Pic of the Day: “Crime Wave” revisited

Today we observe the 93rd birthday anniversary of legendary cinematic tough guy Charles Bronson. Here he is with Timothy and Jim Hayward in a scene from Andre’ De Toth‘s noir masterpiece Crime Wave (1954).

Crime Wave

Born Charles Dennis Buchinsky to a Lithuanian coal-mining family in Pennsylvania (one of fifteen children), Bronson was the first member of his family to graduate from high school. After a stint in the coal mines himself, he flew bombers in World War II and received a Purple Heart. Odd jobs after the war brought him to a theater group in Philadelphia. He soon found himself in New York City and then Hollywood, determined to pursue an acting career. Like Timothy, he turned in many small and/or uncredited performances in film and on television throughout the 1950s. His big break came when Roger Corman cast him in the title role of Machine-Gun Kelly (1958). Shortly afterwards he won the lead in the TV series Man with a Camera (1958-1960). Important supporting turns in films such as The Magnificent Seven (1960), The Great Escape (1964) and The Dirty Dozen (1967) followed. He then headed to Europe and made several spaghetti Westerns, including Sergio Leone‘s incredible Once Upon a Time in the West (1968). He came back to the United States a bona fide star, and he remained one until his untimely death from pneumonia in 2003. He once said, “Someday I’d like a part where I can lean my elbow against a mantlepiece and have a cocktail.”

Quote of the Week

Tweet’s Ladies of Pasadena may be singular.  Tweets may be plural.  It either refers to a feature-length film or a series of shorts.

Tweet’s Ladies of Pasadena is so obscure that Mike White from Cashiers du Cinemart drove 10+ hours to see a screening in Philadelphia.

Tweet’s Ladies of Pasadena is the work of the late Timothy Carey of World’s Greatest Sinner fame. 

Tweet’s Ladies of Pasadena is so bizarre it makes World’s Greatest Sinner seem like ABC Family fodder.

Tweet’s Ladies of Pasadena is easily the most punishing film going experience of my life. 

– Mike Faloon, “That Which Doesn’t Kill You: Timothy Carey’s Tweets”; Go Metric April 16, 2010 (accessed July 13, 2014)

Tweet's

Quote of the Week

Previously unbeknownst to us, Romeo Carey, upon his first visit to the [Dead Flowers] exhibition in Philadelphia, revealed the origin of one of Timothy Carey’s signature “dances,” first devised for the camera in Bayou (1957, directed by Harold Daniels, re-released in 1961 as Poor White Trash), and revisited in other noteworthy Carey performances such as Beach Blanket Bingo (1965, William Asher) and The World’s Greatest Sinner. Arriving in New Orleans to shoot Poor White Trash, Carey apparently asked a cab driver for a recommendation as to where he might learn a distinctive Cajun dance. He was promptly driven to Leon Prima‘s 500 Club on Bourbon Street, where he witnessed The Cat Girl [Lilly Christine], considered the most publicized Burlesque performer of her time, and rendered the experience into one of his most characteristically eccentric performances.

Lia Gangitano, “Afterword and Acknowledgements,” from Dead Flowers (Participant Press/VoxPopuli, 2011)

Artwork by Scott Ewalt

Artwork by Scott Ewalt from the Dead Flowers exhibition at Vox Populi, Philadelphia, 2010

Timothy’s Bayou dance, with music by Honeyboy Slim and the Bad Habits