisa.

Dwayne: Did you father ever talk to you about Lee? They worked together alot, like 4-5 times.
Lisa: They did, you know. I can’t really remember anything specific. This is the problem about memories with my dad because he’s been gone for so long.
D: Unfortunately. By the way, for the record, I was a huge fan. I think your father was the single most underrated actor in history of motion pictures. He could do anything!
L: Yeah. The really nice thing is it seems almost like he’s more famous now then he was when he died.
D: Yeah, thankfully because of the renewed popularity of film noir and your father made some of the best.
L: Yeah. Do you know Eddie Muller?
D: Yes I do.
L: When I first met Eddie Muller, I didn’t…it was weird. I was living in San Francisco. I didn’t have any friends who were like movie buffs. I didn’t have a sense that anyone gave a shit about my father. It had been like several decades where every once in a while, my dad’s name would come up and whoever I was talking to would say, ‘Who’s that? I never heard of him.’ That’s what I assumed. Nobody knew who he was and then when I met Eddie Muller [laughs]…oh my god! Then I went to a couple of these noir festivals. People were coming up to me and saying, ‘May I shake your hand?’ I had never, ever experienced anything like that. I was just stunned. I thought, ‘Wow! Where have all these people been?’
D: Funny how that works. I think your father and Lee Marvin first worked together on Bad Day at Black Rock.

(L-R) Russell Collins, Walter Brennan, Spencer Tracy (seated), Dean Jagger, Lee Marvin and Robert Ryan in Bad Day at Black Rock.

L: [laughs]. I have a funny story about Bad Day at Black Rock. When I was 12-years-old I was having a sleepover date with a friend of mine and we saw that Bad Day at Black Rock was going to be on TV. I called my father and said, “Hey, Bad Day At Black Rock is going to be on and we’re going to watch it.” He said, “Do not watch that movie. I do not want you to see that movie.” So, of course, we had to watch it [laughs]. What happened was, in the end when he gets set on fire, I totally flipped out. I was 12-years-old. I wasn’t a small child but I was so…[laughs] I called him and I said, “Are you alright?” [laughs]. He said, “I told you not to watch the movie.”
D: That’s adorable. I love stories like that.
L: It was sweet. Also, did Lee Marvin go through a phase where he was doing like TV stuff? Kind of a down phase?
D: In the 50s, sure. He hit a ceiling of the character roles he played in films and wound up doing a TV series called M Squad, Ran from 58-60. Kind of like Dragnet was with voice overs but he was a tough Chicago cop.
L: Yeah, because I remember watching something on TV with my dad….
D: Really? Do you remember your dad’s reaction?
L: Unfortunately it was..You know, I should just make something up. I’m a terrible interview. My recollection of so many things is just so vague. I just remember little fragments of things.
D: Fragments are good. You piece them together, you have a book.
L: [laughs]. I do remember watching, probably like “The Twilight Zone”. Was he on that?
D: Yes, he was, two of them.
L: Oooh. Interesting. I remember watching it with my dad. Here’s where it gets vague. I just remember that my dad was telling me that this guy…I can’t even remember what the hell he said. The gist of was that this guy was a very, talented, wonderful actor. He was just sort of praising him. What I remember was I think it was the fact that he felt bad that Lee Marvin was on The Twilight Zone. He had to make a point of telling me that this guy was a great actor. I always remembered that, just kind of the feeling behind it, which was that it hurt my dad to see Lee Marvin doing The Twilight Zone. I think he did the same watching something Ray Milland was in, Frogs, I think. He said: “You should never ever criticize an actor for the material. He’s making a living and doing the best he can. Don’t laugh at him.”
D: I know at the end of career your father was in The Iceman Cometh and I believe it was his last film. Do you have any recollections of him being in that, or him talking about it?

Lee Marvin (Hickey), Robert Ryan (Slade) and Tom Pedi (Rocky) watch as Fredric March takes his first walk outside in years among the new-fangled automobiles in The Iceman Cometh.

L: Oh god, that movie is hard to watch because he looked…That’s the way he looked the last time I saw him. It’s easier to see him when he was younger in films.
D: He was sick when he made that, wasn’t he?
L: Oh yeah. He knew was dying which makes an incredible point because he’s sitting there talking about dying. That makes it hard to watch.
D: What was he like at home?
L: [long pause] Um….
D: What kind of dad was he?
L: It was hard. He was away for so much of the time. So, I didn’t feel really close. He always seemed sort of awkward with his own children. Maybe it’s just me. I don’t what my brothers would say…He always seemed like he kind of didn’t know what to talk about.
D: It’s a generational thing, having gone through the war and the Depression.
L: Yeah, he seemed kind of shy, in a funny way. But he and I had some sort of breakthrough. I think it was, it might have been that summer when he was making The Dirty Dozen where for some reason, we just started getting really close. I think it was actually we kind of bonded over Ring Lardner, of all people.  But my dad had always been fond of Ring Lardner Senior…

An Angry Col. Breed (Ryan) confronts rebellious Col. Reisman (Marvin) in The Dirty Dozen.

