LEE MARVIN MOVIE QUOTES: THE EARLY YEARS

Marvin Movie Quotes
As many fans know by seeing his films and reading Lee Marvin: Point Blank, Marvin had a unique ability to make memorable lines of dialogue in a film eminently quotable. Even in the earliest stages of his career, his resonant voice and often sarcastic delivery made Marvin movie quotes stand out from the rest of the cast and even the basic premise of the film. Personal friends and associates noted the same thing when viewing his films.

Lee Marvin (“Meatball”) and Claude Akins (“Horrible”) in Edward Dymytrk’s The Caine Mutiny (1954).

Take for example his almost throw-away line in The Caine Mutiny uttered when he and fellow sailor Claude Akins are carrying some heavy equipment through a passageway on ship and want to clear the decks:

“Lady with a baby, coming through!”

Adolph Heckeroth, Marvin’s boss at Heckeroth’s Plumbing in Woodstock, had a son, Bill, who took over the company, and remembered the line (and his father’s former employee) so well, he said he repeated constantly at work whenever he needed to clear the area.

During a conversation with Marvin’s son, Christopher, another one of the great Marvin movie quotes came into play. I was helping him do some gardening when a weed seemed a little harder to remove than first thought. Automatically, we both uttered the same line his father said to one-armed Spencer Tracy when their two characters first met in Bad Day at a Black Rock:

Henchmen Ernest Borgnine and Lee Marvin watch as Spencer Tracy gets off the train and prepare to confront him in John Sturges’ Bad Day at a Black Rock (1955).

“You look like you could use a hand.”
The laughter and high-fives continued for some time after.

And then there’s his less than stellar film and performance in the all-star cast 3-D opus Gorilla at Large (1954). Marvin’s good friend from his Woodstock days, David Ballantine  told me with tongue planted firmly in cheek that he considered it Marvin’s greatest role. Ballantine told me that his friend’s role as Officer Shaunessey, charged with keeping an eye on the title character, remains his favorite because….well, you’ll have to read Lee Marvin Point Blank to find that out. In the mean time, there’s this memorable Marvin line of dialogue given the weighty dramatic delivery it deserves….

Lee Marvin utters his memorable line to Lee J. Cobb in Gorilla at Large (1954).

“They haven’t made a gorilla yet that can out smart, Shaunessey!”

Hey, any actor can do Shakespeare but let’s hear Olivier bellow out that beauty!
– Dwayne Epstein

Share

MY FAVORITE FILM FIGHT SCENES, PART 1OF 5

If working on Lee Marvin Point Blank has taught me anything, it’s shown me the value of a good fight scene. The medium is called motion pictures for a reason and outside of a good car chase, few things have had as lasting an impact on filmgoers as a well done fight scene. Like all film fans, I of course have my own favorites and for different reasons of each. So, in no special order of preference other than chronological, here are mine, some well known, some obscure, but all worthy of a second look….

1.  ANGELS WITH DIRTY FACES1938

James Cagney (center) shows the Dead End Kids how to play basketball.....or else!

James Cagney (center) shows the Dead End Kids how to play basketball…..or else!

Thanks largely to my mother, I’ve been a film fan my enitre life and when it comes to classic films, Warner Brothers is my favorite studio, with James Cagney being my favorite actor in their stable. My being born in a Brooklyn tenement may have had something to do with it.
A dancer by training, Cagney was short, wiry, full of energy and, as contracted by the studio, constantly punching out taller actors in his films. They were often one punch altercations, which is why the basketball game in Angels With Dirty Faces remains one of his best fight scenes. Certainly not a fight scene in the traditional sense, but when you see the way he forces the Dead End Kids to play by the rules, it’s a well-choreographed example of a terrific one-man brawl.
Legend has it the Dead End Kids didn’t like most of their male co-stars and consequently played many tricks on the majority of them — Bogart and Reagan being prime examples. The rare exception was Cagney whom they all liked, as he did in return — with the exception of Leo Gorcey — and it certainly showed on screen. Just a great, timeless sequence in a wonderful film.

