May 2021 on TCM is offering a nice assortment of Lee Marvin films as well as Lee Marvin related films for the diehard and novice fan alike. Unfortunately, the treasures are not on display until the middle of the month and later. However, the line-up is certainly worth waiting for as it includes projects from the earliest part of his lengthy career as well as Marvin inspired projects and films he was offered but ultimately turned down. All of which makes for a wonderful cross section for May 2021 on TCM. Titles and dates are listed below but check local listing for air time. If you want greater detail as to each projects’ importance, there’s always Lee Marvin Point Blank

The Big Heat (1953), Saturday, May 15th: Fritz Lang’s ultra violent crime thriller (at least for 1953) stars Glenn Ford as a tough city cop out to bust up the mob responsible for his wife’s murder.

Debbie (Gloria Grahame) taunts her sadistic boyfriend, Vince Stone (Lee Marvin).

A terrific supporting cast actually steal the show (especially pouty-lipped Gloria Grahame), and that includes a young Lee Marvin as sadistic Vince Stone, dubbed by N.Y. Times critic Vincent Canby as “The Merchant of Menace,” and with good reason! Marvin’s opinion of his director and costars are detailed in Lee Marvin Point Blank, as well as a rather unsavory run-in concerning Glenn Ford several years later. 

The Rack (1956), Thursday, May 20th: A showcase for the talents of a young Paul Newman, this Rod Serling & Stewart Stern scripted drama explores the phenomenon of American soldiers consorting with the enemy during the Korea War. Marvin delivers in a small yet essential role in two powerful scenes. An all-star cast enlivens the proceedings with Marvin and Newman reuniting on more equal ground almost two decades later for Pocket Money (1972).

Original ad campaign for THE RACK (1956).

I had not written much about The Rack in my book due to Marvin’s small contribution, but this blog helped me discover a fascinating detail that I would have included had I known about it at the time. Instead, it can be read here

Petulia (1968), Friday, May 21st: Director Richard Lester’s stylized film depicting swinging 1960’s San Francisco was first offered to Marvin who turned it down. In doing so, it opened the door to allow George C. Scott to play the frustrated middle-aged doctor infatuated with the kooky title character played by the luminous Julie Christie. The film is a time capsule

The original psychedelic poster art for PETULIA (1968).

that also includes a wonderful supporting cast, not the least of which is a VERY creepy Richard Chamberlain looking to change his image from the clean-cut Dr. Kildare.

Not only picture Marvin playing the role, but look quick for members of the San Francisco comedy troupe The Committee (Howard Hesseman most notably), The Grateful Dead (A very funny Jerry Garcia, Mickey Hart, Phil Lesh & Bob Weir) as well as Big Brother and The Holding Company featuring Janis Joplin.
   Another film Marvin turned down reportedly without even reading the script gave Scott his greatest success the following year. Any guesses?

Point Blank (1967), Saturday, May 22nd: This seminally influential films, is, as I like to call it, the first arthouse action film. What can be said about this neo-noir cult clasic that hasn’t been said already by yours truly and countless others?

Point Blank, 1967

John Boorman’s vastly original style still packs a wallop due largely to star Lee Marvin’s haunting performance.

Again, a veteran supporting cast keeps the film watchable, along with the surrealistic execution presented in muted colors, trippy sound, innovative editing and photography. At the end of the day it’s still Lee Marvin one recalls long after the film is done. If you’ve never seen it, you’re in for a surprise. If you have seen it, see it again. As with all classics, there’s always more to experience with each viewing.

Reflections in a Golden Eye (1967), Tuesday, May 25th: Once again, a stylized 1960s film, this time strangely directed by the legendary John Huston and starring Marlon Brando and Elizabeth Taylor. 

Original poster for Reflections in a Golden Eye.

The basic premise is easy to describe but the characters and execution certainly are not. Brando is a southern military officer unhappily married to shrewish Elizabeth Taylor, who is carrying on an affair with docile Brian Keith, who is unhappily married to fragile Julie Harris. Along for the strange proceedings is Robert Forster making his film debut as a young recruit who pines for Taylor. Hence the premise.
   As for the execution, it’s all shot in a strange and sickly sepia tone and the character interactions go beyond bizarre, especially Brando. It’s all based on an equally bizarre novel by Carson McCullers. its inclusion here is based on the fact that Marvin was offered the Brando role but ultimately turned it down. Taylor had accepted the role as a chance to help her close friend, Montgomery Clift, who died before he could play the part. Longtime Clift rival Brando came aboard and the entire production is an acquired taste. I found the film rather mesmerizing, even more so if you imagine Lee Marvin in the role. After all, he did say, this.

The Devils Brigade (1968), & Kelly’s Heroes (1970) both Sunday, May 30th: Here are two films that applied 1960s sensibilities to the genre of WWII action films in the wake of the immense popularity of The Dirty Dozen. Although The Devil’s Brigade is not as well known, personally, I like them both, with maybe Brigade, a little bit more.

Original ad art for The Devil’s Brigade not accidentally similiar to the Dirty Dozen.

