Garry Marshall, the man who helped create iconic sitcoms such as "Happy Days", "Laverne & Shirley" and "Mork & Mindy", has died at age 81. Greatly beloved in the entertainment industry, Marshall helped kick many actors' careers into overdrive including Julia Roberts, Ron Howard, Henry Winkler and Robin Williams. He also adapted Neil Simon's stage and screen hit "The Odd Couple" into a long-running TV series starring Tony Randall and Jack Klugman. He grew up in a modest home in the Bronx and never lost his almost stereotypical "New Yawk" accent. Marshall became a writer on some classic TV series of the 1960s including "The Dick Van Dyke Show", The Lucy Show" and "The Tonight Show Starring Johnny Carson". He even became a prolific actor graduating from an un-billed role in "Goldfinger" to some juicy character parts in major films. Marshall would go on to direct features himself including such smash hits as "Pretty Woman", "The Princess Diaries" and "Runaway Bride". He also directed Jackie Gleason in his last feature film "Nothing in Common" in 1986. For more click here.
Noel Neill with George Reeves in "The Adventures of Superman".
BY LEE PFEIFFER
Yet another pop culture legend of the Baby Boomer era has left us. Actress Noel Neill, who played Superman's love interest Lois Lane, has died at age 95. Neill began her career in Hollywood with bit roles in mainstream films. She was chosen to play Lois Lane, the intrepid female reporter for the Daily Planet newspaper of the fictional city Metropolis that Superman and his alter-ego Clark Kent called home. As colleagues on the newspaper, Lois and Clark were friends but it was always Superman that stole her heart. One of the more amusing aspects of the Superman legend is that Lois Lane, a top reporter, could never affirm her suspicions that Clark actually was Superman simply because his "disguise" consisted of a pair of eyeglasses. Nevertheless, the Lois Lane character was unusual for the era because she represented an emancipated woman who displayed just as much courage as the men around her. Neill first appeared opposite Kirk Allyn in two series of "Superman" serials that were shown in movie theaters in the late 1940s and early 1950s. When "The Adventures of Superman" TV series debuted a few years later it became an instant hit. However, Neill wasn't the producer's first choice to play Lois Lane in the show. Actress Phyllis Coates had the role and when she left the series Neill was brought on board to take over the part. Coates had played the part of Lois for only one season while Neill had the part for five years (1953-1958) until the show finally left the air. On the TV series, Neill starred opposite George Reeves in the role of Clark Kent/Superman and their chemistry became the stuff of TV legend. Inevitably Lois and fellow reporter Jimmy Olsen (Jack Larson) would get themselves in a bind and Superman would have to rescue them. Despite the predictability of the formula, the show's popularity has only increased over the decades. When the series ended, Neill decided to retire to become a self-described "beach bum". However, she often participated in fan events and autograph shows over the decades. She also continued her relationship with Superman by making cameo appearances in the 1978 feature film that introduced Christopher Reeve in the role and the 2006 film "Superman Returns". She had also appeared in a 1991 episode of the "Superboy" TV series. Perhaps the most meaningful tribute to her role in "The Adventures of Superman" came when the real-life city of Metropolis, Illinois, unveiled a statue commemorating Lois Lane in 2010. Appropriately, the image was based on Noel Neill, who was proudly in attendance.
