Untroubled good looks, faraway poise & self-control, with a sartyrial smile and brushed-aside sophistication – that’s Bradford Dillman
Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen. It’s this familiarity that signposts for me whatever upcoming diversion I’m in store for, will be something memorable indeed.
He’s been cast as a saint, a psychopath, elite ivy league intellectuals with an edge, unconventional scientists, military figures, droll and prickly individualists, clueless bureaucrats, or drunken malcontents and he’s got a sort of cool that is wholly appealing.
Bradford Dillman was omni-present starting out on the stage, and major motion pictures at the end of the 50s and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made for television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work, intersecting many different genres from melodramas,historical dramas, thrillers, science fiction and horror.
There are a few actors of the 1960s & 70s decades that cause that same sense of blissed out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Warren Oates, James Coburn, David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet ,Joan Hackett , Sheree North, Diana Sands, Piper Laurie, Susan Oliver and Diane Baker. I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heart throbs yet they possessed a realness, likability, a certain individual knack and raw sex-appeal.
Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, senior year he played Hamlet. At Yale he studied English Literature and performed in amateur theatrical productions and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way he father wanted him to.
Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.
He only appeared in two shows in October 1962 of The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.
We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.
Bradford Dillman wrote an autobiography called Are You Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.
“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”
[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”
If you can’t have the real thing– you do all kinds of unreal things.
I LOVE creepy British psycho-sexual thrillers of the 1970s – Goodbye Gemini (1971) with Judy Geesonand Martin Potter, Twisted Nerve (1968) with Hayley Mills and Hywel Bennett, Beware My Brethren (1972) with Ann Todd, and The Night Digger (1971) with Patricia Neal and Nicholas Clay. And then there’s the non-conformist Polish auteur Jerzy Skolimowski with his portrayal of the seamy underbelly of a tawdry swinging London’s Soho at the end of the 1960s — Deep End (1970) similar to his other works – Le Départ (The Departure 1967) and Walkover (1965) all representative of a character disadvantaged by his social class inhabiting a bourgeois realm and in Deep End the story is about young Mike (John Moulder-Brown) set against a classist system that crowds him into a strange world that brings out his unstable burgeoning sexuality.
Like his colleague Roman Polanski,Skolimowski uses water in his films and here in Deep End especially- it is used as a liminal space where the characters may move in and out of reality. It’s significance here is a passage between childhood and maturity and life and death. All of the narrative is geared toward flow and not necessarily structured.
Actor, writer, producer and director Jerzy Skolimowski (King, Queen, Knave 1972, The Shout 1978-actor in Mars Attacks! 1996, Before Night Falls 2000) Here he directs and has written the screenplay with Jerzy Gruza and Boleslaw Sulik for Deep End 1970.
Cinematography by Charly Steinberger who creates a surreal and dreamlike landscape that lends itself to metaphorical interpretations of pubescent angst and awakening, set against a squalid London at the end of the 1960s. With a soundtrack by Cat Stevens using his song under the opening titles ‘But I Might Die Tonight’ and German band The Can with their song ‘Mother Sky.’
Skolimowski uses the recurring theme of the color red in much the way – red was used as symbolism as illustrated in the poster of the blood trailing downward, it reminds me of the same motif used by Nicholas Roeg’s adaption of Daphne du Maurier’s incredibly haunting Don’t Look Now (1973) a particular favorite 70s horror of mine.
Deep End stars cherubic faced John Moulder-Brown (The House that Screamed 1970, Forbidden Love Game 1975) as Mike, Jane Asher as Susan, Karl Michael Vogler as the swimming instructor, Christopher Sanford as Susan’s fiancée Chris, Diana Dors as Mike’s 1st lady client- a ‘withered rose’, Louise Martini as Beata the prostitute, Erica Beer as the Bath’s cashier, Anita Lochner as Kathy.
The grotesque and creepily moving tableau- a seedy Bath house where Mike (John Moulder-Brown) a 15 year old towel boy who’s awakening sexuality is aroused by Susan (Jane Asher-Masque of the Red Death 1964, Alfie 1966) a beautiful red head who provokes and baits his distorted hormonal urges to the verge of madness. Mike is sexually inexperienced and obsessed with Susan until he transforms into a voyeuristic stalker.
Skolimowski’s film is uncomfortable, disorienting, oddly dark, curiously droll and off-kilter in the same way, Polanski’s Repulsion (1965) is with it’s similar eye for detail as cinematographer Steinberger focuses the camera on each particle and trace of the bath house which creates a nightmare world that this disturbed young man inhabits among the other weirdos. In a similar vein as Polanski’s The Tenant (1976) and Cul-De-Sac (1966). Skolimowski was a co-writer with Polanski on Knife in the Water (1962). The film is littered with subconscious outré and offbeat imagery and weird and unsavory characters and we can see a bit of influence from Polanski at work.
Skolimowski (left) and Polanski (right)
Jane Asher’s character of Susan, a slightly older co-worker turns Mike onto the secret world that goes on in the private rooms of the bath house where certain of the clientèle indulge in their deviant proclivities and are willing to pay for it. Among them is the blonde Rubenesque British actress Diana Dors who taunts Mike in a libidinous bizarre scene.
Skolimowski refers to Dors type of character as a “withered rose’ the presence of an older woman who once was famous for her sex appeal but is now pathetic as she tries to seduce much younger men or comparing herself to favorite male past times as seen with the Physical Ed teacher (Karl Michael Vogler) who was in reality older that Dors. And with Mike whom she taunts unmercifully.
Susan is not serious about her fiancée Chris, she participates in various private sexual encounters with clients at the baths, and gets perverse gratification out of turning on Mike, until he realizes that she is having a deeper affair with his former teacher.
“Mother’s Sky” is utilized in a great scene where Mike stalks Susan ‘the object of his fixation’ to a London Club, and then moves onto a seedy strip joint where his dreams become even more subverted when he sees the large cardboard cut out of Susan, then he meets an old prostitute, and finally we follow them to the London Underground where he confronts her. When Mike’s obsession devolves it ends with tragic consequences as the story plays out with the quivers of young sexual innocence that quickly turns from disturbing pervy fixation to the kinky shivers of death. John Moulder-Brown is so perfect at playing at radiating a damaged boyish psyche.
If you love to luxuriate in odd British psycho-thrillers like I do, then Deep End will certainly fulfill that fancy mate!
Your EverLovin’ Joey saying, stay out of the deep end, and bring your own towel!
“I refuse to be stereotyped. Look at me. Never mind my color. Please look at me!”
WHY ISN’T THERE A BIOPIC OF DIANA SANDS’ LIFE?
I can’t help being drawn to Diana Sands’ startling equilibrium, her fire. Her complex and multi-layered performances. I see her as a Black Woman. I see her as a woman. I see her as ubiquitous. Diana Sands refused to be typecast in roles that were confining and dishonest. I can imagine that she forged an inroad that would later influence incredible dramatic Black actresses like Alfre Woodard or Angela Bassett, women who exude that similar fire and vibrancy from the depths of their souls.
