TCM’s 31 Days of Oscar is an ongoing annual event for the basic cable channel and this year Lee Marvin is very much in evidence. As the schedule shows, there are a plethora of his films on tap. No less than a half a dozen Lee Marvin gems, that’s right, a full half dozen, for most of February. If needed, here are the air dates (if you want to set your recording device for viewing, check your local listings for times). The Oscars or nominations of each film are listed below. My source? Why TCM’s own resident guardian angel, Robert Osborne from his excellent reference book, 50 Golden Years of Oscar. Okay, ready? Here are the Lee Marvin classics being shown for TCM’s 31 Days of Oscar….

THE CAINE MUTINY (1954) Airs Wednesday, February 5th. Nominated for Best Picture (Stanley Kramer, producer), Best Actor (Humphrey Bogart), Best Supporting Actor (Tom Tully), Best Screenplay (Stanley Roberts), Best Sound Recording (John P. Livadary (Sound Director), Best Film Editing (William A. Lyon & Henry Batista), Best Motion Picture Score (Max Steiner).

Marvin & shipmate Claude Akins in THE CAINE MUTINY.

CAT BALLOU (1965) Also Wednesday February 5th. Marvin won for Best Actor and the film was a also nominated for Best Adapted Screenplay (Walter Newman & Frank Pierson), Best Film Editing (Charles Nelson), Best Song: “The Ballad of Cat Ballou” (Jerry Livingston & Mack David), Best Score (Frank DeVol).

Marvin as Kid Shelleen one of 2-roles he enacted for his Oscar-winning performance in CAT BALLOU

THE DIRTY DOZEN (1967) Again, Wednesday February 5th. Won the Oscar for Best Sound Effects (John Poyner). Nominated for Best Supporting Actor (John Cassavetes), Best Sound (MGM Sound Dept.) and Best Film Editing (Michael Luciano).

Marvin confronts Robert Ryan in the Oscar-winning THE DIRTY DOZEN.

RAINTREE COUNTY (1957) Airs Monday, February 10th. Nominated for Best Actress (Elizabeth Taylor), Best Art Direction-Set Direction (William A. Horning & Urie McCleary; Edwin B. Willis & Hugh Hunt), Best Costume Desgn (Walter Plunkett). Best Score (Johnny Green).

Rod Taylor as Garwood Jones and Lee Marvin as Orville ‘Flash’ Perkins in RAINTREE COUNTY.



BAD DAY AT BLACK ROCK (1955) Airs Saturday, February 15th. Nominated for Best Actor (Spencer Tracy), Best Director (John Sturges) & Best Screenplay (Millard Kaufman).

Most of the cast, excluding Anne Francis, Ernst Borgnine and John Erickson in BADY DAY AT BLACK ROCK.



THE PROFESSIONALS (1966) Airs Monday, February 24th. Oscar nominated for Best Director and Best Adapted Screenplay (Richard Brooks for both), and Best Color Cinematography (Conrad Hall).

(L-R) Woody Strode, Lee Marvin, Robert Ryan and Burt Lancaster as THE PROFESSIONALS.

So there you have it! Further proof — as if any were needed — that Lee Marvin didn’t just make really good action films. He made some of the greatest of all-time! Don’t think you’ll be seeing any Jason Statham titles in years to come on TCM’s 31 Days of Oscar. Just saying.
And of course, rare behind-the scenes stories on all of theses films (and more!) can only be found in Lee Marvin Point Blank.
See ya at the movies.
– Dwayne Epstein

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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.



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Sadly, the ranks continue to thin as we recently lost the great and shamefully underrated, Rod Taylor. Since he had worked with Lee Marvin in Raintree County, I was fortunate enough to secure and interview with him back in July of 1995. Most of the wonderful anecdotes he told me went into the text of Lee Marvin: Point Blank, but in tribute to him, I’ve reposted the entire interview below, complete and unedited. The reason is simple. He was a genuinely nice guy who had no illusions, ego or airs about himself, or the amazing work that he did. I think that shows in the transcript below so I’ll allow his words to speak for him. Rest in Peace, Mr. Taylor. We shall not see your like again…..

Initial script reading for Raintree County with from the left: Screenwriter Millard Kaufman, Lee Marvin, director Edward Dymtryk, Eva Marie Saint, Montgomery Clift, Elizabeth Taylor, producer David Lewis, and costars Jarma Lewis, Nigel Patrick and Rod Taylor.

Initial script reading for Raintree County with from the left: Screenwriter Millard Kaufman, Lee Marvin, director Edward Dymtryk, Eva Marie Saint, Montgomery Clift, Elizabeth Taylor, producer David Lewis, and costars Jarma Lewis, Nigel Patrick and Rod Taylor.

Dwayne: Thanks for getting back to me. I really, appreciate it.
Rod: I wanted to apologize again for not getting back to you sooner but the fucking note pad that had your number on it got misplaced somewhere.
D: Don’t worry about it. I’m sorry I had to run this morning but you started to tell me some anecdotes about working with Lee Marvin.
R: Yes, well like I said, I don’t know how much help I can be because I don’t remember that much. I do have some interesting anecdotes about working with Lee. He had a great sense of humor.
D: Almost everybody I’ve spoken to has said that to me. He must have been something.
R: (Laughs) Yeah, well Lee, and I, used to say we must have had a fucking ball because we don’t remember a thing.
D: I’m guessing you guys must have imbibed a time or two.
R: Those were the days when you could drink like that and still function the next day for work. What was the name of that musical he made?
D: Paint Your Wagon?
R: Yes. He told me he didn’t remember making the entire film. He even sang a song with a monotone. He didn’t remember a thing about it.
D: You worked with him on Raintree County. I know there was lot of problems on that but do you remember what it was like working with him then?

