Quote of the Week

Whether looming over the strangely invertebrate James Dean as the muscle of the local brothel in East of Eden or buying the farm in a whisker-quick saloon shoot-out with Marlon Brando in One-Eyed Jacks, the disheveled, vertiginous Timothy Carey performed, through much of his career, as the kind of thespian rarity whose flickering presence, even when bereft of a fleshed-out “character,” struck a loud, long-resonating note in the frequently seam-riddled “seamless narratives” it embellished. Like a portal into a reality hidden from view by scopophobic hysteria, Carey materialized from an alternate universe devoid of heroes and legible story lines.

Available accounts and filmographies of Carey’s early career typify his roles in exploitation pictures as “oozing malevolence,” citing creepy gangster turns in Andre de Toth‘s Crime Wave and Harold D. Schuster‘s Finger Man, as well as uncredited parts in Billy Wilder’s The Big Carnival [aka Ace in the Hole – ed.] and William A. Wellman‘s Across the Wide Missouri. In 1953’s The Wild One, he got to spray Brando in the face with a shaken-up carbonated beverage – some say beer, others soda pop. He was physically attacked by Richard Widmark during the filming of The Last Wagon in 1956, and pummeled by Karl Malden on the set of One-Eyed Jacks, or so the legends go; according to some of Carey’s enthusiasts, his parts got progressively bigger in B-circuit pictures for a time, then shrank as his uninhibited behavior off-camera, and scene-swiping on, earned him the poisonous sobriquet of being “difficult.”

Only the sharpest and restive of “great” directors, and the most cynically astute hacks, recognized Carey’s innate ability to enlarge a piece of cinema into something beyond cinema. Anecdotal evidence reflects how often even those who perceived Carey’s ungovernable grandeur were either prevented from casting him, or themselves provoked by his antics into tossing him out of a picture.

He was, in effect, too much of what he was, too formidably present to evaporate into a peripheral presence; both his imposing physicality and his avid wish to smuggle something living into something simulated got him scotched from films like Bonnie and Clyde and The Grifters; the insecurity of Harvey Keitel purportedly scrapped a  major role in Reservoir Dogs; Carey, by his own account, sabotaged his own way out of The Godfather and Godfather II.

Gary Indiana, “Timothy Carey: The Refusal of the Repressed,” from Dead Flowers (Participant Press/VoxPopuli, 2011)

East of Eden (1955)

 

Video of the Week: “The Last Wagon”

This week’s video is a montage of scenes from The Last Wagon (1956). Timothy can be glimpsed in the opening gun battle; his death scene is not included here, unfortunately, so don’t blink, etc..

“Richard Widmark stomped me bad in a Western we made in Arizona, The Last Wagon,” Tim once said. “He stomped me while I was down, kept going at it for five minutes, just because I reacted when he mock-stabbed me in the scene. He apologized later, but I wouldn’t accept it.”

Pic of the Day: “The Last Wagon”

Today’s pic is from Delmer Daves’ The Last Wagon (1956), starring Richard Widmark. Tim is uncredited and short-lived as bad guy Cole Harper. The plot is a bit convoluted, but suffice to say his character doesn’t last too long.

The Last Wagon

Working on this film was not a good experience for Tim. “Richard Widmark stomped me bad in a Western we made in Arizona, The Last Wagon,” he related. “He stomped me while I was down, kept going at it for five minutes, just because I reacted when he mock-stabbed me in the scene. He apologized later, but I wouldn’t accept it.”