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. Try 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 even 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.
Whether popular or not, vinyl soundtracks will always be collectible to your truly,
– Dwayne Epstein


Gorky Park Soundtrack

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Quotes from interviews I conducted was a very big part of my research for Lee Marvin Point Blank but naturally, I could not use every quote I was able to acquire in the two decades of research I trudged through. Thankfully, I have this blog to make up for that aspect of my work. Below are several unused quotes seen here for the first time….


Lee Marvin on the cover of Parade Magazine, a source for quotes from Marvin himself.

Only son and eldest child, Christopher Marvin: He had an effect with a lot of things, like the way he held a glass. He always had that and you see all those people doing that stuff now. He had that kind of trademark in the movies… But he was a real tender gentleman, too. He and I had some real delicate time as well; soul-searching stuff, working together with my father, which I really admire. I appreciated it. I don’t think very many people really have that.

L.A. Times film critic Charles Champlin: Marvin was an interesting man. In some ways, a tragic figure. You always had the feeling about Lee Marvin that there was more work that should have been done…Cat Ballou of course was just a classic piece of film acting and film making, really…. I also have one of those memories of Lee Marvin explaining in Stanley Kramer’s Ship of Fools how he never made it in baseball because he couldn’t hit a curve. That’s my memory…

Cult film director (Two-Lane Blacktop [1971]) Monte Hellman & uncredited director of Avalanche Express (Point Blank, pp. 213-214): He was a very conscientious actor. He was fun to work with. I think of him as a movie star and he had tremendous ease with what he did. He was just really easy and fun to work with. I admired him a lot. I really loved watching him.

Cult director Sam Fuller: He was a no-bullshit guy. Behind his rough-tough guy appearance was a soul as sensitive as the one of a poet. I really regret not having done more films with him. A real pro. Never got in your way. Enhanced every shot with his incredible physique and talent. We never had one mean word or bad feeling between us…. I feel privileged to have worked with him and to have known him.

Director Michael Apted (Coal Miner’s Daughter), The Chronicles of Narnia) and Gorky Park: He was a real joy. He’s one of my best memories of working with actors in my whole career. Anything I think I could add to increasing his esteem in the world of film acting, I would love to do because I think he was a terrific actor…This generation, probably never heard of him. It’s frightening. I loved Point Blank. I always liked watching him. I thought that was a terrific piece of work…. I always liked him from the very beginning.


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