I think of Diana Sands and I think of an inner strength that burns it’s way to the surface until it’s so bright you feel it pierce your skin. There is an essence of a powerfully self-possessed woman who broke ground with her captivating performances in the early 1960s to the mid 1970s. I don’t like the phrase “color blind” it evokes an irresponsibility not to see inequality. But that is not what Diana Sands is saying in her quote. That’s not what she is asking of us.
So I am using her own words but want to be clear about how I feel in this post honoring one of the great actresses of all time during Black History Month. We need to recognize each other. It’s essential not to try and erase any aspect of who we are and we need to be conscious of those differences in a positive way, while we embrace what we all have in common and can relate to universally.
Diana Sands had to fend off the offensive scrutiny, the “mysogynoir‘ of being referred to by some 70s critics -one whose name I refuse to even give a moment’s attention here except to pluck out two terms from the ignorant context of his entire, misguided and disrespectful review. Who referred to her role as “cute” in terms of her being a Black woman trying to find herself and “afrocentric” in her performance as Beneatha Younger (A Raisin in the Sun). What she was, was a dynamic, courageous woman who aspired to become a doctor. That isn’t cute. That is the story of real passion and possibility and a god-given right.
Diana Sands as Beneatha Younger, seen here with Claudia McNeil, Ruby Dee, Sidney Poitier and Ivan Dixon.
As a white woman writing this post I want to just say one more thing. We need to see our own privilege and not be afraid to acknowledge that racism exists. I hope I am a good ally and when I pay tribute to a person of color, that I remain mindful to honor them fully and respectfully. I do see Diana Sands color. I see it as a strength and a dignity in all her pioneering roles. I see her emerge from a sea of white faces. She will not be marginalized, stereotyped and shut out of the conversation.
I began to follow Diana Sands’ career years ago, compelled by her dramatic, electrifying presence in film and in television. Growing up in New York, I wish my theatre mother would have taken me to see her on stage. She is remembered for her striking performance as Beneatha Younger in Lorraine Hansberry‘s play A Raisin in the Sun about the struggles of a poor black family from the side south of Chicago who have to decide about the direction their lives will take- “What Happens to a Dream Deferred?”
What happens to a dream deferred? by Langston Hughes
Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
The title A Raisin in the Sun was inspired by Langston Hughes’ powerful poem. The inspirational masterpiece that is A Raisin in the Sun is made all the more remarkable by the performances of the ensemble cast and standing out for me, though Poitier always grabs me by the guts and strums my heart strings, is his progressive sister Beneatha brought to life by Diana Sands with instinctual contemplation that was her acting style.
She was marvelous as sassy Fanny Johnson, married to a Black activist Copee (Louis Gossett Jr.) in Hal Ashby’s (Harold and Maude 1971, The Last Detail 1973, Being There 1979) The Landlord 1970. The story of Elgar Enders a young wealthy white New Yorker (Beau Bridges) who buys a tenement building in a low-income neighborhood afflicted by white-flight and going through gentrification. Elgar Intends to evict the black residents so he can turn it into a luxury apartment building and live there all by himself. The cast is rich with superb performances by Pearl Baily, Mel Stewart, Lee Grant, Louis Gossett Jr, and Marki Bey as Lanie. In Ashby’s thought provoking method, it’s an interesting meditation on race during the close of the 1960s.
Diana appeared in innovative television dramas, such as the innovative socially conscious series East Side/West Side 1963-1964 that dealt realistically with social problems. The gritty series starred Cicely Tyson, George C. Scott, and Elizabeth Wilson as social workers in 1960s New York City. Sands appeared on several episodes of the 1960s series The Doctors and the Nurses which I am desperately waiting for it to somehow be released on disc. The groundbreaking series surrounded the lives of nurses who in their daily lives confront socially relevant issues. Diana Sands even graced one of my favorite television series The Outer Limits in 1964 as Dr. Julie Harrison in the episode “The Mice”. She also played Dr. Marylou Neeley who went head to head with Chad Everett (who always wore clogs and his scrubs 2 sized too small, but who would mind!) in Medical Center’s episode “The Nowhere Child”. She appeared as Nurse Helen Straughn having an affair with Richard Crenna in George Schaefer’s pulpy Doctors’ Wives 1971, and as Cora in Willie Dynamite 1974 the title played by Roscoe Orman, a nasty piece of work who has a license plate that says Willie on the front and Dynamite on the back! As Cora, Diana Sands played a prostitute turned social worker who helps other prostitutes get out of jail and find a better life, while also trying to battle the badass pimp Willie who is smacking women around.
I am trying to track down a copy of An Affair of the Skin 1963 co-starring Viveca Lindfors and Lee Grant, LOVE them both, and Georgia, Georgia 1972 written by Maya Angelou. If anyone has a lead on where I can purchase either film please drop me a note here at The Last Drive In.
Diana Sands Broke Barriers In Theater and On The Big Screen
“If youre familiar with Sands work at all, its probably owing to her memorable portrayal of Beneatha, the Younger familys willful, progressive aspiring doctor, in the 1961 film adaptation of Lorraine Hansberry’s A Raisin in the Sun. But by then, she had already established herself as a living walking testament to the power of risk-taking. Sands grew up in the Bronx with working class parents, her father a carpenter, her mother hatmaker. After high school graduation, she toured with a carnival before returning to New York and joining Greenwich Mews, a multicultural theatre repertory. She worked night jobs to survive, before scoring her first theatre roles (one of the earliest was the stage production of A Raisin in the Sun). By 1964, her star was rapidly rising. She won an Obie for the play, Living Premise, and a Tony nomination for her role in James Baldwins Blues for Mr. Charlie.
This was also the year that Sands became a pioneer in colorblind casting as one of the first ever actresses to earn a role intended for a white actress, without any line rewriting to explain or accommodate her race. She played opposite Alan Alda as his love interest as a would-be actress to his would-be writer. When the film was adapted for screen, Barbra Streisand was cast in her role, but by that time, shed already garnered a great deal of positive press and audience notice. Television came a-courtin and she eventually earned two Emmy nominations. Sands acted through the sixties in various theatre and TV roles. In 1970, she scored her first costarring film role in Hal Ashbys The Landlord. But the early 70s would mark the end of a steady and promising rise toward superstardom.”
Diana Sands was born in New York City, the Bronx to be exact, on August 22, 1934. She was a student at the New York City High School for the Performing Arts and a member of the Actor’s Studio. Nominated twice for a Tony Award and twice for an Emmy. She took risks and challenged racial barriers taking on roles that traditionally would have been performed by white actresses. She also fought against a system that marginalized black actors and their roles, becoming a driving force that saw an integration of the cast members.
In 1953 Diana made her debut in the off-Broadway play “An Evening with Will Shakespeare” She went on to appear in George Bernard Shaw’s “Major Barbara” in 1954, also performing in the theatrical production of “The World of Sholem Aleichem.”
Her striking work is notable as she is the first Black actress to be cast in a major Broadway play. Cast in “Land Beyond the River” in 1957 and then appearing in “The Egg and I” in 1958.
