“HIS NAME IS SAVAGE!” RETURNS FROM OBSCURITY

“His Name is Savage!” is a 1968 graphic novel not remembered by many but it is indeed memorable and coming back to life in a new incarnation. Pioneering comic book legend Gil Kane put his body & soul into the project but it never really went beyond the first issue. Why is this even being mentioned in this blog?

The cover of Gil Kane’s “His Name is…SAVAGE!”

Title page explains it all.

The answer to that can be seen in the cover of the first and only issue painted by artist Robert Foster. I didn’t mention the project in Lee Marvin Point Blank simply because other than the likeness, there’s really no connection to Lee Marvin in the story at all. There is however many other references to Marvin’s plethora of cultural references in the book. Just saying.
Anyway, the return of “His Name is Savage!” is the subject of a recent online article I read in which a new media company has decided to resurrect the story (minus the Lee Marvin likeness) and attempt to possibly bring to the screen as well. The article tells the whole story here.

I wish them luck in their endeavors but it would have been nice had it been attempted when Gil Kane was still alive. Might have been nice to bring it back when Marvin was alive, too. It would have helped to dispel a long held rumor that the actor was the the reason the series stopped after one issue since he sued Kane for using his likeness. According to Kane in a 1996 interview, “We never had any trouble from Lee Marvin — obviously he never saw the goddamn thing. We never had any trouble from anybody”.

Gil Kane (1926-2000), legendary comic book artist responsible for “His Name Is…Savage!”

I grew up as a comic book fan and Gil Kane was always one of my favorites, especially his revamping of Green Lantern in the 1960s. Artist Neal Adams would later use that revamp to create an even greater series of stories! I was kind of disappointed to find out how much Kane had wanted the “His Name Is Savage!” project to succeed only to never see that happen. Naturally, I’m glad these young upstarts are remembering the project and are reviving and revamping it. Maybe even a movie in these days of comic book crazy cinema. Of course, if you want to make a movie inspired by the likeness of Lee Marvin, might I suggest another source? Seriously. I can be contacted right here.
– Dwayne Epstein

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WRITER/DIRECTOR RICHARD BROOKS: THE NIGHT WE MET

Writer/director Richard Brooks has not been as historically lauded as many other directors but he’s always been a personal favorite of mine. I’ve been an admirer of many of his films long before I began researching Lee Marvin Point Blank and unfortunately, he passed away before I really started that research. A shame really as I would have liked to have gotten his take on working with Marvin on one of the best films either of them ever made: The Professionals (1966).

(L-R) Lee Marvin, Burt Lancaster, Richard Brooks and Woody Strode discuss a scene for THE PROFESSIONALS.

As an aside, I recently found out that one of Brooks last and highly underrated films, Bite The Bullet (1975), was originally going to be a prequel of sorts to The Professionals, with Gene Hackman and James Coburn playing the characters Lee Marvin and Burt Lancaster played in The Professionals. By the way, if you haven’t seen Bite The Bullet, I highly recommend it.

Writer/director Richard Brooks pictured in Maureen Lambray’s photo book, AMERICAN FILM DIRECTORS and as he looked at the time I met him.

One night, back in the early 1980s, a friend and I went to the Nuart in Santa Monica to see a Brooks double feature of Elmer Gantry (1960) and The Professionals, in which Brooks did a Q&A following both films. Knowing that the Oscar-winning writer/director had a penchant for adapting successful books and plays, I asked him about that, which allowed for the following exchange in the crowded theater:

Me: Knowing that in the stage version of Sweet Bird of Youth Paul Newman’s character is castrated, what did you think of the criticism the film got when you changed it to Newman getting beat up?
Brooks: What do I think of the castration of Paul Newman? Oh, I’m all for it!

The crowded theater roared with laughter followed by applause. It didn’t bother me that he avoided answering my query. I was glad to be able to feed him such a well used straight line. A group of us followed him out to the parking lot to continue the discussion when a little red sports car convertible came screeching in front of him. The female driver emphatically asked Brooks, “How can I get in touch with Burt Lancaster? HE IS SO HOT!” Everyone laughed and Brooks chuckled, “Sorry, dear. I haven’t seen or heard from Burt in years.”

The program from the double feature retrospective honoring writer/director Richard Brooks that he graciously signed for me.

