William Shakespeare is not usually a name associated with the likes of Lee Marvin. More is the pity as the actor had several brushes with the bard as recounted in my book Lee Marvin Point Blank. First, as a fledgling postwar acting student at the American Theater Wing (ATW), in which several hilarious anecdotes are retold by David Ballantine, a friend from Lee Marvin’s Woodstock days.
Later, on the set of The Big Red One, in which costar Kelly Ward recounted an amazing incident at sunset in an ancient Israeli ampitheater.
Apparently, my research struck a chord with one who would definitely know more about the subject of William Shakespeare’s work than I ever would. Through the wonders of the digital age, noted actor/writer/historian David Weston sought me out to contact recently and wrote me the following: “I was an actor for more than 50 years and I agree with all you say about Marvin’s talent and magnetism. He would have been game-changing in several Shakespearean roles..”
I was humbled by his words once I found out more about him via the internet. Not only does he know his stuff, he’s married to actress Dora Reisser, who knew Marvin well, ever since her costarring role as Telly Savalas’s victim in The Dirty Dozen. When I asked David if I could use his comments concerning William Shakespeare and Marvin on my blog, he sent me the following mini-essay. To call it a wonderful surprise, is an understatement. Here now is David Weston making the point better than I ever could. Enjoy….
– Dwayne Epstein
Lee Marvin as a Shakespearean Actor
Shakespeare’s plays are full of violence and comedy, two things Lee Marvin revelled in. Titus Andronicus, probably the Bard’s first play, contains mutilation, rape, ripped out tongues and cannibalism. As far as I know Lee Marvin never appeared in a Shakespeare play, although he told my wife, Dora Reisser, that when he was filming The Klansman with Richard Burton, he would make up mock Shakespearean speeches and ask the inebriated Welshman to guess which plays they had come from. I will give some examples of roles in which Marvin could have excelled at various stages in his life. It could have happened. Richard Burton, like Marvin, no the weak spinner of fanciful tales, once told me that Marlon Brando had wanted to join him for a season at the Old Vic, only to be rejected by the board.
As a young actor Lee Marvin was never a Romeo, but he would have been a superb Mercutio [Romeo’s best friend], revelling in the bawdy comedy. His catlike movement would have been ideal for the sword fights and tragi-comic death.
Richard Burton was a pretty good Petruchio [in The Taming of The Shrew], but can you imagine Lee’s drunken antics or his savage treatment of Kate – Gloria Graham’s coffee springs to mind.
Likewise he was born to play Bottom [in A Midsummer Night’s Dream]. Kevin Kline attempted it recently but he would not have touched Lee’s befuddled wonder at acquiring ass’s ears and the love of the Fairy Queen.
His lighting quick humour and savagery would have made him a terrifying yet hilarious Richard III. Kevin Spacey was a pussy cat in comparison.
Sean Connery was the best Hotspur I’ve seen [Henry IV, Part I], but Lee would have run him close.
Shakespeare could have written the part of Pistol, the bawdy braggart, with Lee in mind, but in the same plays in his more mature years he would have been one of the great Falstaffs. I can close my eyes and see him in the tavern scenes, bragging, wenching, hilarious – yet over brimming with pathos, glimpses of which we saw in Cat Ballou.
Marlon Brando was a superb Marc Antony [in Julius Caesar), in what I consider to be the second best Shakespeare film ever made after Laurence Olivier’s Henry V, but Lee Marvin would have been better.
So many actors can play King Lear in their old age – it is in fact one of Shakespeare’s easiest leading roles – but Lee’s fury would have been terrifying and his grief over Cordelia’s death heart-breaking. As a young actor he would have revelled in the sadism of the Duke of Cornwall in the terrible scene when he takes out Gloucester’s eyes.
Last of all Iago [in Othello]. Again the humorous villainy and savagery – Liberty Valence in tights.
There is something for him in every play. It is our loss he was never asked.
– David Weston