|Lawrence Tierney's break-out role|
There's an irresistible draw to crime fiction authors whose lives resemble the dark, edgy characters they've created. The extra thrill of reading the likes of Chester Himes, Iceberg Slim and Edward Bunker is that some of the blood spilled in their books may have coursed through real veins.
I met Edward Bunker at a 2000 signing of his autobiography Education of a Felon. It's a harrowing, exciting read that covers his criminal career, his 18 years of incarceration, and his redemptive plunge into writing. Like his fiction, it's not for the squeamish.
With Bunker's literary fame came the occasional acting gig, and he landed the role of ill-fated Mr. Blue in Reservoir Dogs (1992). Bunker wasn't the only ex-con in front of the camera in that film. Playing crime family patriarch Joe Cabot was Lawrence Tierney, an actor whose legendary–and violent– collisions with law enforcement mirrored the bad guys he played on the big screen. Quentin Tarantino gave Lawrence Tierney a fitting bookend to his career with Reservoir. It seems even more fitting that Tierney punched Tarantino for his efforts and got himself fired off the film.
Probably the most famous example of Lawrence Tierney's bad boy shenanigans is the Seinfeld knife incident. In the season two episode "The Jacket," Tierney plays Elaine's dad, a tough, imposing vet who is also a successful novelist that Jerry and George admire. It's hilarious. Tierney delivers, intimidating the daylights out of Jerry and George yet believable as an intelligent writer. It's a rare comedic turn for Tierney, and he pulls it off.
|Not a Lawrence Tierney fan|
Sometime during shooting, Tierney apparently stole a butcher knife from the set of Jerry's apartment. "Hey Lawrence, what do you got there in your jacket?" Seinfeld asked him. Seeing he was busted, Tierney tried to play it off as a joke and started waving the knife around. What was supposed to be a recurring character for Tierney on one of TV's all-time sitcoms turned into a one-off right there on the spot. "I'll tell you something about Lawrence Tierney," Julia Louis-Dreyfus said. "He was a total nut job." It was typical Tierney, snatching defeat from the jaws of success. Crazy as the knife incident sounds, it wasn't close to the violence that marred Tierney's early career.
Lawrence Tierney was just another RKO contract player when the studio loaned him out to Monogram to play the eponymous bank-job king in Dillinger (1945). It didn't matter that Dillinger played fast and loose with the facts. What mattered was how Tierney embodied low-budget noir bad-assery. Dillinger was a hit. Crime flicks followed, including Robert Wise's Born to Kill (1947), and the cult-classic The Devil Thumbs a Ride (1947). I don't remember the first time I saw The Devil Thumbs a Ride or why it made such a big impression on me, but it did.
Dogging Tierney's legit shot at stardom was a growing rap sheet for booze fueled fights and assaults. Here are some headlines he generated: "Actor Taken Away in Straight Jacket." "Actor Tierney Must Sleep on Jail Floor." "Tierney Goes to Jail Again." Tierney brawled up and down the Sunset Strip, dusting it up at the legendary Mocambo, and at the home of original Hollywood Hellfire Club member John Decker. When in Hollywood, or New York, or Paris, or anywhere he went, Tierney got drunk, violent and incarcerated.
It's tough to call Tierney a bully, because he got into too many fights with those who stood a reasonable chance of kicking his ass. In 1953 he duked it out with a professional welterweight on the corner of Broadway and 53rd Street. Back in New York in 1958, Tierney was arrested for brawling with cops outside a Manhattan bar.
One of Tierney's prime targets was often the police. I can only imagine what the police would do to you in those days, in the back of a police car or in a lonely holding cell, after they'd arrested you for trying to beat them up. Tierney's career did a slow fade in the1950s, and his comeback didn't happen until he found work on the small screen in the '80s. A turn as Ryan O'Neal's dad in Norman Mailer's Tough Guys Don't Dance (1987) didn't hurt. Since were talking fighting and film, Mailer can be seen in a disturbing real-life fight with actor Rip Torn in Mailer's Maidstone (1970).
In an earlier blog (guesting for Paul D. Marks - thanks again Paul!) I wrote about my day job as a film and TV editor and how those skills helped me with my novel Fast Bang Booze. In 1991 I hadn't cut anything but a short film or two. My first screenwriting credit, a martial arts flick, was four years away. Published crime fiction was still a Hail Mary pass that wouldn't be caught for years. Times were lean. AM PM was fine dining.
That year I often assisted filmmaker Steve Barkett, an actor/writer/director who was tying-up loose ends on his self-produced horror film Empire of the Dark. Steve has a genuine love of film history (I consulted with him before writing this piece, and he remains a fount of celluloid knowledge), and we'd sometimes discuss our favorite eras of movies. Obscure poverty-row film noir was a passion of mine. I loved films like Detour (starring Tom Neal, whose own off-screen violence lead to a murder rap), and Tierney's The Devil Thumbs a Ride. Back in '91 when Steve asked me if I'd like to join him and Lawrence Tierney for dinner, I almost hit the roof.
I met Steve at his place in Tarzana, the San Fernando Valley neighborhood once owned by pulp icon Edgar Rice Burroughs. "I don't want to scare you," Steve said as we drove to Hamburger Hamlet. "Lawrence can be a little weird. Sometimes he likes to mess with people." Steve said that when he first befriended Tierney at the previous years' CineCon, held at Hollywood's Roosevelt Hotel, Tierney was on probation and was living at a halfway house. "He shot up his nephew's apartment," Steve explained.
Hamburger Hamlet was bustling. I brought one of my favorite books, The Devil Thumbs a Ride and Other Unforgettable Movies by Barry Gifford, hoping Tierney would sign it. The cover depicts a prototypical 1940s dashing Tierney-esque tough guy, driving at night. Next to him sits a prototypical noir blonde, dropping a flask of booze as she looks frantically over her shoulder. And no wonder, for they're being pursued by the devil himself.
"Larry, you found us," Steve said, rising to his feet. "Sit down. You don't have to get up for me," Lawrence Tierney said in a gravelly voice. Tierney was a big guy, his face fixed in a scowl. He was wearing a t-shirt, and I couldn't help but notice he was using a thin piece of rope for a belt.
Steve introduced me as another Lawrence, and Tierney and I shook hands. Tierney had a strong grip and I could tell he was sizing me up. I had a few inches on him and age was definitely on my side, but you never know. Tierney saw the book I'd brought and launched into a discussion about the making of Thumbs a Ride (not a great experience according to Tierney), and about the merits and shortcomings of some of the directors he'd worked with. He was charming, holding court. Out of nowhere he recited random lines of poetry. I wish I recalled what they were.
When the waitress arrived to take our drink orders, Tierney did not order alcohol, but opted for a soda. Steve looked relieved. I was tempted to get one of the Hamlet's renowned Schooners of Ale, but Steve and I both followed Tierney's example. Tierney flirted with the waitress, asking her questions in pretty good French. I don't think she spoke French and she was getting irritated. Tierney was keeping her at the table longer than she appeared to appreciate. "Okay Larry," Steve said. "I think she needs to go do her job now."
Tierney laughed good-naturedly as the waitress walked away. I felt since booze wasn't going to be a factor, there was nothing to worry about. I'd get to hang out with a screen legend and learn about an industry I was just breaking into. Then Tierney threw a punch at me.
Stay tuned for Part 2, dropping March 29. Only here at Sleuthsayers.org. You can also visit me on twitter, Lawrence Maddox @Madxbooks.