JUDGE ROY BEAN STARRING…..LEE MARVIN?

Judge Roy Bean, a legend of the old west, was indeed a real person ((1825-1903) and has been immortalized on screen countless times. The larger-than-life character of Bean would seem like a natural for the likes of Lee Marvin, who specialized in larger-than life portrayals. Apparently at one point, he almost was “The hanging Judge west of the Pecos.” 

      According to a recently discovered documentary (Milius 2013), it was Marvin who was the intended star of the 1973 film, The Life & Times of Judge Roy Bean. I was amazed to only recently find this out as I would have included it in the appendix I did of nearly four dozen films Lee Marvin almost made as an exclusive extra in Lee Marvin Point Blank.

Renowned artist Richard Amsel’s poster for the 1973 theatrical release of THE LIFE & TIMES OF JUDGE ROY BEAN.


According to writer/director John Milius’s film school alum, George Lucas, in talking about Milius and the project: “He got a job to write Judge Roy Bean. Judge Roy Bean was one of the most brilliant screenplays I ever read. It just was magnificent and polished and good and it just blew everybody away.” Martin Scorsese chimed in with, “The work reflected a stand that was impenetrable. You couldn’t change it. This guy really believed in what he was saying.”
For the full story as to what transpired, John Milius himself takes over the story in an interview conducted long before his debilitating stroke:

Writer/director John Milius.


“It was sent to Lee Marvin. And Lee Marvin got the script. His agent sent it. And he was reading it and he really liked it. He got drunk and left it on his chair and went off and passed out somewhere [laughs]. And Newman picked it up and started reading it and took it away. He called his people in Los Angeles and said, ‘Buy this script. I wanna do this.’ So, they came to me and said, ‘We wanna buy this script.’ I said, ‘Fine. I wanna direct it.’ They said, ‘No, no. That’s not possible.’ 
   See, there were two prices. One that was really cheap with me directing it. The one that kept going up and up without me [was the other price]. They finally paid the price without me. In 1972-73, that was a helluva lot money. There is no good movie without a good script.
   It wasn’t at all the same movie. Huston wasn’t the right person to direct it and Newman certainly wasn’t the right person to act in it and they’re all terrific people. Paul Newman is on of the nicest, most intelligent people in the world. I can’t say anything against him. He just wasn’t right for that movie.”

On the set of POCKET MONEY made the year before in which Newman may have read Marvin’s copy of the script.


And so, there you have it. Yet another, and probably one of the strangest examples, of a property Marvin would have been great in but due to unusual circumstances, was not meant to be. Pity, really in as much as I liked the quirky film, Marvin would have been terrific!
– Dwayne Epstein 

The real Judge Roy Bean.

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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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