Lee Marvin: point blank PDF
Preview Lee Marvin: point blank
Job Name: -- /344192t Lee Marvin Point Blank D W A Y N E E P S T E I N www.schaffnerpress.com In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t Copyright © 2013, Dwayne Epstein Afterword copyright © 2013 Christopher Marvin Published in the United States All rights reserved. No part of this book may be used or reproduced in any manner without the written permission of the publisher, Schaffner Press. For permission to reprint, contact: Schaffner Press, Inc., POB 41567, Tucson, AZ 85717 ISBN:978-1-9361824-0-4 For Cataloguing-in-Publication Information contact the publisher: Schaffner Press, Inc: POB 41567, Tucson, Az 85717 In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t To My Parents Morris Epstein Royce Epstein 1927-2005 1930-2008 and Claudia Leslie Marvin 1958-2012 In Loving memory In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t CONTENTS Introduction: Marvin Matters vii PART I : BOOT CAMP 1: The Guilty Puritan 5 2: “Dogface” vs. St. Leo 18 3: “I Have Had My Fill of War” 33 4: “These Horrible, Animal Men” 52 PART 11 : IN THE TRENCHES 5: The Merchant of Menace 75 6: “You Look Like You Need a Hand” 91 7: Man in a Straitjacket 107 8: “Lady, I Just Don’t Have the Time” 123 PART III : TAKING THE POINT 9: “Tension, Baby, Just Tension” 143 10: Everybody Gets Their “Vicaries” 159 11: “I Ain’t Spittin’ On My Whole Life” 178 PART IV : THE REAR ECHELON 12: The White Eye 203 13: May the Best Script Win 215 14: The Last of the Wintry Heroes 230 Epilogue: The Inglorious Bastard Sons Of Lee 249 Afterword by Christopher Marvin: My Father 254 Appendix: Important Dates in Lee Marvin’s Life 256 Unmade Films of Lee Marvin 260 Films Lee Marvin Could Have Made 261 Acknowledgments 262 End Notes 264 Bibliography/Author Interviews 279 Index 289 Photographic Credits 302 In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t “You plan the wars you masters of men plan the wars and point the way and we will point the gun.” from Johnny Got His Gun by Dalton Trumbo In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t DWAYNE EPSTEIN Lee Marvin as he is best remembered, in the World War II classic, The Dirty Dozen. Of his own time in the war, he said, “I concluded it’s every man for himself… The most useless word in the world is h-e-l-p.” vi In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t LEE MARVIN : POINT BLANK INTRODuCTION Marvin Matters April 5, 1950, on a windy New York night, twenty-six-year-old Lee Marvin did the unthinkable. For young actors in the 1950s hoping to be the next Marlon Brando or Marilyn Monroe, their Mecca was the Actor’s Studio in Manhattan, which taught the so- called Stanislavsky Method, pioneered by the renowned acting coach Lee Strasberg and the equally venerated director Elia Kazan. It was fated on that Thursday night that Lee Marvin, who was auditing the class, would do a scene to be critiqued by Strasberg. Marvin had prepared a monologue based on the Hemingway short story “The Snows of Kilimanjaro,” in which a man dying of a gangrenous leg wound looks back on the disappointments in his life. When Marvin had finished his piece, Strasberg led the students in deconstructing all that he decreed was wrong with Marvin’s per- formance. He stated coldly that the scene failed since the actor never conveyed the pain of gangrene to the audience. But Lee Marvin, a former combat Marine, informed Strasberg that it was he, the teach- er, who was mistaken. Marvin, having seen the effects of gangrene up close while fighting in the jungles of the Pacific, explained to Stras- berg in the presence of his disciples that in the terminal stage of this condition there is no pain. The small theater fell into stony silence, which was suddenly shattered when Strasberg, furious at being cor- rected by a student, told the young actor to get out and never come vii In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t DWAYNE EPSTEIN back. Marvin had no problem with that, bellowing “fuck you!” as he turned on his heels, never to return. Whereas young non-conforming actors were begging just to get into The Actor’s Studio, Lee Marvin walked out. Although Marvin had shown Strasberg to be the Emperor with no clothes, this school of modern acting still remained Strasberg’s empire. Banished from the realm, and unwilling to conform to Strasberg’s idea of a natural- istic—yet