It was in 1959 that Diana Sands made her memorable debut as the astonishingly nuanced Beneatha Younger in Raisin in the Sun, in which she won the Outer Circle Critics’ Award, eventually manifesting that magnetic performance in director Daniel Petrie’s (Resurrection 1980) film adaptation co-starring Sidney Poitier, Ruby Dee, Claudia McNeil and Ivan Dixon.
And I want to give a shout out to the incredible contribution by fine actress Claudia McNeil(Bernice Sadie Brown in Member of the Wedding 1958for The Dupont Show of the Month, Mrs. Quincy in The Last Angry man 1959, Mrs. Hill in television series The Doctors and The Nurses 1963, Madam in There Was a Crooked Man 1970, Odessa Carter in Incident in San Francisco 1971 tv movie, Granny Marshall in Tv’s Mod Squad 1972, Sara in Moon of the Wolf 1972 tv movie, Mu’ Dear in Black Girl 1972, To Be Young, Gifted and Black 1972 tv movie, Ethel Hanson in Cry Panic 1974 tv movie, Big Ma in Roll of Thunder Hear My Cry 1978, Sister Will Ada Barnett in Roots: The Next Generation 1979) as the matriarch, Lena Younger in A Raisin in the Sun. An extraordinary actress herself who deserves the spotlight too. Partly what worked for Hansberry’s story is the chemistry and confluence of the entire cast.
Diana Sands returned to the stage in 1962 appearing in “Tiger Tiger Burning Bright.”
In 1964 she took on two outstanding roles onstage as Juanita in James Baldwin’s “Blues for Mr. Charlie” she was nominated for a Tony Award for Best Featured Actress in a play. She co-starred with Alan Alda as Doris W. in the The Owl and the Pussycat, originally offered to Kim Stanley another actress I find mesmerizing to watch, when Stanley was unavailable, with the script intentionally not re-written for a Black woman went to Diana Sands and once again she nominated for a Tony Award for Best Actress in a Leading Role.
In 1968, she was back on stage at the Vivien Beaumont Theater as the first Black woman to play Saint Joan of Arc in George Bernard Shaw’s play “St. Joan.”
In the beginning of the 1970s Diana Sands among other notable Black actors such as Ossie Davis and Brock Peters, who wanted to feature more positive roles for African-Americans in films, and so they founded Third World Cinema. One of their first productions was the film Georgia, Georgia written by Maya Angelou. Diana Sands plays Georgia Martin a Black woman artist struggling to find herself.
From a New York Times article printed in Feb 1971, A.H. Weiler writes that Third World Cinema Corporation founder and President actor/director Ossie Davis planned on filming The Billie Holiday Story which would have starred Diana Sands. How incredible would that have been.
In hopes of creating an independent film corporation, Sands and her colleagues hoped to ensure that there would be better opportunities for positive portrayals of African-American and People of Color, that would ensure films that presented Black actors with outstanding roles that were versatile and representational rather than stereotypes and limiting. “A group of black and Puerto Rican actors, writers and directors, backed by union leaders and public officials, have joined to form the minority‐controlled Third World Cinema Corporation, an independent company that plans to produce feature films and train minority group members in the film and television fields.”
Above image from the movie, Georgia, Georgia 1972.
In 1974 Diana Sands was ready to take on the role of Claudine, tragically suffering at this point with pancreatic cancer she was too ill by this time, and the part went to friend Diahann Carroll.
As Beaneatha Younger in 1959 A Raisin in the Sun, as Adelaide Smith in Tiger, Tiger Burning Bright 1962 (Theatre World Award), The Living Premise 1963 (Obie Award Distinguished Performance), Doris W. The Owl and the Pussycat 1964, Juanita in Blues for Mr. Charlie 1964, The Premise 1965, as Ruth in We Bombed in New Haven 1968, as Cassandra in Tiger at the Gates 1968, as Joan in Saint Joan 1968, The Gingham Dog 1969.
As Dr. Julie Harrison in The Outer Limits “The Mice” 1964, in East Side/West Side 1963-1964 as Jane Foster “It’s War, Man and Ruth Goodwin in “Who Do You Kill?” As Sara Harris in Breaking Point 1964. As nurse Ollie Sutton three episodes of The Doctors and The Nurses 1962-1964 and Andrea Jagger in the episode “Night Shift”. In four episodes as Irene Rush along side James Earl Jones (whose wife she played in East Side/West Side episode Who Do You Kill?) In Dr. Kildare 1964, as Dr. Rachel Albert in I Spy 1966 “Turkish Delight”, as Davala Unawa in The Fugitive 1967 “Dossier on a Diplomat” as as Mrs. May Bishop in Bracken’s World 1970 “Will Freddie’s Real Father Please Stand Up” as Cousin Sara in 5 episodes of Julia 1970-1971, as Dr. Marylou Neeley in Medical Center 1971 “The Nowhere Child.”
As Nurse Ollie Sutton from the episode “Imperfect Prodigy” – The Doctors and The Nurses 1964 television series
As Ruth Goodwin in the episode “Who Do You Kill?” from the television series East Side/West Side 1963
As Davala Unawa in The Fugitive 1967 “Dossier on a Diplomat
As Dr. Julie Harrison in The Outer Limits episode “The Mice” 1964
As Irene Rush in Dr. Kildare “The Hand that Heals” 1966
As Dr. Marylou Neeley in Medical Center 1971 “The Nowhere Child.”
As Fanny in Hal Ashby’s The Landlord 1970
As Helen in Doctors’ Wives 1971
As Cora Williams in Willie Dynamite 1974
Appearing in two extraordinary films, Diana Sands still stood out…
Uncredited as a homeless woman in Elia Kazan’s A Face in the Crowd 1957, uncredited as a club hostess in Odds Against Tomorrow 1959, as Beneatha Younger in A Raisin in the Sun 1961, as Janice in An Affair of the Skin 1963, as Mila in Ensign Pulver 1964, as Fanny in The Landlord 1970, Helen Straughn in Doctors’ Wives 1971, as Georgia Martin in Georgia, Georgia1972, as Nancy Newman in The Living End (tv movie) 1972, as Cora Williams who co-stars with Thalmus Rasulala (Dr. Gordon Thomas in Blacula 1972) in Willie Dynamite 1974 and as Laura Lewis in Honeybaby, Honeybaby 1974.
Thank you Diana Sands… You touch me with your powerful presence and I am deeply saddened that you left us at age 39, so young, too soon, and I wonder what might have been.
It’s that marvelous time again, when one of the most enjoyable Blogathons has come around, it’s the 7th Annual What A Character Blogathon. And the reason I adore it so much –it’s purpose is essential in paying tribute to the memorable character actors who have often added the sparkle to the cinematic sky of movie stars– they touch our lives so profoundly because of their unique contribution as the characters they bring to life!
I want to thank Aurora of Once Upon a Screen, Paula Guthat of Paula’s Cinema Club, and Kellee Pratt of Outspoken & Freckled. for giving me the opportunity to once again show my sincerest love for the actors & actresses who are so discernible within the art of film, television and theatre. It is their unforgettable performances that make it a much richer, a more compelling experience — as they are as much the stars who inhabit the dream of art because of their singular personalities.