2. The Treasure of Sierra Madre – 1948
2Madre

When Lee Marvin was interviewed by Playboy Magazine in 1969 (quoted extensively in Lee Marvin: Point Blank) he spoke at length and with great knowledge on the extent of believable fight scenes in films. Topping his list was the barroom brawl in the beginning of The Treasure of Sierra Madre.
A film remembered mostly for its great performances, themes of greed, and oft-quoted dialogue (“We dun’t need any steenkin’ badges!,” “Fred C. Dobbs don’t say nuthin’ he don’t mean!”), it also contains one of the most brutal fight scenes ever. Tim Holt and Humphrey Bogart confront Barton MacLane about the money he cheated from them. The result is a lengthy, nasty fight, artistically filmed, in which no man is willing to give in, nor politely walk away until the bitter end. If you haven’t seen it, by all means do and you’ll see what I mean. If you have seen it, see it again and remember how remarkably rendered it is, even compared to anything seen today in movies.

3. Red River – 1948

Director Howard Hawks (center) works out the details of REd RIVER'S climatic fight with John Wayne (left) and Montgomery Clift (right).

Director Howard Hawks (center) works out the details of RED RIVER’S climatic fight with John Wayne (left) and Montgomery Clift (right).


John Wayne probably did more fight scenes than any other actor and a personal standout was the climax in Red River, which remains so for several reasons. I am indeed a fan of his films, and although entertaining, many of his fights scenes are either too long & comical for their own good  such as The Quiet Man & McLintock!, or wildly uneven to really be believable as in The Cowboys & The Sons of Katie Elder.
   The fight scene climaxing Red River, is the exception that works wonderfully for a myriad of reasons. The film’s story line — a sort of western version of Mutiny on the Bounty — had the fight building from the start, and when adopted son Montgomery Clift and Wayne finally square off, it looks to be a one-punch duel.
Wayne was the very image of macho male dominance, while the closeted Clift would come to symbolize the vulnerable and sensitve rebel of the 1950s. It was a grduge match of seperate agendas which by definition seemed to doom Clift. Early in the fight Wayne even says to Clift, “Won’t anything make a man out of you?!” After Wayne’s first few punches, the audience is amazed to see Clift not only get up, but knock Wayne on his equally surprised ass. It’s a great moment (despite the film’s ridiculous summation) that we’ve been waiting and hoping for and when it happens, it’s worthy of whoops and hollers!

4. The Adventures of Don Juan – 1949

Errol Flynn (or most likely his stunt double) leaps to adversary Robert Dougas in the thrilling climax of the sword fight THE ADVENTURES OF DON JUAN.

Errol Flynn (or most likely his stunt double) leaps to adversary Robert Dougas in the thrilling climax of the sword fight THE ADVENTURES OF DON JUAN.

Few actors can actually be said to be synonomous with a given genre, but in the case of Errol Flynn, he owned the once popular genre of swashsbucklers. Attempts to revive the genre over the years have not faired well simply because there are no Errol Flynns left in the world. He had style, panache, a devilish grin and a manly physique that was perfectly suited for period costumes. I was a huge fan of most of his films that have aged better than the actor’s reputation. All are worth viewing but a personal favorite for me was his last great attempt at the genre, The Adventures of Don Juan. He makes fun of his public image throughout the film but when it came to the expected sword fight finale he is unparalled. Not a trained fencer but a naturaly gifted athelete, even in the twilight of his greatness, Flynn delivers with such memorable dialog as “The sword is too good for a traitor. You die by the knife!” The expansive sets, Oscar-winning costumes and eye-popping color would distract from the viewing in the hands of lesser actors  –Stewart Granger and Cornel Wilde come to mind — but to the underrated Flynn, he fits in and towers over the proceedings as no one else ever did. When it came to actually delivering the goods, he proved to be downrigth vicious! Along with Robin Hood it is undoubtedly his best work.
5. On The Waterfront1954

Marlon Brando as ex-pug Terry Malloy (left) taunts Lee J. Cobb's crooked union boss John Friendly (right) into a fight into a nasty street brawl.

Marlon Brando as ex-pug Terry Malloy (left) taunts Lee J. Cobb’s crooked union boss John Friendly (right)  into a nasty street brawl.