basically still European—method, Lee Marvin continued to toil in the Hollywood dream factories for over a decade before he was finally able to make his mark as a film star. He accomplished this by believing steadfastly that his time would come via a less refined but even more realistic concept based on this incontrovertible truth: Man is a violent animal, and the American male the most brutal of them all. As noble as America had always tried to be in attempting to rise above this tendency, the fact is that this trait towards aggression had existed since the nation’s inception. Benjamin Franklin had said as much in defending the colonies’ right to exist autonomously. Eng- land’s legal concept of a duty to retreat to the wall when confronted by violence was changed in America to standing one’s ground in similar circumstances. It is a peculiarly American point of view that has affected the na- tion’s collective consciousness and culture. Author Richard Maxwell Brown stated succinctly in his book, No Duty to Retreat: Violence and Values in American History,1 “…the metaphorical and symbolic im- pact of the transition from duty to retreat to standing one’s ground is obvious and is crucial to the American identity. In the realms of both peace and war, it is not in the nature of America to approve re- treat. Standing one’s ground is an attitude that has deeply permeated our foreign relations and our military habits as well as the peaceful pursuits of daily life.” American films rarely reflected this violent nature as it truly ex- isted, choosing instead to justify it with nobility and bravado. Lee 1Brown, Richard Maxwell, No Duty To Retreat: Violence and Values in American History. NY: Oxford University Press, 1999, p 6. viii In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option. Job Name: -- /344192t LEE MARVIN : POINT BLANK Marvin, a veteran of some of the bloodiest battles of WWII, knew this better than most, stating some years later in a Playboy interview (January,1969), “In a typical John Wayne fight in a barroom… tables and bottles go along with mirrors and bartenders, and you end up with that little trickle of blood down your cheek and you’re both pals and wasn’t it a hell of a wonderful fight. That’s fooling around with violence. It’s phony; it’s almost a character…” The curtain had slipped from this facade following World War II, when war-weary audiences no longer accepted “the hero in the white hat” mythology. The true American character had peeked through on occasion in such action-oriented film genres as westerns, gang- ster films and war films, despite the puritanical restrictions set forth by production codes and societal standards of decency. While there was still an abundance of vacuous entertainment during the 1950s, a much darker tone was creeping like an uninvited guest into Ameri- can popular culture, and staying long after the party was over. A new breed of postwar male screen icons, beginning with Marlon Brando and rippling out to include the likes of exhibition- ist Burt Lancaster, overly-sensitive Montgomery Clift, and apathetic Robert Mitchum, forced the stalwarts of the old guard to give their performances a previously unknown edge. Consider Tyrone Power in Nightmare Alley or James Stewart’s later westerns and Hitchcock films. Even John Wayne, the champion of American virtue, portrayed such sadistic and psychotic characters as Tom Dunson in Red River and Ethan Edwards in The Searchers. Now, it seemed, movie villains of the era were required to be even more loathsome than ever. Enter Lee Marvin. Middle-aged and not movie-star handsome, the most unlikely of film superstars, he would go on to forge a unique screen persona. He had his own “method” based purely on instinct and personal experience. Serving his apprenticeship by portraying countless villainous demons, he once told fellow grotesque charac- ter actor Strother Martin, “You know, as character actors we play all kinds of sex psychos, nuts, creeps, perverts and weirdoes. And we laugh it off saying what the hell it’s just a character. But deep down inside, it’s you, baby.”2 ix In order to view this proof accurately, the Overprint Preview Option must be checked in Acrobat Professional or Adobe Reader. Please contact your Customer Service Rep- resentative if you have questions about finding the option.
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