….And then there was the time I got Robert Altman mad at me….oy!
– Dwayne Epstein

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BURT LANCASTER: THE NIGHT WE MET

Burt Lancaster is one of three individuals I consider my all-time favorite movie actors, a holy trinity, if you will. The other two — James Cagney and Steve McQueen — I never had the good fortune to meet. However, one memorable night in the 1980s, I spent at least a half an hour talking with Lancaster one-on-one in the alcove of the Nuart Theater in Santa Monica. Seriously.

The facade of the Nuart Theater where I first me Burt Lancaster.

Long before I began working on Lee Marvin Point Blank, I was living a very strange existence. By day, I was a janitor at Kaiser Permanente in Downey, and by night, I went to movie premieres via the freelance writing I did for our local newspaper. My friends and I also haunted all the great revival theaters on the L.A. scene, depending on the scheduled programs. I distinctly remember reading the program of the Nuart one day while at work and seeing an upcoming screening for a Lancaster double feature of The Professionals & The Scalphunters, two of his best! In a small box at the bottom of the listing were the words: “Mr. Lancaster will appear between films, schedule permitting.” Since he had been in the news recently due to major bypass surgery, I thought the chance of his appearances were slim to none. Even so, I knew I’d regret not taking the chance if he did somehow show up since surgery aside, he rarely did such events even in good health. Besides, they’re great films to see on the big screen.
My best friend and his fiancee’ were students at CalArts so we arranged to meet that night at the theater along with some of his classmates. On the outside chance Lancaster showed up, I brought along my original poster to Birdman of Alcatraz for him to sign if he was willing. No pressure.
Well, my friends arrived, the movie started, and since I knew it inside and out, I went with my gut that if he showed up, it would be around this time. I ambled outside, and waited outside the lobby with its colorful sunburst mosaic along with a few other fans. In no time at all a sleek jet black Jaguar cut thru traffic, then pulled to the curb and out popped the man. Dressed in a black suit with a turtleneck and sporting a salt & pepper goatee, he whirled around with that Lancaster smile and asked, “How’s that for a New York driver?” Among the gathered, not a word was said as the movie geeks stared at the bona fide movie star in stony silence. I’m a movie fan but deny my geek-dom, as I had a pretty non-movie related social life.
So, I broke into applause and said “Very nice. Very nice indeed.” He smiled back at me, walked up, shook my hand and thus began our conversation as he signed my poster.

The poster I framed after Burt Lancaster signed it.

Check out the blurry image in the top right corner.

The interior of the Nuart is festooned with retro movie posters and a small couch in an alcove under a giant poster of The Good, The Bad and The Ugly, which is where our conversation continued. I’m embarrassed to admit that much of the memory of our talk has vanished into time, other than a few highlights, such as telling him about going to see him and Kirk Douglas in their play in San Francisco (that adventure can be read here).

Burt Lancaster as he looked around the time I met him.

I do remember that I had to keep reminding myself that I was actually talking to Burt Lancaster. In fact, at one point I said as much and he responded, “Listen son, we’re having a nice conversation. Don’t ruin it….” He then threw his head back and did that famous Lancaster laugh. I had to tell him, “You do you really good!” To which he knowingly stated, “Oh no. Frank Gorshin does me MUCH better!”
It wasn’t long before someone came over and told him it was time to speak. We said our goodbyes and I joined my friends inside. When my buddy asked where the hell I was, I told him, “I’ll tell you later.”
The house lights then went up and the man was introduced to thunderous applause. He spoke briefly and then took questions. What was extremely cool was that the audience consisted of true Lancaster fans. Someone asked about Nick Cravat and there was a smattering of applause. Lancaster smiled and asked the audience, “You know Nick?” Then the place went nuts. He laughed heartily and said, “Well, I’ll tell him you said hello!”
And so it went. A truly magically night of movie memories. I’ve often wondered why he didn’t do such things more often as he clearly enjoyed himself at the event. Years later, when I began working on Lee Marvin Point Blank, I thought about that night many times, thinking how perfect it would have been had I asked about The Professionals and working on that particular classic. Such was not to be of course, but, I did talk to costars Woody Strode, Jack Palance, Lancaster’s career-long stunt double Tony Epper, producer Phil Parslow and more. Each went on the record with exclusive tales about Burt, Lee, director Richard Brooks and more, all of which can be found only in the pages of Lee Marvin Point Blank.

From the many photos in LEE MARVIN POINT BLANK that I was able to caption.

Until then, all the best, and if you ever get the chance to meet your idols, by all means do it. You won’t be disappointed. At least I wasn’t.
– Dwayne Epstein.

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