I’ve been participating now for 7 years, and it’s always a great expedition to delve deeper into the career’s of the people who I’ve found the most enigmatic, extraordinary and uniquely engaging. This year I’ve been excited to pay special attention to two remarkable women, Eileen Heckartand Louise Latham.
For years I have always thought of these two women together, as one of those odd associations–yet unexplicable– that makes you put certain faces or impressions together in your head. Another example of two actors that often seem to merge in that vast noggin of mine — I’m always thinking of E.G.Marshall and Eli Wallach together. Heck, maybe, next year I’ll do the same double feature for them. As I adore them both!
It struck me that I should pair Eileen and Louise as a kind of sisterhood, for both of their uniquely extraordinary styles stand out and somehow stand together for me. And an interesting confluence happened as I went on my more intensive journey of discovering of these two fine actresses. I found out that Eileen Heckart and Louise Latham appeared together in a rare episode of The Doctors and The Nurses an hour long television medical drama that ran from 1962-1965. In a macabre tale reminiscent of a Robert Bloch story — the episode is called Night of the Witch, about a woman (Eileen Heckart) who is tortured by the loss of her 6 year old daughter, and seeks her own brand of retribution from the medical staff she believes is responsible. The hospital receptionist who is cold and unfeeling is portrayed by none other than Louise Latham. The fascination I’ve had to see this performance led me to hunt down a rare copy and now I own it and have put together a sample of it here for you. It’s a rather long clip of the episode in honor of them appearing together. It showcases both their talents. I hope you enjoy the excerpt And I am praying that the television series itself will someday find a full release as it is worthy of being re-visited for it’s groundbreaking content, incredible cast and performances.
As in past What A Character Blogathons, Burgess Meredith, Ruth Gordon, Agnes Moorehead, Martin Balsam, and Jeanette Nolan–each of these actors– had a way of elevating every single project they were involved in, making it just that much more fascinating, delightful, heart wrenching and unquestionably memorable because of their performance–no matter how small their presence, they changed the landscape and impacted the narrative.
It is my absolute honor this year to feature two of the most remarkable women whose legacy still lives on.
“You’re so pretty it’s a shame you have to die, it will be quick, but it won’t be easy. You’ll die of fright”
Tourist Trap (1979) A Charles Band Production. Written and directed by David Schmoeller, (Puppetmaster series) co-written by J. Larry Carroll, director of photography Nicholas von Sternberg, music by Pino Donaggio (Don’t Look Now 1973, Carrie 1976, Dressed to Kill 1980, The Howling 1981, Body Double 1984) Art direction by Robert A. Burns (who worked on The Texas Chainsaw Massacre 1974, which like Tourist Trap also had minimal gore and no nudity), special effects by Richard O. Helmer and make-up by David Ayers, Robert A. Burns, Ken Horn, Ve Neill and and Karen Stern.
Stars Chuck Connors (The Rifleman, Soylent Green 1973, The Horror at 37, 000 ft. 1973, Nightmare in Badham County 1976 tv movie) as the creepy Mr. Slausen. Chuck Connors had actually sought out the part of Mr. Slausen stating that he wanted to be the Boris Karloff of the 1980s! It is a very good role for him indeed, as he is perfectly peculiarly menacing and off-beat.
Jocelyn Jones plays Molly-the virginal final girl who just happens to be the daughter of amazing character actor Henry Jones!
Jon Van Ness (The Hitcher 1986) as Jerry, Robins Sherwood (Death Wish II, Blow Out 1981) as Eileen, Tanya Roberts (Charlie’s Angels, Sheena:Queen of the Jungle 1984) as Becky, Dawn Jeffory as Tina, Keith McDermott as Woody, Shailar Coby as Davey and Albert Band and Linnea Quigley as Mannequins.
The reason I hold onto my VHS tapes (as sad and worn as they are), instead of buying the Blu-ray version with better quality and vivid colors, is unfortunately that the newer version is cut down making it a shorter version of the movie. I’ll wind up with the new release but I’ll never let go of my VHS unless it disintegrates into analogue dust and goo in the Rubbermaid container!
Tourist Trapwith its sublime moments of terror will forever stay burned into my memory for its original brand of creepiness, partly due to the animated mannequins, the sense of isolation and dread and Pino Dinaggio’s enigmatic melodically robotic score incorporating ghost town saloon tinny piano sounds, and wind up toys, that drives the story perfectly! This to me is undoubtedly one of THE scariest films of the 1970s decade of horror. Not just the mannequins that play a factor in the level of freakiness, it’s the fact that the victims themselves get transformed somehow into mannequins themselves. Yes, they do, indeedy they do!
A group of young people driving in one of those jeeps called ‘the thing’ of the late 70s go for a trip out in the desert but of course as it is with all these pictures in order to set up the chilling story line, they must become stranded! Fortunately they break down by Slausen’s Lost Oasis, a tourist-trap museum run by the deranged Mr. Slausen, which is filled with a collection of remarkable automatons and life like-mannequins and some who are even gun slingers (you’ll find out)
These unusually menacing figures can not only move, they also possess the powers of telekinesis. Slausen (Connors who is effectively creepy in this macabre dark fairy tale about getting lost and winding up at the wrong house) might be the one who has the power to move objects at will, but either way, the film becomes a manic fun-house ride that is incredibly frightening as well as suffocating because they are trapped at the Lost Oasis. One by one, Slausen dispenses with the group except for Molly who has caught his eye, and animated his you know what, if you catch my drift. Actually, we get a little back story as Slausen tells Molly “you remind me of my wife.” whose likeness or life itself has been dedicated to wax in the museum.
The beauty of Tourist Trap is in it’s restraint to use violence or gore, it is intense, lurid, tacky and wonderfully 70s style horror. It’s the moodiness of the surroundings and the idea that wax dummies are dangerous, not to mention the paraffin masks that Slausen & Davey wear that is wholly imaginative and injects something incredibly spine-tingling into the non-human atmosphere. With screaming mannequins, their grotesque mouths gaping open in a choir of falsetto!
Don’t expect to learn the deep dark secrets of the mannequins powers or whether Slausen and Davey are the same man as you’ll never see them together at the same time, and Shailar Cobey is credited as playing Davey. There just are no sign posts in this film, no clear explanation for any of the goings on, it is as ephemeral as a twisted dream. It is as I said, a Fun-house ride through creepy-ville. And Connors is spectacular as a hyper-sexual, lonely man-child who has too many toys to play with or I should say not enough living dolls. There are hints of House of Wax (1953)starring Vincent Price, though the narrative is different, the essence of what makes the story terrifying is the mania of the antagonist’s medium of sculpting wax over living bodies. Tourist Trap, is nightmarish, deliciously campy, disorienting, frightening and wickedly fun to watch as the mannequins invade the space, where there is no where else to run.
Mr. Slausen: “Oh sure, help yourself… but it doesn’t work. I got nobody to call.”
Davey: [deep, raspy voice] “We’re going to have a party!”
Davey: “My brother always makes me wear this stupid mask. Do you know why? Because I’m prettier than him.”