The repressive 1950s were marked by several social phenomona, not the least of which was the notorious blacklisting of suspected Communists in the film industry. Volumes have been written about it as well as the way in which On the Waterfront played a role in the dark proceedings. Director Elia Kazen had named names before thr House Un-American Activities Commitee and rumored to have made Waterfront partly as an explanation for his testimony. To bring praise upon the informant, in this case Marlon Brando’s character of Terry Malloy,  the supposedly once close relationship between the two men was forever shattered by the blacklist as Brando never spoke to Kazan during the film unless he had to. Whether any of those things are true is still speculative. What remains is the effect of this documentary-style film.
The film climaxes with a brutal fight between Brando’s Terry Malloy and Lee J. Cobb’s John Friendly, which is equal parts symbolism and realism. Why is it on this list? Brando, arguably the greatest actor who ever lived, is impressive, but that’s not the reason. It’s all about Lee J. Cobb. A primal force of nature, Cobb never got his worthy due as an actor, other than essaying the original stage role of Willy Loman in Death of Salesman. Self-conscious about both his size and non-existent hairline, the bewigged Cobb seems to be angry at Brando’s character in the film but even more bitter over his role in cinema’s pecking order. He bites, kicks, punches and scratches Brando in the scene. When Terry Malloy fights back, John Friendly sends in his goons to finish the job.
In short, it isn’t the beating Brando withstands that makes the scene a favorite. It’s the astonishing brutatlity of Cobb that puts the classic film on my favorites list. Besides, Brando gets beaten up all the time but Cobb, he’s the stand out!
Next installment, a few surprises!

Share

LEE MARVIN TV WESTERNS: RARE IMAGES & ANECDOTES

TV westerns made good use of Lee Marvin through out the 1950s and 60s. Readers of Lee Marvin: Point Blank are very familar with his work in the medium, especially one particular live TV show from 1953 with Eddie Albert. Interviewing Albert for the book was a research highlight and as readers know, the anecdote concerning the show’s airing is classic live television at its best…or worst! After much searching, I finally found a picture from that half hour episode of the short-lived ABC series entitled “The Plymouth Playhouse.”

Lee Marvin & Eddie Albert in 1953's live TV western drama, "Outlaw's Reckoning" with costar Vicki Cummings.

Lee Marvin & Eddie Albert in 1953’s live TV western drama, “Outlaw’s Reckoning” with costar Vicki Cummings.

Marvin appeared in many TV productions with western themes, both live and filmed, such as the GE Theatre episodes, “The Doctors of Pawnee Kill” with Kevin McCarthy (1957), “Mr Death and The Redheaded Woman” with Eva Marie Saint (1954); U.S. Steel Hour’s “Shadow of Evil” with Jack Cassidy & Shirley Jones (1957);  Climax’s “The Time of the Hanging” with William Shatner; and the unknown, stained image seen below……
bogota

When they anthology show faded from TV in the 60s, and Marvin’s career hit a ceiling of success until Cat Ballou, he still made appearances on such shows as Wagon Train (one of his best!) and the last great anthology show, a western-themed episode of The Twilight Zone.  One of the longest running westerns on TV was Bonanza for which Marvin appeared as a villainous (natch!) miner who terrorized series regular Pernell Roberts in the episode titled “The Crucible”….

Lee Marvin as the deranged miner who terrorizes Pernell Roberts in the 1962 episode of Bonanza entitled The Crucible.

Lee Marvin as the sadistic miner who terrorizes Pernell Roberts in the 1962 episode of Bonanza entitled The Crucible.

One particular 1962 episode of the popular series The Virginian — in which ex-con Marvin kidnaps series regular Lee J. Cobb — was hastily intercut with another episode starring Charles Bronson and released theatrically in 1976 as The Meanest Men in The West to cash in on both veteran actor’s late life success. Marvin’s episode had been titled “It Tolls For Thee.” The story goes that when the director called out “LEE!” to come to the set, Marvin, who had been teasing Cobb during the production, watched as the older actor rose from his chair. Marvin asked him how he knows they’re calling for Cobb. Cobb smiled back, “Easy,” replied Cobb, “I’m the one with the talent.”

Lee Marvin as Kalig, the ex-con who kidnaps Judge Garth (Lee J.Cobb) fo sending him up the river in 1962's The Virginian.

Lee Marvin as Kalig, the ex-con who kidnaps Judge Garth (Lee J.Cobb) for sending him up the river in 1962’s The Virginian.

Share