MAIRTIN BYRNES

Mairtin Byrnes. Every hear of him? Well, truth be told I had not, that is until my publisher forwarded an e-mail to me from a gentleman across the pond named Lamond Gillespie. He had requested information about Lee Marvin’s whereabouts during a certain period of time and wanted to know if I could help. Further proof that the influence of Lee Marvin Point Blank knows no bounds. So, in July, 2020, I responded to Mr. Gillespie’s request with what little info I could provide. The result was a series of e-mails between us that culminated recently with a pleasant surprise. I’ve now become a fan of Mr. Byrnes’ music & legacy. Thank you again, Lee Marvin, as your influence works in mysterious ways. As to the correspondence, it played out chronologically below from July 2020 to just last week….
________________________________________
Hello Lamond,
I’m writing in response to the e-mail message my publisher forwarded to me in your request for info regarding Lee Marvin. Thank you for thinking of me but unfortunately, I really don’t have any information regarding Marvin being a drinking buddy of Mairtin Byrnes or Garech De Brun. I can tell you that in the late 1970s Marvin was in Ireland to film some scenes in a castle for Sam Fuller’s The Big Red One. In which case, it is entirely possible that he hoisted a few in the pubs of Dublin with Mr. Byrnes. Marvin was not all that particular with whom he drank with. Sorry I couldn’t be of more help and thank you for thinking of me. All the best,
Dwayne Epstein
Author of the award-winning N.Y. Times bestseller
LEE MARVIN POINT BLANK
_______________________________________
Hello Dwayne
Thanks very much for getting back to me. Very grateful to know about his trip to Ireland in the late 70s. All the very best
Lamond
________________________________________
My pleasure, Lamond. Sorry I couldn’t be of more help. I can tell you the scenes filmed in Ireland were not in the final version of the original release but were later restored by film critic and historian Richard Schickel, along with several other scenes. If you see the restored version (which is very much available), the scenes in Ireland were the ones that take place in the castle with the sniper. Hope that helps. All the best,
Dwayne
_____________________________________
Hello Dwayne
Have just realised that I hadn’t replied to your last message. Very sorry about this and thanks very much for the further information. All the very best
Lamond
_____________________________________
Not a problem, Lamond. Again, sorry I couldn’t be of more help. Curious, have you read my book?
_____________________________________
I am in fact reading it at the minute. Incidently since sending the last email found a picture of Lee Marvin and Sam Fuller in it visiting John Boorman in Ireland during the filming of the Big Red One. Have also ordered a copy of the extended film which I haven’t seen in any form before. John Boorman lived very close to and was friendly with Garech de Brun which opens up a possible connection with Mairtin Byrnes so your information has been very helpful.
_______________________________________
I’m pretty sure I know which picture you’re referring to as I used it in my book with permission from Sam Fuller’s widow, Christa. Matter of fact, I posted the color version on my blog a while back….
https://pointblankbook.com/john-boorman-sam-fuller-lee-marvin/
Don’t know what format you’re reading my book in but it should be in there in the photo section. Glad to know my info helped, too.
______________________________________
On Wednesday, 15 June 2022, Lamond Gillespie wrote:
Hello Dwayne
Was wanting to let you know about a photo of Lee Marvin and Máirtín Byrnes together in a BBC documentary about John Boorman made by Boorman’s daughter. Hopefully I have managed to attach it. Thanks very much again for your help. I have since finished producing a CD of Máirtín Byrnes’s music in which I have credited you. If you let me know where to send it will send a copy. Thanks very much again. All the very best
Lamond

(L-R) Irish music legend Mairtin Byrnes fiddles for Lee Marvin in the late 70s.

_____________________________________
Good to hear from you and very glad to hear about the CD you produced. If you are willing to send it to me as you mentioned, I’ll send you my address. By the way, the photo you sent is a great one. Would you mind if I use it for my blog? Let me know and thanks again. All the best,
Dwayne
________________________________________
Hello Dwayne
You are very welcome to use the photo in your blog, that would be fantastic. Will try and get the CD in the post tomorrow. Thanks very much again. All the best
Lamond
_________________________________________

Thank you very much, Lamond. That is extremely thoughtful and generous of you. I will look forward to receiving the CD as I did a Google search and discovered you are quite renowned in your field. Kudos to you, my friend. All the best,
Dwayne
____________________________________

My recent 2-disc set acquisition thanks to the auspices of historian/producer Lamond Gillespie.

