Today’s pic is another from Timothy’s fleeting, uncredited appearance as the drunken denizen of a tawdry flophouse in Daniel Mann‘s I’ll Cry Tomorrow (1955). He’s sidling over to get a better look at that biopic’s subject, Broadway star Lillian Roth (Susan Hayward), passed out on a bed and at a very low point in her tragic life.
Mann, another Brooklyn native (along with Tim and Hayward), had a special rapport with actors, often drawing out some of their best performances. This could be due to the fact that he had been acting himself since childhood. After studying with legendary acting teacher Sanford Meisner, Mann became one of the first instructors at the Actors Studio. He enjoyed a long career directing some of our finest actors on stage, in films and on television.
Can I squeeze another post out of Timothy’s fleeting, silent and uncredited appearance as a drunken derelict in Daniel Mann‘s I’ll Cry Tomorrow (1955), the stellar Lillian Roth biopic? You bet I can!
I apologize for missing a few days this week. It would appear that posting will be a bit erratic this summer. I’m still here, though! Thanks for bearing with me.
Our video of the week showcases Timothy’s don’t-blink-or-you’ll-miss-him bit part in Daniel Mann‘s I’ll Cry Tomorrow (1955), the harrowing story of actress/singer Lillian Roth‘s descent into alcoholism. He’s a drunken bum stumbling around a dingy flophouse, on the verge of molesting an equally drunken Roth (Susan Hayward in her fourth Oscar-nominated performance). Tim appears at about 12:00.
Tim had previously appeared in White Witch Doctor (1952) along with Hayward, although they had no scenes together (they really don’t here either; they never appear in the same shot). Hayward finally won that richly deserved Oscar for I Want to Live! (1958), also based on a true story (many of her best roles were as real-life women). She’s a true Hollywood legend – smart, brave and gutsy. And, like Tim, from Brooklyn!
Tuesday’s pic (as always, click to embiggen) is another shot of Timothy in his literally don’t-blink-or-you’ll-miss-him appearance in fellow Brooklynite Daniel Mann‘s I’ll Cry Tomorrow (1955). A drunken bum in a slovenly flophouse, he’s only onscreen for a few seconds and received no screen credit.
I’m digging the artful composition of this shot. It has a kind of degenerate elegance all its own.