Allen Garfield, a great character actor in 1970s American films, passed away recently at the age of 80 from the dreaded Corona Virus. I was a fan of his work and thought he was terribly under appreciated. In fact, a recent obit read as if he’ll be remembered as barely a blip in film history. He may not be as revered as say a Walter Brennan or Ed Asner, but he certainly left his mark of versatility on some great films.

Some personal favorites are his media savvy consultant who shows up idealistic Robert Redford in Michel Ritchie’s The Candidate by smilingly smashing up a bag of lollipops with a tiny hammer. He was also Oscar-worthy as Peter Falk’s not-too-bright brother-in-law in William Friedkin’s underrated The Brinks Job.

I had the privilege of a chance meeting with him outside the Virgin Record Store on Sunset in the early 1990s. He was walking down the street with a pretty young woman when I recognized him and introduced myself.

Allen Garfield as he looked around the time I met him in the 1990s.

He was warm and cordial and was in the mood to talk. When I told him what I was working on at the time, he told me what a great idea a biography on Lee Marvin would be as he had always been a fan. I should add that even though he was older than myself, he peppered his conversation with many hip phrases, like “Right on,” and “Far out,” and “I can dig it.” When I mentioned the Lee Marvin bio he told me he always wanted to work with the man and almost did…once. He heard that The Iceman Cometh was going to be made into a film and desperately wanted the role of Rocky, the night bartender. As I recall, he said he got a reading with director John Frankenheimer, thought he nailed it and waited anxiously for a call back. Alas, it was not to be as Frankenheimer went with long-time veteran character actor Tom Pedi, who had played the role many times on stage, TV, radio, you name it.

Tom Pedi (left) as night bartender Rocky in Eugene O’Neill’s The ICEMAN COMETH with Lee Marvin (right) as Hickey.

Rather ironic considering Frankenheimer purposely didn’t want Jason Robards to play Hickey as he thought Robards too familiar with the role and directing him would be like, ‘Directing him how to go the bathroom.” You could see the disappointment on Garfield’s face as he recounted the story. I felt for him but also knew it was the lot of an actor’s life. He did as well so instead of dwelling on it mournfully, we began talking about the films and performances he did make and loved doing. I also asked him why he made the risky move of changing his name to Goorwitz and he told me it was in honor of his mother who had recently passed away. He did of course go back to Garfield shortly thereafter. Before parting he gave me his card and said to call him any time as he loved talking about movies. I kept it in my wallet for years but never did call him. My loss, I’m afraid. I did toy with the idea of including his little anecdote in the chapter about Iceman in Lee Marvin Point Blank but my exclusive interviews with Frankenheimer, Jeff Bridges and the children of Robert Ryan abundantly filled it out.
I often wondered why I had stopped seeing him in projects as much as I used to until I read about his health issues. He suffered a series of strokes and spent the last 15 years in the Motion Picture Retirement Home. Damn shame as we should have seen him in a lot projects. Farewell Mr. Garfield and fear not. As long as there are classic movie fans, you will always be remembered.
– Dwayne Epstein

Allen Garfield, aka Allen Goorwitz. Rest in Peace.


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Yeah, that’s right. Michael Dukakis, Robert Redford and me. I know it sounds strange but we all kind of hung out together once. Seriously. Okay, it’s a bit of a stretch so allow me to explain. It was the Fall of 1988, a presidential election year, and I was a student at New Jersey’s Mercer County Community College, long before I even thought about writing Lee Marvin Point Blank. I had made friends with the guy who ran the school paper, although I wasn’t on staff. When I told him about a rally for Dukakis that was scheduled on the campus of nearby Rutgers University, he asked me if I would cover it. I said I would and even took some pictures. He also said I could write it up any way I wanted so I did it as a sort of first person essay. Oh, and the presence of Robert Redford to a lowly New Jersey rally was a pleasant and welcomed surprise.
I tried to be as impartial as possible but I was an obvious supporter of Michael Dukakis. In fact, I canvassed for him door-to-door during the election in my neighborhood of East Windsor. Yeah, Bush, Sr. won the election and even took New Jersey, too. However, out of curiosity, I checked the precinct numbers after the election and in our little hamlet of East Windsor, where I canvassed, Dukakis won. Moral of the that little anecdote is not about bragging. Just wanted to point out there’s more that anyone can do in a democracy than merely vote. Just saying…
Anyway, below is my write-up of the Michael Dukakis rally where he and Redford and I all hung out one day. Well, kinda. I recently rediscovered the article and in reading it, numerous typos aside, I think it’s actually not too bad. Judge for yourself, of course. As for Mike and Bob, I still don’t know why they haven’t answered my call for a reunion in the last 30 years…..
– Dwayne Epstein

