LEE MARVIN MOVIE QUOTES: THE EARLY YEARS

Marvin Movie Quotes
As many fans know by seeing his films and reading Lee Marvin: Point Blank, Marvin had a unique ability to make memorable lines of dialogue in a film eminently quotable. Even in the earliest stages of his career, his resonant voice and often sarcastic delivery made Marvin movie quotes stand out from the rest of the cast and even the basic premise of the film. Personal friends and associates noted the same thing when viewing his films.

Lee Marvin (“Meatball”) and Claude Akins (“Horrible”) in Edward Dymytrk’s The Caine Mutiny (1954).

Take for example his almost throw-away line in The Caine Mutiny uttered when he and fellow sailor Claude Akins are carrying some heavy equipment through a passageway on ship and want to clear the decks:

“Lady with a baby, coming through!”

Adolph Heckeroth, Marvin’s boss at Heckeroth’s Plumbing in Woodstock, had a son, Bill, who took over the company, and remembered the line (and his father’s former employee) so well, he said he repeated constantly at work whenever he needed to clear the area.

During a conversation with Marvin’s son, Christopher, another one of the great Marvin movie quotes came into play. I was helping him do some gardening when a weed seemed a little harder to remove than first thought. Automatically, we both uttered the same line his father said to one-armed Spencer Tracy when their two characters first met in Bad Day at a Black Rock:

Henchmen Ernest Borgnine and Lee Marvin watch as Spencer Tracy gets off the train and prepare to confront him in John Sturges’ Bad Day at a Black Rock (1955).

“You look like you could use a hand.”
The laughter and high-fives continued for some time after.

And then there’s his less than stellar film and performance in the all-star cast 3-D opus Gorilla at Large (1954). Marvin’s good friend from his Woodstock days, David Ballantine  told me with tongue planted firmly in cheek that he considered it Marvin’s greatest role. Ballantine told me that his friend’s role as Officer Shaunessey, charged with keeping an eye on the title character, remains his favorite because….well, you’ll have to read Lee Marvin Point Blank to find that out. In the mean time, there’s this memorable Marvin line of dialogue given the weighty dramatic delivery it deserves….

Lee Marvin utters his memorable line to Lee J. Cobb in Gorilla at Large (1954).

“They haven’t made a gorilla yet that can out smart, Shaunessey!”

Hey, any actor can do Shakespeare but let’s hear Olivier bellow out that beauty!
– Dwayne Epstein

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MY FAVORITE FILM FIGHT SCENES, PART 2 OF 5

As stated in the first installment, writing Lee Marvin Point Blank gave me a new appreciation for movie fight scenes. In this second installment of my favorite film fight scenes, the 1950s and early 1960s are rightfully represented….

6. IT’S ALWAYS FAIR WEATHER -1955

(L-R) Gene Kelly, Dan Dailey & MIchael Kidd survery the damage they wreaked aftet their brawl on live TV.

(L-R) Gene Kelly, Dan Dailey & MIchael Kidd survery the damage they wreaked aftet their brawl on live TV.

Let’s be honest, You’re infinitely more likely to see somebody sing and dance down the street then you’ll ever see an intergalactic space battle. Yet the latter rules the current box-office while the former has been relegated to the dustbin of time as being phoney and unrealistic. That’s a shame for many reasons, not the least of which is the amount of talent and ingenuity being wasted by not producing any more original film musicals which was once the bread-and-butter of the industry.
One of the best and least appreciated of the genre was the atypical, It’s Always Fair Weather. Three war buddies vow to remain friends and meet 10 years later only to find they have absolutely nothing in common. Not the plot of a ‘How-are-we-going-to-get-the-show-on’ musical, but an interesting character study that also pokes satirical fun at Madison Ave, professional sports, and most of all that new stranger in the house, television. Gene Kelly had at first thought it would be a sequel to On The Town but opted instead for a dance extravaganza with atheletic Dan Dailey, leggy Cyd Charisse and bite-sized Michael Kidd. I could go on about the greatness of this forgotten classic (it’s the one in which the 3 leads dance with trash-can lids on their feet and Kelly solos on roller skates) but since this about fight scenes check out this movies’ amazing climax. Since all fight scenes are essentially choreographed, who better to show off their prowes in their field than 3 of the best dancers in movie history? Kidd especially shines with rapid movements in, out, down and around the fight but Kelly and Dailey are no slouches. Just watch it some time and see for yourself.

7. BAD DAY AT BLACK ROCK-1955

Robert Ryan (left) sics his bulldog Ernest Borgnine (right) on poor one-armed Spencer Tracy (center).

Robert Ryan (left) sics his bulldog Ernest Borgnine (right) on poor one-armed Spencer Tracy (center).

Maybe not THE most, but certainly one of the most influential fight scenes in movie history. A brillian study on that all-American virtue known as bigotry, director John Sturges and writer Millard Kaufman slowly turn the screws of tension as middle-aged, one-armed, slightly paunchy Spencer Tracy gets shut out in his attempts to find out what happened to his war-time comrade, Komoko, in the sleepy desert town of Black Rock. The film is brimming with great moments (including several with lower-billed henchman Lee Marvin) but the highlight is without question what happens when bulldog-squeezed-into-a-pair-of-jeans Ernest Borgnine taunts Tracy into a fight.
How could Tracy possibly come out alive? As Steve Allen said to me when I interviewed him back in the 90s: “The moment when poor, one-armed Spencer Tracy finally lashed out as the good guy, elicited from a good neighborhood totally white audience the loudest ‘Yeah!’ I ever heard in my life in a movie. I mean you hear it at football games and such but I never heard a [movie] audience do that before.”

8.THE KENTUCKIAN 1955

Director and star Burt Lancaster (left) lays it on bad guy Walter Matthau (right) in Matthau's film debut.