Rod Taylor as Garwood P. Jones & Lee Marvin as Orville "Flash" Perkins

Rod Taylor as Garwood P. Jones & Lee Marvin as Orville “Flash” Perkins

R: Well, the problems were because of Monty Clift’s terrible accident. The studio wanted to make a big budget return to an old type of movie. When you called I was trying to think of some stories and I do remember this one time when we shooting in Kentucky. Monty was with Liz taking their time on a scene working so the rest of us weren’t really needed. Lee and I and another actor, a British actor named Nigel Patrick..
D: He played the Professor.
R: Wow, what a memory. Anyway we were floating down this murky backwater swamp with a still photographer named Bob…
D: Willoughby.
R: Now how the fuck did you know that?
D: He published a book of his work called “The Platinum Years.”
R: He lives in Ireland now if you want to reach him. I think there’s a publicist named Jim Mahoney who knows how to contact him.
D: I’ve been in touch with him. He used to be Lee Marvin’s publicist.
R: Yeah, he was mine, too. He would know how to reach him. Anyway, so Lee and I with Nigel and Bob went on this picnic. Now I’m from Australia and have some knowledge about waters and what not. Bob accidentally dropped this very expensive camera into the water. Everyone looked to the fucking swimming champ. I jumped into this murky water to look for the camera. I looked and looked. Nothing. Lee put down his tall, frosty mint julep, cut through the water like a knife and brought up the camera as if guided by the hand of god while I sputtered and choked on the swamp water.
D: That’s amazing. How did he get along with everyone?
R: Oh, he got along fine. The thing you had to appreciate about him was his sense of humor. He had a great sense of humor but it could be very caustic because it was based on total honesty. I used to work over at Revue and I would see him there becuase he did a show, what was it “M-Squad”? It later became Four Star when David Niven built it. That’s where I made The Time Machine.
D: I love that movie. That’s one of my favorite movies from my childhood.
R: Yeah, it’s held up well over the years.
D: Do you remember any examples of his humor?
R: Not off hand, unfortunately. There was a story you may have heard because it’s been around so long.
D: You never can tell. Which story is it?
R: Somebody, I think it was a casting director asked him what he had done lately. This casting director asked Marvin, “What have you done lately?,” and Marvin responded immediately, “About what?”
D: (Laughing) That’s a great line.
R: That’s the  kind of sense of humor he had.
D: How did he get along with Montgomery Clift?
R: Well, to tell you the truth, they didn’t work that much. I think he felt like I did and felt sorry for him. Lee didn’t socialize much with him. I did that and I was the one who had dinner with him and got mashed potatoes thrown in my hair.
D: Yeah, I heard that Clift did some really bizarre things. Did they get along? I ask because I know they had several scenes together…
R: Lee got along with everybody. People respected Lee for his honesty, his acting ability and he was his own man.

On location in Danville, Kentucky are from the left: Rod Taylor, Nigel Patrick, director Edward Dmytryk (standing), Elizabth Taylor, Montgomery Clift, Eva Marie Saint, Lee Marvin, Agnes Moorehead and Walter Abel.

On location in Danville, Kentucky are from the left: Rod Taylor, Nigel Patrick, director Edward Dmytryk (standing), Elizabth Taylor, Montgomery Clift, Eva Marie Saint, Lee Marvin, Agnes Moorehead and Walter Abel.

D: Do you remember the last time you saw him?
R: Well, I didn’t see him much but I think I saw him in Malibu after the break up of his marriage and that whole mess. I took Lee’s side so I didn’t talk to Betty.
D: Did he ever talk to you about that?
R: Lee understood that to be a private matter and kept it private so I never asked. I know he moved to Arizona when he was smoking too much. But I didn’t see him much after that.
D: One last question. Do you know anybody else I can contact for a possible interview?
R: Have you spoken to Toshiro Mifune?
D: No, But I’d love to.
R: Mifune loved Lee. I had heard a story but it’s third person so you would have to get it confirmed. During Hell in the Pacific, when Lee was up in the tree and was supposed to pee on him, Mifune wouldn’t do the scene unless Marvin really pissed on him. Wouldn’t use water or a double. He told Lee to go drink some beer and come back to do the scene.
D: (Laughs) I know some people who would pay good money for that now. Hugh Grant comes to mind. I’m sorry, that’s a cheap joke.
R: That’s okay. I’ll tell you somebody else you can talk to.The guy who does that show “Walker, Texas Ranger.” He’s a real fucking asshole, though, nothing but ego.
D: Chuck Norris? Yeah, I’ve heard that but it’s part of the job. I’ve talked to all kinds of people. I don’t have a problem with that. I also just remembered something. I read that you worked with Paul Newman in The Rack. Is that true or is that a misprint?
R: No, that’s a misprint. I did audition for Somebody Up There Likes Me. They thought I was a Brooklyn kid.
D: Well, you pulled the accent off well in The Catered Affair. That’s also a favorite movie of mine.
R: Thank you very much. You really are a movie fan.
– END.
-Dwayne Epstein

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