MASSIVE LEE MARVIN PHOTO SALE OF OVER 100 ORIG. IMAGES!

MASSIVE LEE MARVIN PHOTO SALE! Please be sure to scroll to the bottom to see ALL images and information required for purchase.
Readers of Lee Marvin Point Blank are well aware of the great photos found within its pages, so now here’s a photo sale to own ALL of my own original 8×10 film-related images for yourself! I have made every attempt to upload as many images as possible, but several dozen are still not able to be shown due to length and size of the blog entry. If a specific image is requested let me know and I’ll do what I can to send it privately.
What this is: All the images listed below are being sold in bulk. It is being sold solely on this website and not via Ebay or other venues for a variety of reasons. All images are ORIGINAL 8x10s put out to promote a given project for film or TV promotion and are in condition from mint to very good. An amazing feat considering most of these photos are several decades old! Descriptions in blue are links to previous blog entries in which the image has been posted with greater clarity. To viewer larger versions of each image simply click on the  image.
How this works: Any and all interested parties need merely reply to this blog entry at the bottom of the page. PAYPAL is the preferred method of payment but may accept check, money order, or Western Union all with seller’s approval. The reply will NOT be seen publicly as I am the only one who can approve the reply and I will keep all messages private and will also respond in private. Any and all questions, offers or comments will be responded to privately. All serious offers will gladly be considered but keep in mind I have set a necessary reserve price that I won’t be making public.
So, feel free to peruse the images below and make me an offer if interested. I’ll respond in kind. Thanks for looking and greatly look forward to doing business with you. Enjoy!
FREE PRIORITY SHIPPING!
FILMS: U.S.S. TEAKETTLE (film debut): 3
HANGMAN’S KNOT (1952): 2
GUN FURY (1953): 1
THE BIG HEAT (1953): 1
SHACK OUT ON 101 (1955): 4
ATTACK! (1956): 1
SEVEN MEN FROM NOW (1956): 1
RAINTREE COUNTY (1957): 1
THE COMANCHEROS (1961) : 1
DONAVAN’S REEF P.R (1963): 1
SGT. RYKER (1963): 2
THE KILLERS (1964): 3
SHIP OF FOOLS(1965): 3
CAT BALLOU (1965): 1
THE PROFESSIONALS (1966): 5
POINT BLANK (1967): 4
MONTE WALSH (1970): 1
POCKET MONEY(1972): 4
PRIME CUT (1972): 1
EMPEROR OF THE NORTH (1973): 1
SPIKES/ICEMAN(1974-73): 1
SPIKES GANG: (1974) 1
SHOUT AT THE DEVIL(1976): 2
GREAT SCOUT & CATHOUSE THURSDAY (1976): 2
AVALANCHE EXPRESS (1979): 10
BIG RED ONE (1980): 2
DEATH HUNT (1981): 5
GORKY PARK (1983): 2
DIRTY DOZEN:THE NEXT MISSION (1985) 6
DELTA FORCE(1986): 1
MISC: PING PONG W/ PAUL FIX & JOHN DEHNER (1960, APPROX): 1
MARINE AWARD (1963): 2
W/ MEYER MISHKIN @ LONDON PREMIERE (1969): 1
PARAMOUNT PROMO (1969): 1
1971 PR PIC: 1
CONTACT SHEETS: U.S.S. TEAKETTLE: 1 (separated)
MICHELE TRIOLA (Approx. 1960): 2
MONTE WALSH: 1
NEWSPAPER PALIMONY PIX: The newspaper I used to work for had a morgue file on the palimony suit with a bunch of pix of Lee and his wife Pam during the trial that the paper let me have for good. They are of varying sizes and include captions. I’d say about 3 dozen in all mostly in sepia tone (but not all) on velox paper as camera-ready images.
FRAGMENTED IMAGES: From newspapers, mostly the 70s & 80s numbering about 2 dozen with captions.

Four studio 8×10 portraits of Lee Marvin from the 60s and 70s.

Extremely rare separated contact sheet of Lee Marvin with Gary Cooper on the set of Marvin’s first film, U.S.S. TEAKETTLE (aka YOU’RE IN THE NAVY NOW). Images can be blown up larger and framed, of course.