Over the last year the entertainment industry has suffered incalculable losses of talented people. Some of them hit home personally, as is the case with producer Euan Lloyd, who passed away this weekend in London. I first met Euan in 1978 when I was attending college in New Jersey. I had the enviable gig of being the film critic for the campus newspaper, which afforded me the opportunity to routinely attend press screenings of forthcoming films in New York, which was a stone's throw across the river from my native Jersey City. I had read about the upcoming release of "The Wild Geese" which seemed to promise a "too-good-to-be-true" cast composed of some of my favorite actors (Richard Burton, Roger Moore and Richard Harris above all) in the kind of gritty, macho British war flick that I had become addicted to ever since seeing "Zulu" at age 8. To say the film lived up to expectations would be an understatement. I thought it was a superbly crafted blend of rugged action, social commentary and splendid performances under the capable direction of Andrew V. McLaglen. The film was inspired by the exploits of a real life mercenary named Col. Michael Hoare (not so affectionately known as "Mad Mike"). He was a technical adviser on the film and was speaking at the post-screening press conference along with the film's producer Euan Llloyd. I had seen some of Lloyd's earlier films and liked them. The two men gave a riveting account of the making of "The Wild Geese", after which I approached Mr. Lloyd and introduced myself. I told him that I was greatly impressed with the film and would be writing an excellent review of it. I had hoped to just get a handshake and a few nice words since I wasn't exactly representing the New York Times. To my surprise, Mr. Lloyd spoke to me at length about my experience writing film reviews. He hung on every word. Whether he was just being polite or had a genuine interest, I can't say to this day. However, he astonished me by inviting me to breakfast at the Plaza the next morning. As a college kid, the Plaza on Central Park was a place you only saw in the kidnapping scene of "North By Northwest", as few people from my blue collar background had the kind of bankroll that would afford a trip to the bar or restaurant. The next morning I dined with Mr. Lloyd, who insisted that I call him Euan. After breakfast we took a long walk around the city and he related fascinating stories about the film trade. He even gave me an inside scoop on the next James Bond movie. He said he had recently screened "The Wild Geese" for Cubby Broccoli, who was so impressed by the sequence in which the mercenaries sky dive into Africa that he decided to plan a major aerial scene to start "Moonraker" off with - and indeed he did. Euan had asked me to bring him copies of some of my reviews, which he read in my presence (a nerve-wracking experience for me, as I recall.) He was highly complimentary and encouraged me to take up writing as a career. I had never heard such words of encouragement from anyone. He also told me that if my schedule permitted it, he could get me a bottom-rung job on the set of his forthcoming film "The Sea Wolves". It was an offer I wasn't able to take because of factors in my personal life at the time, not these least of which were that I needed a steady job and was about to get married. Still, the offer was an extremely kind gesture. I parted with Euan that day and was destined not to see him for many years. In the pre-E mail era, these types of casualties happened to people's relationships.
Richard Burton, Roger Moore, Richard Harris and Hardy Kruger in "The Wild Geese".
In 2002, my old friend and future Cinema Retro publishing partner Dave Worrall happened to meet Euan Lloyd and Andrew V. McLaglen at an event at Pinewood Studios. He asked Euan if he might have remembered a guy named Pfeiffer he had met many years ago. To his surprise, Euan recalled the day I had spent with him and relayed the message that we should visit him when next I was in London. A few months later we did just that and I was delighted to renew my friendship with this remarkable man. In 2006, he was our guest of honor for a black tie dinner we held at the Reform Club in London. His anecdotes were captivating but he never seemed pretentious or full of himself. He was always an example of humility and class. When we started Cinema Retro magazine a few years later, Euan was front and center and we ran an extensive interview with him over the first three issues that was conducted by writers Mac MacSharry and Terry Hine. Euan would always be there when you needed him. It should be said that Euan was one of the first very successful producers to eschew studio financing in favor of raising money for his films on his own, then selling distribution rights to the major studios. In his early days in the industry he worked for future James Bond producer Cubby Broccoli and his (then) partner Irving Allen. Lloyd always credited Cubby for giving him a him this opportunity, which was actually arranged by Alan Ladd, who Euan had befriended. Euan helped oversee production on many successful movies for Cubby and Irving's Warwick Productions. When Cubby later teamed with Harry Saltzman to form Eon Productions, Euan continued to work with Irving Allen and co-produced the second Matt Helm film, "Murderer's Row" starring Dean Martin. From that point on, he would produce his own films. They included Sean Connery's first post-Bond film, "Shalako" in 1968. He struck pay dirt with the 1978 release of "The Wild Geese", which was a major hit internationally and spawned a loyal cult following that seems to be growing to this day. Some of his movies including "The Sea Wolves" and "Who Dares Wins" did not do well at the boxoffice in America but reaped large profits from the European markets. "Who Dares Wins", which was based on a real life incident in which the SAS fought terrorists to free the Iranian embassy in London, counted among its admirers Stanley Kubrick, who wrote Euan Lloyd a letter praising the film. Another admirer of the 1982 movie was President Ronald Reagan, who requested that it be screened at the White House. Euan was also a man who seemed to have no enemies. I once received an unexpected phone call from Sean Connery and in the process of speaking to him, I told him that I was a friend of Euan Lloyd's. Connery recounted his experiences making "Shalako" and said that although he had battled with producers many times over the course of his career, Euan was one of the most honorable men he had ever worked with. Similarly, Roger Moore, who starred in "The Wild Geese" and "The Sea Wolves" for Euan, counted him among the most trustworthy producers in the industry.
Lee Pfeiffer introduces Euan Lloyd at a dinner in his honor at the Reform Club in London.