The script originally called for nudity, but Schmoeller said he was too bashful and embarrassed to bring it up with Tanya Roberts and the other actresses during casting. When they got to the lake scene, he finally asked them if they’d be willing. The collective answer was no.
Stephen King praised the film in his book Danse Macabre, especially its frightful opening scene.
Director David Schmoeller was startled when the film received a PG rating despite its disturbing subject matter. Schmoeller stated in an interview with TerrorTrap.com that he felt the film would have been more commercially successful had it received an R rating.
The mannequin who gives the female lead something to drink is actually Schmoeller’s then-wife. The mannequin originally had 2 lines, but Schmoeller had them edited out during post-production. She then never forgave him for that.
Tanya Roberts insisted on running through the woods barefoot in one scene. She thought it would help her better project a sense of pain and fear. The result was also that her feet were bloodied.
Pino Donaggio’s fee for composing the score was one sixth of the movie’s budget.
The plaster used in the death scene was actually dough.
Though the masked killer was called Davey, the production crew have since dubbed him “Plasterface”.
Tourist Trap was actually based on David Schmoeller’s senior film project at film school. (According to Schmoeller’s commentary on the 20th anniversary DVD)
Jon Van Ness did his own stunt when he jumps through the window.
Jocelyn Jones was a classically-trained actress, whereas Chuck Connors was self-taught. During filming, Connors would often ask Schmoeller why Jones would have to go through various routines before filming scenes (such as breathing exercises.) (According to Schmoeller’s commentary on the 20th anniversary DVD.) Shot in twenty-four days.
Irwin Yablans reportedly hated Pino Donaggio’s score for the film, as Yablans wanted another synthesized score in the same tradition as John Carpenter’s Halloween.
This is your EverLovin’ MonsterGirl saying If you happen to break down near a tourist trap anywhere USA, just wait for AAA!
“After the sun has set and the night wind has died comes the hour of the bat people!”
Directed by Jerry Jameson(The Mod Squad 1968-1972, The Over-The Hill-Gang 1969, The Six Million Dollar Man 1974, Mayberry R.F.D 1968-1970, Airport ’77) and Cinematography by Matthew F. Leonettiwho was director of photography on Poltergeist 1982, Breaking Away 1979 and more- check out his impressive IMDb page. With make up by Stan Winston.
This is an obscure 70s low budget horror film, the likes which were cropping up all over drive ins and little art house movie theatres in the mid 1970s.
The Bat People stars Michael Patakias Sgt.Ward who begins to investigate and hunt down the vampire bat people. Stewart Moss (who did a lot of television from 1960s-1990s) plays Dr. John Beck who studies bats and Marianne McAndrew (again, lots of tv series and tv films) is Cathy Beck, John’s new bride.
Dr. Beck is bitten by a bat while exploring Carlsbad Cavern (location used on many sci-fi films of the 50s-70s) , and then begins his transform into a hybrid man/bat, who doesn’t want to bite innocent people for their blood. Will his wife be able to help or will she become infected too!?
The Bat People has the perfect stylistic look of a great obscure made for television 70s treat though it had it’s own theatrical release. It’s a guilty pleasure for those of us that enjoy rare looks at 70s drive in oddities!
Your EverLovin’ MonsterGirl saying we’re going batty over here at The Last Drive In!
I feel compelled now to lead this post with the image of Burt Reynolds centerfold for Cosmopolitan in 1972. Since Facebook has been doing a mad dash to inflict their scrutiny & censorship , not on Russian interference, no… but on a rather tame and harmless image of an American icon’s virility…
Burt Reynolds regretted having done the lay out for Helen Gurley Brown, believing that it marred his career. In retrospect, I believe it was a bold and unprecedented move for a beloved male sex symbol and top box office star.
Here’s a special A Trailer a Day Keeps the Boogeyman Away! in honor of an American Icon, featuring one of my favorite directors- Robert Aldrich’s The Longest Yard1974 which showcased Burt Reynold’s talent as an actor demonstrating that he wasn’t just a macho stud and then he permeated the screen with his authentic brand of cool in John Boorman’s savage commentary on humanity & survival in Deliverance 1972. Here’s a few great film trailers to remember him by…
I won’t say “Goodbye Burt Reynolds”, I’ll just say see you in the movies, Your EverLovin’ fan Joey
It’s great to once again be contributing to this wonderful blogathon. It’s become my favorite event each year. And I’m grateful to all three marvelous bloggers who put this bash together! It’s a fantastic line up so stick around for the next few days and enjoy the tribute being paid to those wonderful character actors and supportive players who made the movies full of… well CHARACTER!!!!!
This year I’m focusing on one of my all time favorites, one of those great familiar faces–Martin Balsam!
“I think the average guy has always identified with me.“-Martin Balsam
“The supporting role is always potentially the most interesting in a film.”
“I’ll tell you, I still don’t feel whatever change you’re supposed to feel when your name goes up above the title. I think that’s because this star thing has never been the first consideration with me. Never. The work has always come first.”
Martin Henry Balsam nicknamed “The Bronx Barrymore” by columnist Earl Wilson, was born November 4, 1919 in the Bronx to Lillian and Albert Balsam. His mother was born in New York City to Russian Jewish parents, and his father was a Russian Jewish immigrant. Martin Balsam is like a comfortable friend, he could even be my father.
Martin participated in the Drama Club at DeWitt Clinton High School in New York. After high school, he attended the New School for acting. But when WWII started, he enlisted in the U.S. Army Air Force. After WWII, Martin worked as an usher at Radio City Music Hall, and was selected by Elia Kazan and Lee Strasburg to join the Actors Studio. A struggling actor living in Greenwich Villege, Balsam started acting on Broadway in the late 1940s,“I ate a lot of mashed potatoes in those days. It was 1950 and I was 30 years old… I thought I had better learn to do something with my hands before it was too late.”He finally established himself as an actor in 1951 in Tennessee Williams’ “The Rose Tattoo.” He won a Tony for “You Know I Can’t Hear You When the Water’s Running” and an Obie for “In Cold Storage.”
After his success on Broadway, Balsam began working in television, becoming known for regular parts on shows like the United States Steel Hour, The Philco-Goodyear Television Playhouse, Studio One in Hollywood, and the Goodyear Playhouse. In 1955 he starred in episodes of Alfred Hitchcock Presents and The Twilight Zone, and as a result was offered the supporting role of Detective Milton Arbogast in Psycho (1960). After Psycho, he played strong parts in films like Breakfast at Tiffany’s (1961), Cape Fear (1962) and The Carpetbaggers (1964). In 1965, he won an Academy Award for Best Supporting Actor for “A Thousand Clowns.” His later television appearances included a regular role as Archie Bunker’s Jewish business partner Murray in “Archie Bunker’s Place.”
During his 50 year film career he worked with top film directors like Alfred Hitchcock, Elia Kazan, Martin Scorsese, John Frankenheimer, and Sidney Lumet. After his success in the U.S., he accepted roles in European films, spending much of his later years in Italy.