D: That makes so much sense. The kind of stories Lardner wrote, I could see your father playing the characters in those stories.
L: Yeah. So we just..it was odd. We kind of bonded over that. He gave me one of Ring Lardner’s books when I was 15 and I just loved it. Then we would quote Ring Lardner to each other. It was really sweet. Then, when I got little bit older, we started drinking together and that was even better. He was one of those shy Irish guys who doesn’t talk until he’s had a few drinks and then he gets very, y’know…
D: Was he talkative when he drank?
L: Oh yeah. So, that was good. Well, I mean it wasn’t good but it was….we got a lot more comfortable with each other [laughs]. We’d sit around and get drunk. The drinking age in NY was 18, at that time [laughs]. I tell people that now and they don’t believe me.
D: There’s a quote of your father’s by Charles Champlin in which your dad said, “I’ve made close to a hundred films and all but a few are dogs.”
L: Yeah, I read that.
D: Champlin disagreed saying that even if the films were no good, Ryan was always watchable. Did your father have that sense about his body of work not being very good or was he just being humble?
L: Um, I think he was…I think he felt bad that he didn’t get better parts. I think he felt like that he would have liked to have had a more high profile career. He felt like he wasn’t…he was doing well. He was working but those kind of bigger, more glamorous roles, he would have liked to have had some of those.
D: Any specific that he wanted that he was disappointed in ot getting?
L: Oh yeah. I think that it was irritating to him that Gregory Peck got to play Captain Ahab [laughs].
D: Oh yeah! Peck tried but he was miscast. Your father would have been perfect!
L: Yeah, my father was also a Melville fanatic, especially Moby Dick.
D: You can tell by his performance as Claggart in Billy Budd. If it’s any conciliation, Lee Marvin was always disappointed that your father played that part. Marvin was in the Broadway production in a small role and he loved the part of Claggart, who played evil personified. He wanted that part desperately.

Virtuous Billy Budd (Terence Stamp) is belittled by Master-at-Arms Claggart (Robert Ryan).

L: He would have been great, too!
D: Absolutely. Your father did things with that character that I don’t even think Lee would have been able to pull off. Smiles before he dies…
L: Oh yes! That movie…there are a few of his movies that really, really get me and that’s one of them. That really is heartbreaking the way he does that, exploiting the vulnerability…Oh!
D: Seals Billy’s fate. So, you can take conciliation in the fact that he may note have gotten Ahab but he got to play Claggart and Lee wanted to play that. Around that time is when Lee was doing The Twilight Zone.
L: Interesting. I think that was tactually around the time my dad’s career…I don’t think anyone’s career was doing that great, the late 50s early 60s…
D: Yeah, because of TV and Hollywood was afraid TV would eat up the film industry.
L: Yeah, I guess that’s why my family moved to New York which I was glad we did.
D: Your father did some great stage work then, like the revival of The Front Page in the 60s..
L: Oh yeah, that was great.. He played Burns, Walter Burns.
D [laughs]: I can so see him doing that, barking into one of those candlestick telephones.. L: Oh yeah! I wish someone had filmed that. Apparently, there’s a recording of it..
D: He clearly had an affinity for classic theatre, like Iceman Cometh. Jeff Bridges told me that your father and Lee Marvin are the reasons he decided to become an actor.
L: I didn’t know that but like hearing it.
D: Your dad was great in noir but also EVERYTHING he did, including The Love Machine..
L: That was his WORST. I never saw that. I didn’t want to. I remember he was bitter about that. He was bitter also about that Captain Nemo movie [laughs].
D: Did your father say if he had a favorite performance? Possibly Billy Budd?
L: Yeah, he loved Billy Budd. I think….hmm…
D: The Wild Bunch?
L: He didn’t understand how great…A lot of those movies, he didn’t understand how cool they were. He just thought The Wild Bunch was just another western. When it came out and was pretty successful, he just couldn’t understand why [both laugh], ‘Yeah, whatever.’ D: That movie was great for a bunch of reason not the least of which is that the casting had old Hollywood meeting new Hollywood[…]. Lee Marvin wanted to make it but made Paint Your Wagon instead.
L: Oh , Jesus. Lee Marvin should have been in that. Paint Your Wagon? Oh, god almighty… [both laugh] Do you know Alan Rode?
D: Yes I do.
L: He and I went to this big event for the 40th anniversary of The Wild Bunch [laughs],  I came all the way down to L.A. for it with Rode and he and I stood in the rain for hours. I thought it funny since we were in line with drunk guys celebrating the film as well. Let me just say I’m glad my father didn’t live long enough to be on The Love Boat because Dana Andrews was. Well, my mother only lasted to age 57 so I was kind of nervous when I tuned 57. Now, my dad was 63 so..or was he 60? I don’t know when…
D: I heard a story that the day your father found out he had cancer, your mom found out she did, too. Is that true?
L: No, that’s not… hNo, that’s fine. They died within a year of each other but I think that she..he actually had gotten a diagnosis like a few years, maybe five years before he died. He had radiation treatments. It was really odd because we kind of, he really was doing okay and it was almost like we forgot that he was sick. Then, my mother was very suddenly diagnosed with liver cancer and went really fast. I guess that’s one of those cancers by the time they find it, it’s usually too late to do anything. She, it was very sudden and like two months later she was dead. Oh my god. That kind of killed my father, in a way.
D: I take your parents had a very happy marriage, then?
L: Yeah, I think they did. They stayed together. I mean they seemed to be really, really good friends. They would stay up late into the night talking. That was after they had been married 25 years. That seems pretty good to me [laughs].
D: Yeah, that’s very cool. I love hearing stories like that. Do you remember anything your father may have said about Lee other than when you were watching The Twilight Zone?
L: Um, unfortunately not. He did say, he would just laugh about what a character he was. He would use that word. Unfortunately, that’s all I remember. He would use that word and he would laugh: “Lee, what a character.”
– Dwayne Epstein