Over the years, Dave and I would try to see Euan whenever we were in London. He would occasionally join us at the royal premieres of James Bond films. On my last visit in October 2015, I knew he had been seriously ill. We planned to meet briefly at his apartment but his illness prevented this from happening. I think Euan was looking out for me even then, as I don't believe he wanted me to see him in a weakened state. Perhaps he was right. My only memories of him are of a vibrant, elegant man who was always "dressed to the nines" and the epitome of class, style and kindness. He was old school in the best sense of the term. Small wonder that producer Jonathan Sothcott titled his excellent 2004 documentary tribute to Euan "The Last of the Gentleman Producers". I realize now more than ever how that title perfectly encapsulates the man. Upon learning of Euan's passing, Sir Roger Moore referred to him as "a legend". Somehow, that word seems equally appropriate.
(Click below to watch "The Last of the Gentlemen Producers")
Cimino and star Kris Kristofferson on the set of the ill-fated production of "Heaven's Gate".
BY LEE PFEIFFER
Michael Cimino, whose fast rise to royalty in Hollywood was matched only by the sudden demise of his career, has died at age 77. He was born in Long Island and entered the film business with his first success as the co-writer of the 1973 Clint Eastwood Dirty Harry sequel "Magnum Force". (He had previously written the screenplay for the sci-fi cult film "Silent Running" starring Bruce Dern.) Eastwood was suitably impressed and gave Cimino the opportunity to make his directorial debut with the buddy crime caper "Thunderbolt and Lightfoot". Released in 1974, the film was a hit and helped launch Jeff Bridges to stardom with the Oscar nomination he received. In 1978 Cimino released his ambitious Vietnam War epic "The Deer Hunter" starring Robert De Niro and newcomer Meryl Streep. The politics of the big budget film are still being debated, with some arguing Cimino was an apologist for either the pro-war hawks or the anti-war peaceniks. Either way, the film packed a powerful punch and spoke to a generation that had suffered through the war. Cimino received Oscars for producing and directing the film and a promising future seemed to be in store. However, his 1980 mega-budget Western "Heaven's Gate" would derail his career forever. Accused of having a giant ego and being fast and loose with other people's money, Cimino oversaw the filming of the bloated production that lasted eleven months and ended up costing $35 million on a budget that was not to exceed $11 million. The three -and-a-half hour film was also the victim of bad timing. It had a pro-Marxist story but was released within weeks of Ronald Reagan's election to the White House. The nation was veering to the political right and Cimino's film was an homage to socialists. The film was roundly panned by critics and lost virtually all of its production cost in a sea of red ink. United Artists, which had failed to reign in Cimino's excesses, paid the dearest cost. The fabled studio, which had recently come under new management, almost went into bankruptcy and diminished over the ensuing years to being little more than a trademark instead of a thriving studio. In desperation, UA ordered Cimino to create a much shorter version of the film for wide release, but the results were still terrible. The debacle resulted in UA executive Steven Bach writing his well-received book "Final Cut", which documented the disaster on celluloid. Bach took his share of the blame for giving Cimino carte blanche on the ever-soaring budget but put the bulk of the responsibility on Cimino himself, whose hubris was such that he refused to even show UA executives his final cut until its first public screening in New York. By the time the reviews came out, the damage was done. (Rex Reed claimed the audience of sophisticates actually threw popcorn at the screen.) Cimino dismissed Bach's allegations but rarely spoke of the film ever again (although he did provide a commentary track for Criterion's Blu-ray special edition of the film in which he extolled its virtues while skirting the controversies.)
Cimino's looks changed radically over the years, leading some to speculate his was undergoing a sex change operation.
Cimino went on to direct a scattering of minor films, the most successful being the crime drama "Year of the Dragon". His last film was the little-seen "Sunchaser", released in 1996. He did have the satisfaction of seeing the uncut version of "Heaven's Gate" re-evaluated and gain respect in many quarters of the film industry. Nevertheless, he kept a low profile and his always eccentric personal behavior became bizarre. He underwent radical plastic surgery which so altered his appearance that many speculated he was undergoing a sex change operation. Cimino issued a non-denial denial that was more cryptic than illuminating. He also told conflicting stories about his early life and even once stated that he had served in Vietnam (he hadn't). In more recent years, he wrote occasional novels and would come out of seclusion to attend a film festival or event every now and then. He rarely gave interviews and disdained appearing on television. Whatever one thinks of his reed-thin filmography, Cimino thought in grandiose terms and went to extremes to fulfill his artistic visions. Whether he was indeed a visionary, a psychologically disturbed artist or both, will be factors relating to his legacy that will be debated for many years to come.