Director and star Burt Lancaster (left) lays it on bad guy Walter Matthau (right) in Matthau’s film debut.

Burt Lancaster made his directorial debut with this film, and although rarely appreciated in his canon of work, it has one of my all-time favorite fight scenes. Walter Matthau made his film acting debut as Lancaster’s nemesis, taking him on with a whip as Lancaster battles bare-fisted. It’s a western, but unlike most westerns it takes place in the early 1800s, tells the tale of a traveling backwoods single father and his young son and, despite some overly talky scenes, has some phenomonally action scenes. It buils to a fight between Lancaster and Matthau, whom we’ve seen is an expert with a bullwhip while all Lancaster has is bare knuckles. Feel sorry for Matthau, who does make you think he has ol’ Burt out maneuvered….for a little while, anyway.
Becuause former acrobat Lancaster directed the film, he gave himself a rousing end scene in which he races through a pond without cutting away in order to stop his enemy from relaoding his flintlock. Must be seen to be believed.

9. WEST SIDE STORY-1961

Richard Beymer (left) as Tony scrambles to help Russ Tamblyn as RIff (center) against rival gang leader Bernardo (right) played by Geroge Chakiris.

Richard Beymer (left) as Tony scrambles to help Russ Tamblyn as RIff (center) against rival gang leader Bernardo (right) played by Geroge Chakiris.

Yeah, it’s a favorite and since there’s very little I can add about this classic that hasn’t been said already a million times, I’ll just go on about what it means to me personally. Oh, other than it’s another example of a movie still chided for being less beleviable than a superhero franchise simply because street gangs don’t go around dancing the mean streets of NYC. Right. But caped crusaders do. Please!
Anyway, when I was a kid and first saw the knife fight ballet, it scared the hell out of me! Seriously.  I bought into the film’s premise completely and since I was just a kid, I picked sides. Russ Tamblyn as Riff was a favorite since seeing him in Tom Thumb and then seeing the gymnasitc dancing he did made him even more a favorite. I still recall being on the edge of my seat during that knife fight and my pounding heart jumping into my throat at the outcome. I really didn’t expect it and watching it today, it still gets to me. Sure, they’re dancing in the fight but it makes it no less belevable to me. I recall George Chakiris once saying that Jerome Robbins taught him the difference in dancing between just movement in step and movement as character and geez, does it show in this sequence. Watch it again and you’ll see what I mean.
Oh, one more  afterthought:  Tamblyn and Chakiris have remained friends through the years and recently, Tamblyn underwent open heart surgery. Apparently it was touch-and-go but when they wheeled him out of post-op one of the people Tamblyn saw nervously awaiting the outcome, was Chakiris. They locked eyes and Tamblyn smiled, held up his hand and snapped his fingers. Is that cool or what? I guess Riff was right: “When you’re a Jet you’re a Jet all the way….”

10. THE MANCHURIAN CANDIDATE-1962

Henry Silva (left) as a VERY savvy houseboy and Frank Sinatra (right) do battle.

Henry Silva (left) as a VERY savvy houseboy and Frank Sinatra (right) do battle.

If a paranoid cold war thriller can be considered perfect, than this is the one.  Why they thought it neccessary to remake it 2004, is beyond me. Well, they didn’t ask me so there you go…..
Anyway, from the very first scene this one grabs you. The opening (suggested to director John Frankenheimer by Frank Sinatra) sets the tone for the unrelenting weirdness to come, all the way up to and including the amazing ending. In the midst of the strange doings, Korean War vet Frank Sinatra, frsutrated over the nightmares he’s experiencing, confronts one of the people in his nightmare, Korean houseboy Henry Silva (!?) Both being combat vets, they tangle in hand-to-hand-combat while Sinatra desperatley tries to extract needed information from Silva. It’s a fight scene that is filmed, edited, and performed in a highly stylized format for the early 60s and consequently, still packs a wallop. A true stand-out in films in general but especially for a film already brimming with stand outs.
I remember seeing an interview Barbara Walters did with Frank Sinatra late in his life in which they toured his Palm Springs home. They then settled in by the pool in which Walters noticed the giant Queen of Diamonds shimmering in the cement beneath the crystal clear water. She then asked Sinatra, “Is that a symbol from your Vegas Rat Pack days?” Sinatra smiled at her and said, “Actually, Barbara, it’s from a film I made years ago called The Machurian Candidate….”
I hate a journalist who doesn’t do their homework.

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STEVE ALLEN’S EXCLUSIVE COMMENTS ON LEE MARVIN

I interviewed the legendary TV pioneer Steve Allen in his Burbank office back in 1997 for a two-part piece that ran in Filmfax magazine. The experience remains one of my favorites as it yielded wonderful anecdotes and observations. At one point during our talk, he asked me what else I was working on. When I mentioned the Lee Marvin bio he offered the following thoughts that didn’t go into the final pages of Lee Marvin Point Blank as he spoke of the experience of seeing Bad Day at Black Rock when it first came out in 1955…..

blackrock

(above, L-R: Dean Jagger, Walter Sande, Lee, Walter Brennan, Russell Collins, Robert Ryan and Spencer Tracy.)
Steve Allen: I still think his marvelous performance in Bad Day at Black Rock — which is one of my favorite movies, anyway — was a powerhouse. One of the reasons that picture was so good was that it had three schmucks in the cast: Lee, Robert Ryan, and Ernest Borgnine. As a result of that clever, accidentally fortuitous story plotting, the moment when poor one-armed Spencer Tracy finally lashed out as the good guy, elicited from a good neighborhood totally white audience the loudest ‘Yeah!’ I ever heard in my life in a movie. I mean you hear it at football games and such but I never heard a [movie] audience do that before.

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