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!
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
DONAVAN’S REEF P.R (1963): 1
SGT. RYKER (1963): 2
THE KILLERS (1964): 3
SHIP OF FOOLS(1965): 3
CAT BALLOU (1965): 1
POINT BLANK (1967): 4
MONTE WALSH (1970): 1
PRIME CUT (1972): 1
SPIKES/ICEMAN(1974-73): 1
SPIKES GANG: (1974) 1
BIG RED ONE (1980): 2
DEATH HUNT (1981): 5
GORKY PARK (1983): 2
DELTA FORCE(1986): 1
MARINE AWARD (1963): 2
1971 PR PIC: 1
MICHELE TRIOLA (Approx. 1960): 2
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.





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.



Since records are making such a comeback, I thought I’d post images of the remainder of my Lee Marvin vinyl soundtrack collection. First up, the four record set of The Iceman Cometh, the eventful filming of which is detailed in Lee Marvin Point Blank. The album consists of the entire audio of the film, a pamphlet about the play and this really impressive original cover art. Trying getting all that on CD!


The Iceman Cometh Soundtrack cover

In 1976, Marvin made two films for drive-in fodder studio AIP as they attempted to class up their stable. Much money was spent on Shout at the Devil but the soundtrack was an inexplicable French release. …..

Maurice Jarre’s score for the film is melodic but certainly not on par with his more impressive work for David Lean’s Lawrence of Arabia & Dr. Zhivago, or evern Richard Brooks’ The Professionals. The best reason for listening? Lee Marvin & The Barflies rendition of “Shagging O’Reilly’s Daughter.” It just has to heard to be believed…


Shout at the Devil soundtrack cover


Shout at the Devil soundtrack back cover


Lastly, James Horner’s score for Michael Apted’s Gorky Park, a decent film worthy of rediscovery, if only for Marvin’s wonderful performance as Jack Osborne and Horner’s haunting “Tubular Bells”-like main theme…..


Gorky Park Soundtrack