Two extremely rare onset photos from Lee Marvin’s first film, U.S.S. TEAKETTLE (aka YOU’RE IN THE NAVY NOW). Top photo, Marvin is on the far right with headphones around his neck. Bottom photo Marvin is running second from left. Also pictured is Millard Mitchell, Jack Warden and Harvey Lembeck.

Photo set from SHACK OUT ON 101 with Terry Moore, Kennan Wynn, Whit Bissel & Jess Barker.

Photo set from SHIP OF FOOLS with Vivien Leigh.

Photo set from THE PROFESSIONALS with Woody Strode, Robert Ryan & Burt Lancaster.

Photo set from POINT BLANK with Angie Dickinson, Carroll O’Connor & Sharon Acker.

Photo set from SHOUT AT THE DEVIL with Pam Marvin.

2 Photo set from THE GREAT SCOUT & CATHOUSE THURSDAY with Elizabeth Ashley & Kay Lenz.

Photo set from AVALANCHE EXPRESS with Robert Shaw, Linda Evans, Mike Connors, Joe Namath, Maximilian Schell & Horst Bucholtz.

Photo set from GORKY PARK with William Hurt and Ian Bannen.

Photo set from THE DIRTY DOZEN: THE NEXT MISSION with Ernest Borgnine, Richard Jaeckel, Larry Wilcox, Ken Wahl, Sonny Landham, Jeff Harding, Michael Paliotti, Jay Benedict, Sam Douglas, Gavan O’Herlihy, Rolf Saxon, Ricco Ross & Stephen Hattersley.

Some but not all of the Velox images used by newspapers during the 1979 “palimony” suit that made headlines for months.

Two separate contact sheets of Michele Triola’s semi-nude modeling days before she met Lee Marvin. Probably the late 50s or early 60s. Images can be blown up larger and framed, of course.

A contact sheet of photos taken on the set of MONTE WALSH of Lee Marvin and Jeanne Moreau, as well as separate images of Ina Balin from THE COMANCHEROS on the same sheet. Images can blown up larger and framed, of course.

Smaller newspaper images from his various films kept on file for the celebrity columns in the 60s-80s. Each measure approx, 3×5, very much like a wallet size photo. Some have captions as shown above.

 

 

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POCKET MONEY: MARVIN & NEWMAN’S MISMATCHED BUDDY MOVIE

Lee Marvin’s 1972 film, Pocket Money, has been largely dismissed almost since the day it was released. Rather unfortunate, I think, as the film really isn’t all that bad and actually has some things to recommend it.

Lee Marvin as Leonard in 1972’s POCKET MONEY.

The botched production is covered exclusively in Lee Marvin Point Blank via a rare interview with the novel’s original author, JPS Brown. Not mentioned, however, is how Marvin and his famous costar, Paul Newman, got along during and after production. According to Marvin’s son, Christopher, who was on set for the film’s production, there was simply no chemistry between the two men. As he related to me in 1995: “When I was living with my dad later on Pocket Money, Paul Newman came over one day. He had a coffee can full of red wine that he was holding. He was like [drunk voice] ‘You’re old man here?’ I said, ‘Yeah, man.’ He came in and they were just talking AT each other drunk for like two hours [bangs fists together]. Oh god, no repore whatsoever. It was funny.”

After it was completed and Marvin was asked what the film was about, He’d snarkily, respond, “Paul Newman.” If pressed, he would add, “It never worked out. It was Paul Newman’s production company. By the time they cut the footage, Newman was the star. I dunno. I guess the old ego got the best of him. What can you do?”

Terry O’Neill’s iconci photo used for the poster of POCKET MONEY.

