SUPERSTARDOM: LEE MARVIN & THE LADIES

The Harvey Weinstein scandal being the main topic of conversation these days, such behavior is actually not that revelational among the power brokers and others who have reached a level of superstardom in show business. The term ‘casting couch’ is one of the oldest cliches in Hollywood, and as Claudette Colbert once famously said, “The casting couch? There’s only one of us who ever made it to stardom without it, and that was Bette Davis.”
So what does any of this have to do with Lee Marvin? Well, in researching Lee Marvin Point Blank the subject of sexual harassment never became an issue in my research, despite Marvin’s tendency towards boorish behavior on the occasion of some drunken episodes as detailed in the pages of Lee Marvin Point Blank. He could be loutish and embarrassing at times but thanks to his breeding, he always managed to pull himself back from the abyss. As his lawyer David Kagon said to me: “Lee Marvin was a truly Victorian character, particularly when it came to women. He always treated women extremely courteously. I never heard him use a word that you’d want to use, at that time, to qualify for usage in polite society when a woman was present. He always treated them very, almost as if he were Victorian. He was the kind of guy that would open a door for a woman. He’d stand up.”
Due to the kind of films he made, Marvin had little interaction with many of the actresses of the day. When he did, the results were unsurprisingly similar.  Basically, Marvin’s treatment of his female costars as he ascended into superstardom fell into three categories: Younger costars were protected in a fatherly way while veteran costars were given the utmost respect. The third category? Well, that was a rare category that may have fallen to more women had he worked with more women.

CAT BALLOU costar Jane Fonda learning some valuable lessons from veteran Lee Marvin.

His Oscar-winning performance in Cat Ballou catapulted him to stardom but during production, his treatment of the opposite sex didn’t change. In fact, costar Jane Fonda didn’t always see eye-to-eye when they made the film but in retrospect she wrote in her autobiography: “The producers had us working overtime day after day, until one morning Lee Marvin took me aside. ‘Jane,’ he said, ‘we are the stars of this movie. If we let the producers walk all over us, if we don’t stand up for ourselves, you know who suffers most? The crew. The guys who don’t have the power we do to say, ‘shit, no, we’re working’ too hard.’ You have to get some backbone, girl. Learn to say no when they ask you to keep working.’ I will always remember Lee for that important lesson.”
Following Cat Ballou, Marvin worked with the mostly all-male cast in the now classic rugged western, The Professionals. An exception to the testosterone-driven cast was Europe’s Claudia Cardinale…..

Claudia Cardinale and Marvin in Richard Brooks’ THE PROFESSIONALS (1966).

By all accounts, Marvin’s relationship with the Italian film star was, as the title suggested, strictly professional and for Marvin that meant respectful.
A good example of how he treated a younger actress is his relationship with Sissy Spacek during the making of Prime Cut. As she is quoted in her memoir about her film debut:

Sissy Spacek and Lee Marvin in PRIME CUT.

“I loved working with Lee Marvin, and he was actually very protective of me. But he was a prodigious drinker, and he warned me to avoid him when he was inebriated. When we first met on location, I blurted out, ‘Lee, you have the greenest eyes!’
‘Yeah,’ said Lee. ‘And whenever you see them turn blue stay away from me.’
“It was true. When he’d had a few too many, his eyes turned ocean blue and everybody gave him a wide berth. But mostly he was a good guy, and very professional….I was so caught up in the filming I hardly noticed the battles going on behind the scenes. [Director]  Michael Ritchie was constantly fighting with the powers that be over the tone of Prime Cut. Michael wanted it to be more of a camp satire; the studio wanted a straight gangster thriller. Lee Marvin shared the director’s vision for the film and it led to some tense moment  on location.”
Spacek is right when she said there were some fights during production, but incorrect when she said Ritchie and Marvin shared the film’s vision. In fairness, she readily admits to hardly noticing the battles going on. Lee Marvin told it plain to journalist Grover Lewis in Rolling Stone magazine shortly after the film came out: “I’ve made some mistakes I wish I hadn’t. One of them was working with Michael Ritchie on Prime Cut. Oh I hate that son-of-a-bitch. He likes to use amateurs because he can emotionally dominate them. That chick in Prime Cut, she would’ve sucked my cock on camera if Ritchie’d told her to. One night, I wanted to rehearse a scene and he didn’t want to, so he pretended to get sick. I said, ‘shit fire, Michael. ‘ll get you a fuckin’ doctor.’ Nothing worked with that guy, and the picture just fell apart before we even got started. ” The film’s other female star, Angel Tompkins, concurred with Sissy Spacek’s assessment of Marvin. Clearly, his respect for women was maintained, despite his opinion of the film’s director. As to the handful of other female costars he worked with…

(L-R) Elizabeth Ashley, Kay Lenz and Lee Marvin in GREAT SCOUT & CATHOUSE THURSDAY. Lenz told this author wonderful anecdotes about working with Marvin.

(L-R) Roger Moore, Barbara Parkins and Lee Marvin in SHOUT AT THE DEVIL. Playing Parkins’ father, Marvin was just naturally fatherly towards the actress.

Linda Evans and Lee Marvin in AVALANCHE EXPRESS.

Then there is that rarest of third categories, of which only one is actually known. Well, maybe two if you count an extra during a film. Okay, three if you want to be speculative. To put it another way, Lee Marvin was protective and respectful to his leading ladies. However, there’s absolutely no evidence that he was abusive in any way, but was he ever romantic? Stay tuned…..
– Dwayne Epstein

Share

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.