Balsam was married 3 times. Actress Talia Balsam is his daughter, with his second wife, actress Joyce Van Patten. He died while in Rome from a heart attack on Feb. 13th, 1996 at age 76. He was survived by his third wife Irene Miller and three children, Adam, Zoe and Talia.
Balsam could play anything: a vengeful mob boss, a blustering pompous politico, a Mexican stagecoach driver, an Italian train line director, a flaming antiques dealer/caper crew member, a disgruntled subway motorman turned lukewarm hijacker with a tale-tell head cold.
Balsam could either play at being the old school seasoned good cop, or the jaded bad cop, a humble talent agent scraping by to make a living but comfortable with who he is, an average Joe, he was perfect as a non confrontational jury foreman, an over-eager opportunistic Colonel, or a quirky snake oil salesman in the wild west who keeps losing parts of his body. Several times he played the old Hollywood studio mogul, and a private investigator who gets more than he bargains for when he meets a psychotic old lady wielding a very large knife at the Bates Motel. And many more supportive parts that helped the sum total of whatever he was performing in to become even better because of his presence.
For over 55 years Balsam entertained us on the theatrical stage, in feature films, in television plays and tv series as well as serious made for tv movies. His roles run a wide range since his first appearance in 1949’s tv show Suspense, to later on appearing in several Italian crime thrillers in the 70s.
Martin Balsam is an everyman. His familiar comfortable face and voice is easy for us to make a connection with because he appears to be one of us. My father was raised in the Bronx and also worked in the garment district like Martin’s father -til the mid 70s- I myself am a Russian Jew. Whenever I see him in something I think to myself, now we have the whole mishpocha, he’s like kin!
Every performance of Martin Balsam seems to be seasoned with a dash of significant flavor -his presence always makes whatever he’s appearing in more potent, salient and that much more comprehensible.
He more often in his roles exudes an authentic and, likable personality. Balsam is a ubiquitous guy, his performances always manage to deliver an extra special bit of realism or something familiar that makes it feel special. He exudes true accessibility as an ordinary 5’7 guy. But he also has the ability to transcend that average guy persona we can relate to and adopt a quirky either lovable or despicable character. Yet- he is not only the everyman. He’s also one of the most versatile actors, never playing the same character or role twice. Sometimes mild-mannered, sometimes bombastic, at times a face of still waters, at times a volatile geyser of emotions!
While he does epitomize the ordinary guy, Balsam stretched his range that included Italian crime films, serious teleplays, made for tv movies, feature classic films as well as a few quirky offbeat films
It may seem easy to be an ‘everyman’, to portray an ordinary fella whose personality is based on conformity and quiet acquiescence. But to be a regular guy who possesses many layers and dimensions, who isn’t just a flat cut out figure to fill out the plot… that takes talent, that is acting magic!
Martin Balsam draws you in and makes the experience memorable. That’s what makes him one of the most versatile and recognizable actors. I wish I had been able to see him on stage in the theater, but I regret that I was too young to experience that great time in our culture when the New York City theatre was thriving with Strasberg trained actors.
Martin Balsam has been imprinted on our collective consciousness with his legendary death scene in Hitchcock’s Psycho 1960 as Detective Arbogast who gets up close and personal with Norman’s knife wielding rage filled mother only to stumble backwards (wonderful bit of camerawork by John L. Russell) down the staircase at the Bates Motel—the quintessential cinematic scene still remains a shocker today!
While Jason Robards delivers a superb portrayal of an iconoclast living outside of society, railing against conformity, trying to raise his wonderfully compassionate nephew in search of a name, played by Barry Gordon (who also did the character on stage) in the film version adapted from the stage play of 1962, A Thousand Clowns 1965, Balsam’s performance as his brother Arnold is the quintessential downtrodden man who has risen above the grind to find inner peace and satisfaction with who he is: Balsam plays Arnold without a hint of artifice.
It was this impassioned performance in A Thousand Clowns that won Balsam’s Best Supporting Actor Academy Award.
A few of my favorite performances are his flamboyant decorator/ in on the caper Tommy Haskins in director Sidney Lumet’s The Anderson Tapes 1971. And of course I particularly love his Harold Longman aka ”Mr. Green”, the reluctant subway train hijacker with a that pesky head cold, which ultimately gets him pinched because of an ironic ill-fated “atchoo” just as the dauntless Walter Matthau’s police Lt. Zachary Garberin is leaving his NYC apartment checking up on Longman as a suspect in the original 1974 classic version of director Joseph Sargent’s The Taking of Pelham One Two Three (1974). I loved his portrayal of the wise Mendez in director Martin Ritt’s Hombre 1967, And then there’s Bianchi who is quick to pin the murder on everyone Poirot interrogates in director Sidney Lumet’s wonderful Murder on the Orient Express 1974. One of his most heartbreaking roles is that of Dr. Harry Walden, eye doctor who is beaten down and haunted by the ghosts of war, married to Joanne Woodward an ice queen in Summer Wishes, Winter Dreams (1973). As Professor Ruzinsky the dotty academic who translates the portion of Paradise Lost Balsam’s characterization of an eccentric adds humor to Michael Winner’s frightening 70s horror masterpiece The Sentinel (1977). And in Contract on Cherry Street (tv movie) 1977 Balsam plays the hardened and world weary Capt. Ernie Weinberg who is beaten down and beleaguered and just can’t deal with the reality of fighting against the system that allows criminals to reign over his beloved New York City.
Balsam started out as part of the Method actors led by Lee Strasberg along with actor and friend Shelley Winters who shared the stage with him in the 1950s.
Shelley wanted to return to the theater after feeling strangled by her 7 year contract with Universal Studios. At that time, she was friends with Method actors like Elaine Stritch, Ben Gazzara Kim Stanley Virginia Vincent Tony Franciosa (her then husband) Paul Newman and Joanne Woodward and our wonderful Martin Balsam. Shelley wanted to do a Summerstock tour of her play Wedding Breakfast. Shelley and Marty met with a hot new director Sidney Lumet hoping at the end of the play they could shoot it as a film script. Unfortunately Shelley didn’t have faith in her erratic husband Tony Franciosa and so she cancelled the project, which made Lumet angry.
The two would come together again on television in 1964 for Bob Hope Presents the Chrysler Theatre “Two is the Number” Later once again they both co-starred in The Delta Force 1986.
At the Actor’s Studio Balsam was in the great company with friends and co-stars the likes of Geraldine Page, Rip Torn, Ben Gazzara, Julie Harris, Barbara Harris, Anne Bancroft, Maureen Stapleton, Jane Fonda, Anne Jackson, Eli Wallach, Burgess Meredith, Walter Matthau, Paul Newman, Joanne Woodward, Estelle Parsons, Marilyn Monroe and Franchot Tone. Working with writers, Arthur Penn, Arthur Miller, William Inge and Clifford Odets.