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Well, dear readers, your humble narrator has come to the fifth and final entry in this series I created of my favorite movie fight scenes. I stopped at 1980 as the quality of filmmaking, especially when it comes to fight scenes, fell off dramatically from then on. If you missed any of the previous entries (Parts 1, 2, 3 and 4) click on the linking numbers in blue. As for the remaining choices, I wanted to include some Lee Marvin, of course, but there just wasn’t anything worthy of his films in this time period that was a favorite. Readers of Lee Marvin Point Blank know why. For the rest, read on…


Reporter Warren Beatty (left) orders a glass of milk to entice deputy Earl Hindman (right) into a brawl and of course it works in The Parallax View.

Reporter Warren Beatty (left) orders a glass of milk to entice deputy Earl Hindman (right) into a brawl and of course it works in The Parallax View.

The 1970s was my favorite period of American filmmaking for many reasons, not the least of which was due to the advent of the paranoid political thriller. One of the best was The Parallax View, which is a recognized classic of the genre. There is so much greatness in this taut thriller it’s almost impossible to narrow it down: From star Warren Beatty’s believable turn as a dogged reporter to the standout supporting cast of veterans (Hume Cronyn, Kenneth Mars, Anthony Zerbe, Paula Prentiss, William Daniels, Earl Hindman, Jim Davis, Walter McGinn, Kelly Thordsen); Amazing editing, especially in the ‘test’ sequence; Wonderful touches of dark humor; Director Alan Pakula’s use of silence to ramp up the suspense as he had in Klute and later All The President’s Men; All these elements are so phenomonal that the purposeful barroom brawl almost gets lost in the mix. Almost. What I love about it is that once it commences (hilariously, by the way) and Beatty’s character looks finished, he keeps charging back! No matter what. Talk about never say die. He even crashes through a window to get BACK into the brawl. The film itself is a stunner but for me, that fight scene is another all-time favorite. And whatever you do, DO NOT GIVE AWAY THE FILM’S ENDING!

22. HARD TIMES-1975


A rare smile from Charles Bronson as Chaney (center) as his manager James Coburn as Speed (right) and Strother Martin as his cutman Poe (left) prepare him for his fight in Hard Times.

Of all the films Charles Bronson made in his late life ascent into stardom few were liked by the critics that his fans loved (The Death Wish series), and fewer still were liked by fans that critics praised (From Noon Til Three). Only one it seems was able to please both fans and critics alike, and with good reason. Hard Times gave fans the action they’ve come to expect, while critics rubbed their eyes in astonishment to see Bronson in a film of value and depth. He plays a mysterious stranger in Depression-era America whom professional gambler James Coburn manages into the premiere street fighter of his day. The story was straightforward but the time, place and style of director Walter Hill’s direction proved the perfect marriage for Bronson’s minimalist acting. As the ads for the film wryly stated, “During the Depression, words didn’t buy much.”
A lot of the regular blog readers here may know that Bronson is the subject of my next project — tenatively titles Charles Bronson: American Samurai — and as such, this is one of my favorite film of his, as well. Saw it the theater when it first came out and even though there are a number of well done fight scenes throughout the film (has anybody ever rattlled off so many rapid fire punches as Bronson does in this film?), my favorite fight is Bronson’s first. If you’ve seen it, you know why. If you haven’t be prepared as it’s excellent. In his 50s, aged and lined, when he takes off his shirt for the first (and subsequent) fight, brother, look out!


