PRE-STARDOM: LEE MARVIN & THE LADIES

Unlike other male film stars, Lee Marvin didn’t have many romantic entanglements in his films, as readers of Lee Marvin: Point Blank are fully aware. When he became a leading star that changed only very slightly but it was even more true in his pre-stardom days.
Oh, he interacted with the opposite sex on screen but certainly not in the manner that normally befitted a future superstar. Take for example 1953’s The Big Heat, in which he played henchman, Vince Stone. His girlfriend, Debbie, was played by Gloria Grahame and anyone who has seen the film knows how their relationship winds up.

A self-satisfied Debbie (Gloria Grahame) hands the phone over to an impatient Vince Stone (Marvin) knowing it’s his boss after she just chided Stone for jumping whenever the big boss calls, in Fritz Lang’s THE BIG HEAT.

Of course Marvin’s chivalry towards the opposite sex is on display earlier in the film in how he treats Carolyn Jones and the way he offers her a cigarette. Talk about foreshadowing!

Then there’s the way Marvin’s aptly named Slob interacts with Terry Moore in the bizarre 1955 cult classic, Shack Out on 101. From the pre-credit prologue until the film’s finale,

Terry Moore as Cotty tries to deal with the advances of Slob in SHACK OUT ON 101.

Marvin and Moore’s way of dealing with each other is one of the highlights of the film. Terry Moore detailed the way in which Marvin threatened her on camera when I interviewed her for Lee Marvin Point Blank and she was delighted with the results. Less delighted was Donna Reed about her equally terrifying scene with Lee Marvin in Hangman’s Knot (1952). Her reaction delighted Marvin but certainly not her.
It seems the only time Marvin was allowed to be halfway human towards women was on television, in which his versatility was put to better than use than on film….

A tender moment with Patricia Donahue in The Last Reunion episode of the NBC anthology series, GENERAL ELECTRIC THEATRE.

As Lt. Frank Ballinger, Marvin has a uncharacteristically tender moment on his show M SQUAD.

Television notwithstanding, once viewers were able to attach a name to the familiar face, Lee Marvin was back in movie theaters enacting some typical love scenes…

As hired killer Charlie Strom, Lee Marvin gently persuades blind receptionist Virginia Christine  to divulge some vital infomation in Don Siegel’s THE KILLERS.

Vivien Leigh drives home her point to Lee Marvin in their heated debate concerning women’s shoe styles in Stanley Kramer’s SHIP OF FOOLS.

On the brink of major stardom in the early 1960s, Lee Marvin’s roles in such films as The Killers and Ship of Fools had him treating the opposite sex very much in keeping as he had throughout his pre-stardom years of the 1950s. By the end of the 1960s, however, he was an undeniable superstar, in the clinches with the likes of Jane Fonda, Jeanne Moreau and the ever present Angie Dickinson. How did he deal with these ladies on camera as well as off? The subject of the next blog entry….and a good portion of Lee Marvin Point Blank.
– Dwayne Epstein

 

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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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LEE MARVIN’S SHACK OUT ON 101 PLAYING AT BERKELEY!

Shack Out on 101 at Berkeley? Yeah, as the accompanying link will attest, you read that right. It’s revival is also long overdue, in my opinion. I had never even heard of this strange, little film until I saw it by chance at a movie marathon, years before I started working on Lee Marvin: Point Blank. It really does defy description, but I knew that I once I started researching Lee’s career, I HAD to give it special attention. In fact, I made sure to include an image in the book depicting Marvin and Len Lesser (Seinfeld’s Uncle Leo) “at play”….
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There are a number of things that makes this film so strange and watchable at the same time: from the opening near rape scene to the happy conclusion of a man being harpooned, it really is unlike anything you’ve ever seen. Take for instance these ads from the pressbook….
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The ad lines are of course typically exploitative for its day and subject but check this out: the bottom panel depicting “Eddie” is a scene with Lee Marvin who plays “Slob” (aka Leo) but Eddie is played by Whit Bissell. And these ads are by the guys that made the movie!!! There’s a little more subtle ad below…..

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Not that it matters, but Terry Moore’s character is named Kotty, not Kitty. It just gets better and better, doesn’t it? I love the dialogue, too. For example, during a heartfelt talk between Bissell and burger joint owner Keenan Wynn, Bissell quitely asks Wynn if he loves Terry Moore. Wynn answers by slamming his fist down and shouting, “I’m on the hook and I can’t get off!” I just love this stuff. It probably can better be explained by a better authority than I. Way back in 1978, FILM COMMENT magazine started its fairly regular column called Guilty Pleasures, in which film makers cited their favorite bad films and why. Bonnie & Clyde’s co-screenwriter David Newman I think summed up it better than I ever could. He makes some now outdated references that I’ve taken the liberty to wiki but other than that….

Number 3: Shack Out on 101 (1955, dir. Edward Dein). Forget about those movies like Blood of the Poet that want to look weird and strange and wind up kind of silly. Here is perhaps the most bizarre picture ever made. Yes. I have it seen eleven times and I’m still not sure if it knows how nutty it is. Every time I submit myself to Shack Out, I think I’m stoned or running a high fever.
This black-and-white production looks like it was made for about $2.75 below the line. Except for a beach scene, the entire film takes place on one set: a hamburger joint that makes the Alice cafe on television look like a Max Reinhardt spectacle.

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How can I impart the weridness of this movie to you? To begin with, all the men in it are desperately in love with Terry Moore. Wait, wait, there’s more. The romantic hero is Frank Lovejoy. Terry’s miffed because he alone acts cold to her. Is he, ergo, a Commie spy?
More? You want more? Lee Marvin plays a short-order cook [….] in a manner so baroque as to render his performance in The Wild One a gem of nuanced understatement by comparison. Keenan Wynn, as the love besmittne creep who owns the joint, has one scene with Marvin where they work out together, lifting weights, doing push-ups, that, frame for frame, will take you further out of your skull than any amount coke you care to mail me for testing purposes.

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The dialogue is so off-the-wall elliptical that it recalls the true zaniness of a Vic ‘n Sade script. I promise you that at no point is it possible to get a grip on this movie. What in the blazes did they think they were doing? Were all they all whacked-out? What is it really about? All I can tell is that I recommended this only once — to a friend who almost punched me out the following day.
But once more unto the breach. Fully aware that its lunatic charm may be apparent only to me, I unhesitatingly recommend that you look for it in the TV Guide, stay up till 4 in the morning (it is never on earlier, when normal people ar awake) and watch it … if you dare.”

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So, if you are in the Berkeley area tomorrow night, August 27th, run don’t walk to see Shack Out on 101. You won’t be disappointed. Or, more in keeping with the spiirt of the film: YOU’LL BE ON THE HOOK AND CAN’T GET OFF!!!

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