You can see a full list of his work at IMDb but here is a list of some of my favorite Martin Balsam’s filmography stopping at the mid 1980s:
Television shows such as: Suspense 1949, Inner Sanctum 1954, Goodyear Playhouse (TV Series) 1954-1956, Kraft Theatre tv series 1958, Studio One in Hollywood (TV Series) 1957-1958, Decoy tv series 1958, Playhouse 90 (TV Series) 1958-1959, Have Gun – Will Travel (TV Series) 1958-1960, Roald Dahl’s Way Out (TV Series) 1961, Alfred Hitchcock Presents (TV Series) 1958-1961, The New Breed (TV Series) 1961, Naked City (TV Series) 1959-1962, The Untouchables (TV Series) 1961-1962, Route 66 (TV Series),The Twilight Zone (TV Series) 1959-1963, The Defenders tv series 1961-1964, The Man from U.N.C.L.E. tv series 1965, Dr. Kildare tv series 1926-1966, The Fugitive tv series 1967, The Name of the Game 1968-1970, The Six Million Dollar Man 1973, Police Story tv series 1973, Kojak 1974 tv series, Maude 1976 tv series, Quincy M.E. 1982 (Tv Series), Archie Bunker’s Place (tv series 45 episodes) as Murray Klein–Previously they had performed together in the The Sacco-Vanzetti Story on Sunday Showcase (1959)
Television Movies : The Old Man Who Cried Wolf (1970), Night of Terror (1972), Trapped Beneath the Sea (1974), Death Among Friends (1975), The Lindbergh Kidnapping Case (1976), Raid on Entebbe (1976), Contract on Cherry Street (1977), The House on Garibaldi Street (1979), The People vs. Jean Harris (1981), I Want to Live (1983) remake
Feature Films: On the Waterfront 1954 uncredited as Gillette, 12 Angry Men 1957 as the Foreman Juror 1, Time Limit 1957 as Sgt. Baker, Marjorie Morningstar 1958 as Dr. David Harris, Middle of the Night 1959 as Jack, Psycho 1960 as Detective Milton Arbogast, Ada 1961 as Steve Jackson, Breakfast at Tiffany’s 1961 as O.J. Berman, Cape Fear 1962 as Police Chief Mark Dutton, Seven Days in May 1964 as Paul Girard, The Carpetbaggers 1964, Come Back Little Sheba 1965 as Doc Delaney, Harlow 1965 as Everett Redman, The Bedford Incident 1965 as Lt. Cmdr.
Chester Potter, M.D., U.S.N., A Thousand Clowns 1965 as Arnold, Hombre 1967 as Henry Mendez, The Good Guys and the Bad Guys 1969 as Mayor Wilker, Catch-22 1970 as Colonel Cathcart, Tora! Tora! Tora! 1970 as Admiral Husband E. Kimmel, Little Big Man 1970 as Mr. Merriweather, The Anderson Tapes 1971 as Tommy Haskins, The Stone Killer 1973 as mob boss Al Vescari, Summer Wishes, Winter Dreams 1973 as Harry Walden, The Taking of Pelham One Two Three 1974 as Harold Longman aka Mr. Green, Murder on the Orient Express 1974 as Bianchi, Mitchell 1975 as James Arthur Cummings, All the President’s Men 1976 as Howard Simons, Two-Minute Warning 1976 as Sam McKeever, The Sentinel 1977 as Professor Ruzinsky, Silver Bears 1977 as Joe Flore, The Delta Force 1986 as Ben Kaplan, St. Elmo’s Fire 1985 as Mr. Beamish along side real ex-wife Joyce Van Patten.
Special note of Balsam’s Italian Crime films:Confessions of a Police Captain 1971 as Commissario Bonavia, Chronicle of a Homicide 1972 as Giudice Aldo Sola, Counselor at Crime 1973 as Don Antonio Macaluso, Smiling Maniacs 1975 as Carlo Goja, Season for Assassins 1975 as Commissioner Katroni, Meet Him and Die 1976 as Giulianelli, The Warning 1980 as Quester Martorana
HERE ARE SOME MEMORABLE SCENES FROM BALSAM’S IMPRESSIVE CAREER
A Thousand Clowns 1965″I have a talent for surrender” Directed by Fred Coe Famous broadway play comes to the screen with memorable performances by all the principles in standout jobs by Jason Robards as a talented non conformist and Barry Gordon as his precocious ward. They struggle against welfare bureaucracy in order to stay together. Funny and poignant throughout. Martin Balsam’s performance as brother Arnold lends the axel of normalcy to the entire shenanigans with his fresh fruit and common sense filled equilibrium.
12 Angry Men 1957
Directed by Sidney Lumet. Martin Balsam plays the unassuming jury foreman who tries to keep the proceedings run by the rules but soon finds out that many of the jurors are racist, filled with rage, apathetic and just in a rush to get the ballgame even when a young man’s accused of murder’s life hangs in the balance.
Little Big Man 1970
Directed by Arthur Penn, Dustin Hoffman plays Jack Crabbe who recalls 121 of his adventurous years ending with General Custer’s Last Stand. Told in flashback it tells of numerous encounters in the Old West. One of the most touching relationships is with his chosen Grandfather Old Lodge Skins played by Chief Dan George. Martin Balsam is perfect as the irascible Mr. Merriweather a snake oil salesman who with each town he get’s chased out of, winds up losing an eye, an ear, then a hand then a leg. And after all that getting tarred and feathered to boot! But he still has a mouth to crack wise with and ponder life’s deep questions
The Carpetbaggers 1964
Directed by Edward Dymtryk. Howard Hughe’s like millionaire George Peppard Jonas Cord is a rude and unfeeling rich young tycoon makes movies love and enemies in the Hollywood of the 1920 & 30s. Alan Ladd as a Tom Mix clone helps in this his last picture. Carroll Baker is steamy very tame compared to the porno edged Harold Robbins novel. Martin Balsam plays studio Mogal Bernard B. Norman.
Murder on the Orient Express 1974
Directed by Sidney Lumet. Albert Finny is astonishing as Agatha Christies Belgian detective
Hercule Poirot who is stranded on the train by snow, and a murder where nothing is as it seems. With an extraordinary cast of characters Lauren Bacall, Ingrid Bergman, Jacqueline Bisset. Jean-Pierre Cassel, Sean Connery, John Gielgud, Anthony Perkins, Wendy Hiller, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely and of course Martin Balsam is animated and hilariously radiant as the Italian Bianchi -head of the train line, who suspects everyone!
Contract on Cherry Street 1977
Directed by William A. Graham
When Frank Sinatra’s partner is killed, NYC detective Frank Hovannes and his organized-crime squad go against the mob run by Martin Gabel, despite strong objections from his superiors and the legal-departmental restrictions that hinder him. Martin Balsam plays Capt. Ernie Weinberg a career cop who is just worn down by all the bureaucracy. The chemistry between Sinatra and Balsam is terrific. Very well done for a made for tv film. Good supporting performances by Harry Guardino and Henry Silva.