Marvin and Ryan, men of a certain age and time, in the aptly titled, The Professionals.

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LEE MARVIN IN ‘THE RACK’….OH, AND PAUL NEWMAN, TOO!

One of the main purposes of this blog is to supplement Lee Marvin Point Blank, as well as shed light on some of the actor’s lesser known work, and a perfect example of that is the 1956 Paul Newman vehicle, The Rack. Based on a teleplay by Rod Serling with an expanded screenplay by Stewart Stern, the film was based on the high number of U.S. soldiers that collaborated with the enemy during the Korean War. At the time of the film’s release that number was more than three thousand.
To shed light on the problem, Serling and then Stern fashioned this tale of how one solider (Paul Newman) broke under pressure as a P.O.W. and the effect it has on his martinet father (Walter Pidgeon), widowed sister-in-law (Anne Francis), and his court-martial that takes up the bulk of the film. The lawyers battling the case are prosecutor Wendell Corey and defense attorney Edmond O’Brien.

Original ad campaign for THE RACK (1956).

See any mention above of Lee Marvin in that summation? Well, there’s a reason for that…..

Herald sent to theaters to help promote THE RACK focused on one promotional aspect of the film.

Marvin’s contribution to the film is important enough to rate the billing he received but not enough to be included in the advertising. Why is that? Mainly due to the fact that he has only two short scenes in the film, but they are two of the best the film has to offer. He plays a fellow P.O.W. who early on sets the tone of the films’s seriousness when he commits an act of symbolic assault on Newman….

As Capt. John R. Miller, Lee Marvin perpetrates an ambush on fellow P.O.W. Paul Newman that sets the tone of the film.

Later, during the extensive court-martial sequence, Marvin’s character gives testimony that proves that not every soldier who endured torture at the hands of their captors broke under pressure…..

An ad highlighting Marvin’s testimony scene during the court-martial.

Despite his limited screen time, Marvin added that necessary realism to the proceedings the overwrought melodrama desperately needed. Newman and company were up to their task but it’s Marvin’s character, based on a real P.O.W. screenwriter Stewart Stern read about, that gives the film it’s all-important ‘other-side-of the coin’ point of view. Stern had learned of some of the incredibly inhumane  torture this particular soldier had gone through, but it was far too intense for studios and audiences of the 1950s.  For example, as he told Roger Ebert in a late life interview: “The Marvin character was partly based on that prisoner I’d read about. The Chinese had done everything they could in terms of physical torture. They tossed Army helmets full of urine in his face, they put cigarettes out on his skin…and when this didn’t work they peeled the skin from his penis and tossed him into solitary confinement in a tiny shed with corrugated iron across the top. And he still wouldn’t talk. There was a nail-hole in the corrugated iron, and every day at the same time, a tiny ray of sunlight would shine through the nail-hole, and he would hold his penis up into that tiny ray of sunlight so it would heal faster. The Chinese never broke him, and that was one of the reasons they turned to psychological abuse as a means of torture.”
Naturally the above horrors could not be depicted in 1956 so another way of emotionally affecting the viewers were used and Marvin was more than up to the task. The scene still packs a wallop but will not be described here as it must be seen intact for its full emotional effect. Besides, I loathe spoilers!
Did Marvin know of what Stern had researched? Probably not. Did he see his own version of war’s horror inflicted on humanity? Absolutely, which is why his performance, although brief, is ALWAYS worth watching.
– Dwayne Epstein

 

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