 

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DIRTY WHISPERS

Dirty whispers, for lack of a better term, is a rather lascivious device used in some films to set the stage for an eventual brutal showdown. There are of course several memorable examples but this being a blog dedicated to the life and career of Lee Marvin, I can think of no better example to start with than the man himself. 
 In researching Lee Marvin Point Blank, I discovered that he attempted this device in The Killers (1964) but ran into conflict with costar, Ronald Reagan, who hated the idea. Instead, he let it be known to the audience what he intended when he gets in the face of frightened costar Angie Dickinson and angrily whispers, “Lady, you tell us what we want to know or so help me god you’re going out that window.” 
  A few years later, he was able to use the device to much better effect when he collaborated with British director John Boorman on Point Blank (1967).

Lynn (Sharon Acker) warms up to a drunken Walker (Lee Marvin) as they circle each other on the Santa Monica pier in POINT BLANK.


In the opening prologue, in which Marvin as Walker confronts his estranged wife, played by Sharon Acker, an ingenious montage is utilized  to give the films’s back story to the viewer, as narrated by Acker. Costar Angie Dickinson told me how Marvin and Boorman would themselves whisper on set about how they would do a scene without letting the other actors in on it to maintain the film’s freshness. The opening montage is one example. Acker’s narration of course explains what’s going on for us, but in the scene itself, no words are heard but we do see Walker saying something to her (of probably the most lascivious nature) ,as they circle each other amid the other drunken denizens of the pier. 
   Later in the film, as Walker confronts his adversaries up the chain of command in an effort to get what he believes he is owed from the organization, he employs the device again to even greater effect as Marvin wanted to do in The Killers

Walker (Lee Marvin) uses a dirty whisper on a reception in POINT BLANK. Note the placement of his gun barrel.

Bursting into the outer office of kingpin Lloyd Bochner, he confronts the receptionist before she can even react to his entry, and while he scares her to near death with whatever dirty whispers we can’t hear, he uses his oversized Oxford to smash the secret alarm hidden under her desk. It’s a brilliantly realized moment in a film spilling over with brilliant moments way ahead of its time for audiences and film critics alike. 
   One can only imagine not only what Marvin was saying but what he must have sounded like, as his voice, whether booming loud or frighteningly whispered, was one of the actor’s greatest attributes.

 Film history has provided some other noteworthy examples of dirty whispers. Chronologically, to my mind, one of the first and still best is Edward G. Robinson terrorizing Lauren Bacall in Key Largo (1948). It’s amazing to think Robinson was never Oscar nominated for any of the memorable performances he gave throughout his lengthy career as this should have been one of them. 

Lauren Bacall reacts accordingly to Edward G. Robinson’s lascivious dirty whispers in KEY LARGO.


The scene induces shivers in the way Robinson gleefully does it, as much as the way Bacall reacts to it. It’s one of many stand out moments Robinson has in the film as over-the-hill Prohibition-era gangster Johnny Rocco hiding out in a Florida Hotel besieged by a hurricane. The greatness of his menacing performance has faded in moviegoer memory, since the film is largely remembered for the well-known sparks that flew and ignited between Bacall and toplined star, Humphrey Bogart. Pity, really, as Robinson was amazing in it.

The memorable near fight scene in From Here to Eternity (1952) that leads to a an even more memorable confrontation is not remembered as such but it’s initiated by another dirty whisper.

Ernest Borgnine (center) drools over the photo he snatched from Frank Sinatra (right) in FROM HERE TO ETERNITY as Montgomery Clift (left) prepares to respond.


As Frank Sinatra as Maggio shows off a photo of his big Italian family to his buddies in the bar, stocky and vicious Ernest Borgnine as “Fatso” Judson ambles into the bar. He snatches the photo, sees the image of Sinatra’s sister, kisses it, smiles menacingly, then leans over to Prewitt, played by Montgomery Clift, to whisper what has to be an undoubtedly filthy suggestion. Clift rises to the challenge but is pushed out of the way by the more maligned Sinatra who proceeds to smash Borgnine with a bar stool. All looks lost until Burt Lancaster steps in with a broken beer bottle. Damn exciting stuff, again the result of a probably forgotten dirty whisper.  
 Last but not least is possibly the best example of a dirty whisper and its aftermath. In The Hustler (1961), the great Piper Laurie plays Sarah Packard, the tragic and crippled girlfriend of the title character, ‘Fast Eddie Felson, played by Paul Newman.