Allegedly based on a true story, it tells the story of a team of crackerjack Canadian soldiers led by Cliff Robertson, teaming up with a ragtag group of American G.I.s led by Vince “Ben Casey” Edwards all under the command of an over-the-hill William Holden. They even managed to recruit ‘Dozen’ alum Richard Jaeckel in a scene stealing performance as a jackrabbit-like G.I. named Omar. The standout is Claude Akins in a performance to rival John Cassavetes in Dozen. Unfortunately, there’s also an annoying performance by Andrew Prine and plenty of former football players, ala Jim Brown in The Dirty Dozen.  
   As for Kelly’s Heroes, Dirty Dozen alumni Donald Sutherland and Telly Savalas along with comedian Don Rickles are the best thing in the movie that sadly toplines a very wooden Clint Eastwood. A former boss and I were once comparing the films and he argued Kelly’s Heroes had a more believable premise of men risking their lives not for glory but for a treasure of Nazi gold. All I can say to that is you be the judge.

The Dirty Dozen (1967), Monday, May 31st: Not the first film with a plot consisting of WWII renegades on a secret mission, but certainly the best.

Poster for THE DIRTY DOZEN, the best of Men on a Mission films in which the genre is defined in the ad.

Even before The Devils’s Brigade and Kelly’s Heroes, there was Roger Corman’s The Secret Invasion (1964) with a similar theme. All that aside, this “men-on-a-mission” classic puts all the others to shame. TCM has long been a fan of this timeless classic, showing it whenever they can and promoting it as well, as seen here. Not much more to add to that, other than to suggest it certainly is worthy of repeat viewings. 

So, there you have it: May 2021 on TCM for Lee Marvin fans. Things are surely looking up!
• Dwayne Epstein

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6 thoughts on “MAY 2021 ON TCM

  1. Hi Dwayne,
    Re: Any guesses? Would the George C. role that Lee turned down be the “he won it…by making the other pore dumb bastard die for his country” “Patton” that Lee didn’t like because it glorified war?

    On another matter, and I’m probably the only one who’s bothered by this, the theme song in “Kelly’s Heroes” sung by the Mike Curb singers – It’s too 60’s for a film set in the 1940’s. I mean, it sounds like a tune playing in a psychedelic nightclub with a bunch of Nehru jackets doing a jerky dance to it. It’s actually a pretty good song, but not for a WW2 film.

    • Hi Shawn,
      Yeah, your guess was right but not the reason. He didn’t turn it down because he felt it glorified war. His agent told me he turned it down by stating, “How can I play a guy I couldn’t stand?”
      As to the music in Kelly’s Heroes, I agree it’s way too contemporary for a WWII-era film but as I wrote, most films of that time had 1960s sensibilties. I’m guessing the producers probably thought Trini Lopez would have a big ht with “Bramble Bush” from The Dirty Dozen.

  2. Hi Dwayne,
    The Bramble Bush tune has that 1963 “Lemon Tree” Trini/Peter Paul Mary folk style but it’s not annoying inside the Dozen scene just before the whore-a-thon.

    The Kelly’s Heroes theme should have had a cool Benny Goodman-like swing and a Gene Krupa or Buddy Rich-style drum solo that would match the renegade personalities of the Heroes in 1944 Europe. The Mike Curb song is not bad, but it sounds like a Coca Cola commercial from that era.

    Cass Elliot’s song in Monte Walsh – it doesn’t fit the 1890’s, but it’s really good and I’m glad they chose to include it.

    • Not to belabor the point but there are countless examples of songs or music that doesn’t necessarily fit the time period of the film but still add to the flavor of the film. A favorite example is the John Sayles film BABY, IT’S YOU in which the story takes place in the 1960s but he peppered the soundtrack at appropriate points with songs by Bruce Springsteen, like “Adam Raised a Cain,” and “It’s Hard to Be a Saint in the City.” As I said, there are countless examples but the point is whether or not it fits the theme of the film, not necessarily the time period. Oh, and I love the song “The Good Times Are Coming” in MONTE WALSH.

      • One last point. Yes, that’s true there’s countless examples, but even more so when a film’s hairstyles are current and not in the decade they represent.
        I recently had a FaceTime spat with my aunt about this regarding the TV series MASH. She has treated me like a younger sister my whole life and can’t stand it when I know about a subject she knows nothing about. Sometimes teachers are like that. Anyway, to make a long argument story short, I told her that a 1964 Beatles-length haircut would be considered freakish in the early 1950’s, but Alan Alda has one on MASH. All they needed to do was screen Lee in “You’re In The Navy Now” and copy his haircut and MASH would have been perfect. I don’t think I’ve seen Lee wear his hairstyle wrong in any of his work that I’ve seen. The best example is how right he got it in The Dirty Dozen, while all the actresses’ hairstyles and dress lengths are strictly mid-60’s.

        • That’s so funny that you would mention that Shawn as my girlfriend Barbara and I have had that conversation MANY times. It seems more prevalent in TV than in film but yes, it’s apparent in both. Clothing, hairstyles, sometimes even cars (Check out the background cars in Charles Bronson period film THE VALACHI PAPERS – all circa 1970) can falsely represent a given time period. As they used to say, that’s Hollywood!

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