Directed by Mike Nichols. This black comedy about the absurdity of war stars Alan Arkin as a soldier during World War II. The dilemma of trying to avoid the insanity or to embrace it in order to get out of duty. Orson Welles plays a rabid general who keeps scheduling more and more bombing missions, and Martin Balsam as the blustering opportunistic Colonel Cathcart adds an extra edge of preposterous folly and audacity
Directed by Martin Ritt
Henry Mendez (Martin Balsam) plays a sage Mexican who himself has been treated less than by the white man because of his heritage. Mendez tells John Russell (Paul Newman -Hombre) the stagecoach line is shutting down because of the railroad and urges John Russell to return to his White Man’s roots and take over a boarding house left to John by his deceased stepfather.
Henry Mendez is the stagecoach driver paid by Alexander Favor to transport him and his family. Mendez decides to take the back road to Bisbee Arizona because of a suspicious group of men (led by outlaw Richard Boone), in the area. Alexander Favor (Fredric March) makes Henry do his dirty work and tell John Russell that he has to ride on top with Mendez when Alexander finds out that John Russell is a White Man raised as an Apache. Mendez doesn’t see the point in fighting this because he has seen how it isn’t worth making trouble. Co-stars Barbara Rush as Alexander Favor’s wife Audra.
Cape Fear 1962
Directed by J. Lee Thompson Cape Fear is a taut thriller about a lawyer (Gregory Peck) and his family being menaced by a vengeful psychopathic ex-con Max Cady played with authentic relish causing real chills by Robert Mitchum. CADY blames Sam Bowden (Peck) for sending him up the river and now that he is out. he’s got disturbing plans for his family. Martin Balsam plays Sam’s friend Police Chief Mark Dutton who tries to help him protect himself though it seems Cady has ways of getting around the law.
The Sentinel 1977
Directed by Michael Winner. This is a simple nightmarish adult fairy tale about a young model Alison Parker (Christina Raines) who has been picked by a secret cult of catholic priests to become the next sentinel to watch over the gates of hell, which happens to be a brownstone in Brooklyn Heights. (the building is still there) While renting this lovely furnished apartment she meets a host of weird characters that may or may not exist. When odd occurrences begin to drive Alison mad, her boyfriend lawyer Michael (Chris Sarandon) looks for help from various criminal elements lock pickers, private eyes and our man Martin Balsam as Professor Ruzinsky to help translate a passage in Latin. Balsam is hilarious as the forgetful & nutty old professor. Co-stars Ava Gardner, Burgess Meredith
Alfred Hitchcock Presents episode “The Equalizer” aired February 9, 1958
Marty plays a mild mannered accountant Eldon Marsh who is called “little man” too often after the new company hot shot who is much bigger and stronger Wayne Phillips (Leif Erickson) humiliates him and steals his wife (Norma Crane). Eldon gets punched a lot but still defends his honor by challenging Phillips (Erickson) to a fight to the death
Naked City episode “Beyond Truth” aired July 7 1959
Directed by John Brahm
Martin Balsam plays Arnold Fleischmann who is haunted by a reoccurring nightmare. Arnold has served time in jail for manslaughter when driving drunk he hits and kills a little girl. Now his wife seeks out the help of Det. James ‘Jimmy’ Halloran (James Fransiscus) of the 65th Precinct to re-investigate the case, as she has never believed that Arnold was driving that night. But Arnold refuses to co-operate with the police and just want to leave it in the past. But the evidence does look like Arnold’s been framed for the killing and that the wrong man has been convicted. Balsam plays a sobering and sad guy who has come to accept the hand he’s been dealt.
The Twilight Zone episode “The Sixteen Millimeter Shrine” aired October 23, 1959
Written by Rod Serling. Ida Lupino plays Barbara Jean Trenton a faded film star who lives in the past, constantly re-watching her old movies and shunning the outside world. Martin Balsam plays her agent Danny Weiss who tries to get her to come out of isolation, even getting her a part in a new film, though it’s not a lead nor glamorous role. Danny tries so hard to get Barbara to see that it’s no good living int he past, and though she refuses to embrace what’s new, Danny stands by her loyally ultimately with frightening and uncanny results.
Summer Wishes, Winter Dreams 1973 “I have to stand someplace, someplace that I’ve stood before!”
Directed by Gilbert Cates the story follows the journey of depression experienced by housewife Rita Walden. At the opening of the film, Rita loses her overbearing mother played by Sylvia Sidney. Martin Balsam does an incredible job of stoically navigating around Rita’s ice water emotions, though he has ghosts of his own that he quietly battles. Somehow through all the harsh words and bitter detachments, the couple seem to find each other again at the end. Balsam was nominated for the 1974 Golden Globe Award for Best Supporting Actor as Dr. Henry Walden unloved by his unemotional wife, finally articulates his feelings and confronts his pain head on while on a trip to France revisiting Bastogne where he was stationed during the war. It’s an outstanding performance which shows Balsam’s acting range, as he shakes off the average guy persona and reaches deep inside and bares his soul.
Summer Wishes, Winter Dreams 1973
Directed by Alfred Hitchcock After Marion Crane steals money from her employer and runs off into the night staying at the Bates Motel run by the gentle young man Norman -which leads to her terrifying demise, her sister and lover Lila Crane (Vera Miles) and Sam Loomis ( John Gavin) hires a private detective Det. Milton Arbogast to find Marion. Balsam plays the edgy Arbogast who isn’t buying sweet and humble Norman’s story that he’s never seen Marion Crane. Arbogast is not one to be put off, he suspects Norman’s mother knows something and secretly goes up tot he house on the hill to investigate. to his ‘down fall’ Sorry for that cheap pun!
The Anderson Tapes 1971
Director Sidney Lumet’s taut action thriller about an ex-con (Sean Connery) under surveillance who wants to pull off The Big Heist, consisting of loot and treasures from the affluent tenants of a high rise apartment where his lover/call girl (Diane Cannon) lives. Martin Balsam plays the wonderfully exuberant interior designer Tommy who helps out with the caper.
The Taking of Pelham One Two Three 1974
Directed by Joseph Sargent -Walter Matthau plays the belly-aching gum chewing Police Lt. Zachary Garber chief of security on the New York City subway. A band of clever thugs led by Robert Shaw as Bernard Ryder aka Mr. Blue has hijacked a commuter train with,demanding a ransom of $1 million dollars or they will start killing the passengers one by one. Martin Balsam plays Harold Longman aka Mr. Green plagued by a really bad head cold, and sneezes throughout the film so much so that Lt. Garber recognizes it, even replying “Gesundheit” . Green is also a bit reluctant throughout the caper, but he’s disgruntled for having lost his job as a transit worker.
Well this is Joey giving you all the Bronx Cheer for me and Marty!!! But I mean it in the nicest way!
Tomorrow I head into surgery with the hope of correcting a problem I’ve been suffering with for several years. They’ll also be doing a liver biopsy which I am more concerned about. But in these late hours pondering how things will go at the hospital tomorrow, it brought to mind the late great Gene Wilder… and that my situation demanded a little levity to take the edge off… So wish me well, and hopefully they’ll pound on my chest in the event it looks like I’m a goner!
Actually I’m having a robot operating on me… I’ve always been very kind to machinery, so if this is the day the Robots rebel– I think I’ll be in good yet tiny titantium hands.
After I heal up…I’ll probably be back in form and re-posting more and more!