(L-R) Paul Newman, Piper Laurie & George C. Scott enjoy Louisville’s Derby Day party in THE HUSTLER.


Celebrating the Kentucky Derby at a Jazz party, Felson’s manager Bert Gordon, played by George C. Scott, sees how vulnerable Ms. Laurie’s character is and proceeds to take advantage of it. While a Dixieland band blares in the background, he sidles up to the fragile woman, out of ear shot of everyone (especially Newman) and whispers something so devastating to her, she breaks down in tears and eventually does the unthinkable.
   What was said? Well, we may never know for sure what is said in such emotional scenes, but there is one interesting anecdote. According to Piper Laurie in her autobiography, “I finally asked him [Scott] what he had whispered into my ear in the big party scene in The Hustler that elicits a violent response from me. We shot it perhaps three or four times, and I could never figure out what he was saying: it sounded something like ‘isha-pa-pish-po.’ He told me he chose to use just gibberish, knowing he could never invent words or phrases as powerful as what my imagination could summon up. Probably true.” 
 Whether a result of avoiding the censor or the fertile imagination of gifted actors and actresses, such moments remain dramatic and powerful in their own right. Anybody remember any others?

  • Dwayne Epstein
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THE OSCAR TRACK

The Oscar track is upon us since the nominations were announced last month, as shown here. I use the term “The Oscar track” as it’s the appropriate term used by Lee Marvin when he was interviewed by TIME Magazine’s Stefan Kanfer in the 1970s. Kanfer had the audacity to tell the actor he didn’t think his Oscar-winning performance in Cat Ballou was even close to his best performance. The writer was amazed to hear Marvin agree with him. Adding, “But y’know, you run this track, and that’s the track that the racers are on; it’s the Oscar track. It really isn’t based on skill as much as it’s based on luck and popularity.” Kanfer’s remembrance of the interview — along with his assistant, future Oscar-nominated screenwriter, Jay Cocks — is hysterically recounted in Lee Marvin Point Blank.

Lee Marvin in POCKET MONEY and as he probably appeared when interviewed by Stefan Kanfer.


 As to the Oscar track, Marvin’s point is well taken. Now, normally this time of the month I’d be blogging about any upcoming Lee Marvin-related films on TCM but since the network is broadcasting “31 Days of Oscar” all month there’s a dearth of Marvin-related films. The sole exception is Ship of Fools, which is a shame since he made other films that were indeed on the Oscar track in one way or another: The Professionals (1966), and The Dirty Dozen (1967) received such recognition but truth be told, I think a few of his films SHOULD have been on The Oscar track and were not. 
 On the technical side, the innovations apparent in Point Blank (1967), such as the editing and the sound advancements (first film in which the actors were individually ‘miked’) and Conrad Hall’s breathtaking cinematography of Hell in the Pacific (1968) were certainly worthy. They may have ran out of the money since they were both directed by the very British John Boorman and both films did poorly when first released. I don’t know if either factor is the case but it’s a pretty safe bet. 
 I can say, for the purposes of this blog entry, two of Lee Marvin’s performances overlooked by the Academy were certainly worthy:
Monte Walsh (1970), remains an overlooked classic for which Marvin gave one of his most poignant performances.

Monte Walsh, 1970


As cited in detail in Lee Marvin Point Blank, several critics at the time of its release said the same and thought an Oscar nomination for Best Actor was practically a foregone conclusion. Sadly, It never happened. 

The Big Red One (1980): Sam Fuller’s semi-autobiographical yarn of his experiences in Europe during WWII allowed Marvin to give one of the best performances of his career, running a gamut of emotions from badass to empathy as a nameless sergeant pushing his young charges on a rifle squad, to the poignancy of caring for a young boy in a liberated concentration camp. 

The Big Red One, 1980.

It’s a pity both of these performances were overlooked and the reasons they were are as speculative as they are varied. Too bad there’s no such thing as a retro Oscar track. If there were, Marvin would win it in a walk.

– Dwayne Epstein

 

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