Later, when Paul Newman was told that Marvin claimed he was ‘finessed’ out of the picture, he told Rolling Stone: “I finessed him? I never even looked at the picture. Well, no, now I made some recommendations about the ending — two voice-overs that the two of us — but that was the only comment I made. Did he really say that? Well, it’s absolutely not true. I mean, Redford and I have got operational egos, but you never see that in terms of performance. Pocket Money didn’t make it, for sure, but I was delighted to play the character, the adolescent. I think the picture was too repetitious in terms of the humor, and it didn’t really know where it was going. It was fey and artificial.”
To his credit, Marvin made every effort to keep the sad production watchable. He used every trick in the book, while Newman spent the film looking bewildered and dumbfounded. Playing two not-too-bright cattlemen, in a script by novice filmmaker Terence Malick, just never seemed to jell, other than watching Marvin’s hijinks. Carole King contributed a catchy tune and the first half the film is interesting but it just rambles into incoherence. Well, the saving grace may just be something entirely incidental. Terry O’Neill photographed Marvin in what consider the best picture of the actor I’ve ever seen. I’d have made it the cover of my book if the rights were not so cost prohibitive. What do you think?

Terry O’Neill’s iconic photo of Lee Marvin onset during POCKET MONEY.

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MARVIN? QUINN? CASSAVETES? ALMOST!

Of the films Lee Marvin almost made, one of the standouts is a project in which he would have costarred with Anthony Quinn and been directed by….John Cassavetes! Readers of Lee Marvin Point Blank have commented to this author on how much they enjoyed the appendix in which films the actor almost made are listed but some have questioned the veracity among the titles. I can assure one and all they are indeed documented as the Marvin-Quinn-Cassavetes project is proof of below.
Actually, Marvin and Quinn had worked together briefly in the early 50s western Seminole (1953) with Marvin in little more than a glorified cameo. However, on the face of it, Marvin and Quinn may seem an unlikely pairing based on their different cinematic appeal. Quinn was ethnic and earthy, while Marvin came off more weather-beaten and militaristic.
Their screen differences aside, Marvin was actually cast in a role meant for the Mexican-Irish actor. According to novelist, JPS Brown, author of the autobiographical novel Jim Kane which was the basis for Pocket Money (1972), Marvin’s character of Leonard, opposite Paul Newman, told me that Leonard was based on Brown’s Mexican business partner:

Lee Marvin as Leonard in Pocket Money, originally meant to be played by Anthony Quinn.

“His name was Andres Canye. He’s the character they tried to base Lee Marvin’s character on. They called him Leonard. I called him ‘The Lion’ in Jim Kane. So they got Leonard from that. A lot of imagination there, don’t you think? There’s only one Gato Canyes [‘Big Cat’] in the world….A man that knew the name of every plant, every weed, every grass, every rock. He knew the medicinal capabilities of everything on the range. He knew the mountains…he lived there in those mountains on horseback. He was a real man. In Pocket Money, here’s the two big gringos on great big stout horses. ….Gatos Canyes was just a great, big, course-looking Anthony Quinn. Really. And Anthony Quinn really liked the book.”
It was actor/director John Cassavetes who thought Quinn and Marvin might work well together. Marvin and Cassavetes had of course, worked together in The Killers (1964), and a few years later in The Dirty Dozen (1967). In discussing his career on the set of Emperor of the North (1973) for Rolling Stone’s Grover Lewis, Marvin opined: “Remember Cassavetes in The Dirty Dozen? Jeez, he was sensational in that. Then you go see Husbands and you have to say ‘What are you tawkin’ about Jawn?’ I mean, he’s a bizarre little guy. Very juicy. John’s a violent little Greek, is what he is.”

Actor/director John Cassavetes around the time he considered pairing Marvin and Quinn.

Grover Lewis also interviewed Cassavetes the same year who at the time mentioned teaming himself with Marvin and George C. Scott. He said at the time, “Maybe it’ll happen. Who knows? The thing about acting is…Well, I like to do it.”

Over a decade later,  when asked about Cassavetes in a 1986 Orange County Register interview, Lee Marvin said:

Renaissance man Anthony Quinn in The Secret of Santa Vittoria, or as he may have looked barhopping the Midwest with Lee Marvin.

“A wild greek. He wanted to get Tony Quinn and me to travel around the country, stop in all these honky-tonk bars, then he’d write a story based on all that and we’d go shoot it. I said, ‘No, John. Please. Oh, Jesus please, no. I don’t wanna die in some barroom brawl in the Midwest.'”

One can certainly understand Marvin’s feelings but it still leaves one wondering. As the old verse goes:
“Of all the words of tongue or pen,
the saddest of these:
‘What might have been.'”

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