 

 

Share

TONY KLINGER: TALE FROM SHOUT AT THE DEVIL

Readers of Lee Marvin Point Blank are well aware of the coverage each of Marvin’s films are given, but some times, a source is discovered AFTER publication, such as SHOUT AT THE DEVIL assistant producer, Tony Klinger.

Writer, producer, director, novelist Tony Klinger

Writer, producer, director, novelist Tony Klinger

I became acquainted with Tony Klinger via social media and it turns out, he could not have been nicer or more forthcoming in detailing the experience of working with Lee Marvin. I came in contact with him thanks to another social media source, Paul Rowlands. Paul runs a wonderful blog entitled Money Into Light which I highly recommend. In fact, he interviewed me, as well, not longer after the book came out, which you can read at this link.
When Paul interviewed Tony in January 2012, I discovered his great story about working with Lee after the book was finished. Tony spoke with me about it as well, but since he put it so succinctly when he spoke with Paul Rowlands, I can reprint it here with Paul’s kind permission and my additional graphics. Enjoy….

Paul Rowland
: How was working with Lee Marvin?
Tony Klinger: I have to admit a real preference for real people who don’t pretend to be something they’re not, and Marvin particularly fell into that category. A real man’s man, and what you saw on the screen was pretty much what you got. He was more than a bit scary, like a volcano ready to explode. One time, for SHOUT AT THE DEVIL, we were filming the sequence when the battleship Blucher was going to be discovered and blown up. It was an immense sequence involving a plane flying over that we had re-built from the original designs from the First World War, a Vickers Gun Bus. It was a real feat of engineering, and we had to build two of them and get certificates of air-worthiness before we could use them. It was a push-me plane, with the propeller at the rear of the cockpit and seats for two. The whole thing was very difficult since the reason the Vickers Gun Bus had not been widely used by the British in that War was because they weren’t too great. We had another problem at the time, and that was the rumour going round the farming community near to the river Umzimbubu, or was it the Niafu? Anyhow, I know it translates as The Watering Place for the Hippopotamus, and these farmers believed that when we were going to blow this ship up, which was a full-scale replica, it was going to be a nuclear explosion!

LP soundtrack cover of SHOUT AT THE DEVIL which includes a riotous, bawdy recording of "O'Reilly's Daughter," sung by none other than Lee Marvin, backed by "The Bar Flies."

LP soundtrack cover of SHOUT AT THE DEVIL which includes a riotous, bawdy recording of “O’Reilly’s Daughter,” sung by none other than Lee Marvin, backed by “The Bar Flies.”

Lee Marvin had the day off because, in the movie, his character was supposedly somewhere else during this action sequence, but he felt we didn’t have enough extra sailors to play the Germans. Many rumours have also flown about regarding Lee’s legendary drinking capacity, but up to this point he had never drunk when he was working. I was stationed at a corner on a dusty road leading to the field of vision surrounding the battleship, with the intention of keeping it clear, and I wasn’t ready for Lee suddenly driving around the corner, dressed as a German sailor. I put my hand up to halt Lee’s progress, and he got out of his car somewhat erratically. I realised that this wasn’t a day he was called to work, and noticed his hands were full of a large case of beer, and that half the bottles were already consumed:

Lee Marvin with loaded elephant gun at the read, set to do battle with man or beast.

Lee Marvin with loaded elephant gun at the ready to do battle with man or beast.

‘You can’t go to the set now Lee, you’re not supposed to be in these scenes.’ I said this as politely as I knew how. He looked at me with those rheumy eyes, and it was as if I was transported into a surreal version of his film CAT BALLOU (1965). He wasn’t smiling.

‘Are you going to try and stop me?’ he asked. I thought about where this was going, and despite my being a fit, strong and younger man, I wasn’t keen on a physical attempt to stop Lee.

A surly Lee Marvin, along with wife Pam, being interviewed on location in Africa for "Shout at the Devil."

A surly Lee Marvin, along with wife Pam, being interviewed on location in Africa for “Shout at the Devil.”

‘No, Lee. They’re filming and you aren’t supposed to be in it.’

‘I know that. I can be another extra. I figure there aren’t enough. I can bend low and be polishing some brass work, and keep my head down’, he insisted, miming the action he was keen to undertake. I smiled and tried to shepherd him back to his car, but he was big and strong, and wasn’t enthusiastic about moving. We stood looking at one another. ‘You’re a nice kid’ he said. ‘But if you don’t get out of the road right now, I am gonna put you on your ass!’. He said it quietly, but with definite menace. My mother had always insisted you never hit the talent in the face, as it will affect the next day’s filming, and she also insisted, when I was in the school boxing team, that I shouldn’t get hit in the face. At this moment I remembered her words and weighed up the chances: either he decks me, or I manage to punch him and potentially ruin filming the next day. Discretion being the better part of valour, and Lee being awfully tough, I decided the only thing I could do was wave him through.

Roger Moore (left) and Lee Marvin from the pressbook of "Shout at the Devil."

Roger Moore (left) and Lee Marvin from the pressbook of “Shout at the Devil.”

As he was driving through to the set, I got on my radio to the director, Peter Hunt, to tell him that Lee had insisted on being an extra, at which point Hunt proved to me why his name was perfect except for the first letter of his surname, as he berated me for encouraging Marvin to come to the set.And that’s why, if you look closely at the extras down below, as the plane flies over the battleship, the German sailor with some white hair sticking out from his cap is Lee Marvin.

Share