Robert Redford (Joseph Turner) fights assasin postman Hank Garrett (Mailman).

Robert Redford (Joseph Turner) fights assasin postman Hank Garrett (Mailman).

I am in no way, shape or form a fan of the spy film genre. There are exceptions of course (The Spy Who Came in From the Cold), but the overly complicated plots, sometimes needlessly so, are a complete turn-off to your humble narrator. Even this film, Three Days of the Condor, is hardly a favorite for the same reason. However, since the purpose of this blog is about favorite fight scenes, it definitely fits the bill. The opening of the film is now legendary (and justifiably so) but the fight scene later between good guy Robert Redford and “mailman” Hank Garrett,  is one for the books. It moves faster than most fight scenes I’ve ever witnessed and yet the viewer is able to keep up with who’s doing who.
When the first Christian Bale Batman film came out that was one of my biggest complaints and why I didn’t care for it. Not the case here. It moves so dangerously fast it ADDS to the suspense, NOT the confusion. Worth watching just for that tremendous scene. After that, meh, not so much.

13Turning point

Suburbanite Shirley MacLaine (left) challenges waning Prima Ballerina Anne Bancroft (right) to a rooftop battle in Herb Ross’s The Turning Point.


No, it’s not because it’s a catfight. It’s for a lot of reasons that the battle between Shirley MacLaine and Anne Bancroft is a favorite fight scene of mine. Chiefly, it’s the one and only time two of my all-time actresses ever worked together, and it should have happened more often. Known mostly as the screen acting debut of both Leslie Browne and Mikhail Baryshnikov, the film is at its best as a wonderful exercise in female relationships rarely seen in movies. MacLaine left the ballet maybe too early and Bancroft stayed maybe too late and between them is MacLaine’s daughter whom they both battle over. When it comes to a head it’s classic movie bitchiness (yes, it starts with Bancroft tossing a drink in MacLaine’s face) and then…we’re off! They scream, chase, slap, curse, pull hair and end uproariously. Doesn’t matter if it’s a cliche or not. Two talents at the top of their game reaching a physical pinnacle is ALWAYS worth watching…and sadly, not seen enough.


Military psychiatrist Stacy Keach prepares to confront a gang of bizarre bikers, and ultimately, his true self, in William Peter Blatty’s, The Ninth Configuration.


William Peter Blatty, best known for penning The Exorcist, wrote, directed, produced and even co-starred in this strange mediation on good/evil, sane/insane, god/godlessness (and more!) that is in dire need of rediscovery. It also goes by the title Twinkle, Twinkle Killer Kane and has what I consider to be an all-star cast headed up by the underrated Stacy Keach. There are various cuts floating around but it doesn’t matter. Any version should be seen by one and all. Keach is a military psychatrist in charge of a group of misfit soldiers hidden in a castle in the great northwest to determine if they are really insane or merely malingering. A flimsy plot, I grant you, but the execution will blow you away. Razor-like dialogue, multi-layered subplots, inter-connected relationships and, as the ads stated at the time, “A film that will keep you on the edge of your mind.” It culminates with one of the strangest and yet completely significant barroom brawls I’ve ever seen. Once again, it must be seen to be believed and once you do you’ll find yourself answering the question, why am I cheering all this bloodshed? I know I did.

And there you have it! My choices for favorite fight scenes. Just to keep it fair, I added some honorable mentions: Cape Fear (finale, either version), The Godfather (James Caan & Gianni Russo), Raging Bull, Gentlemen Jim, Somebody Up There Likes Me (tire stealing scene), Butch Cassidy & The Sundance Kid, The Cincinnati Kid (the opening), 48 Hours, From Here to Eternity (several scenes), Straight Time (car scene), The Young Lions, My Favorite Year, Tom Horn (opening), Edge of the City (Jack Warden & Sidney Poitier), and Stalag 17.
Any readers have choices of their own? Quibbles? Complaints? Hey, leave a reply as I’m anxious to hear your thoughts.

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