“The Grey Fox” and Second Careers

(The theme of  Butch Cassidy & the Sundance Kid is) times are changing, and you have to change with them—if you want to survive.”
William Goldman
Adventures in the Screen Trade

“I don’t know if you saw the parting of the Red Sea with the chariots on the horses, I did stuff like that.”
Richard Farnsworth

After I posted the above Goldman comment yesterday on the post titled Writing “Butch Cassidy & the Sundance Kid” it jogged my memory of another story about a career transition—both fictional and real life. The Grey Fox was released in 1982 about a decade after Butch Cassidy, but there are some similarities, mostly the concept of change in the Old West.

Richard Farnsworth plays a former stagecoach robber who is released from San Quintin after serving 33 years for his crimes. When he gets out in 1903 it’s a new world—the stagescoaches are out and movies are in. His character, Bill Miner, goes to see The Great Train Robbery and is inspired to take up his old ways yet with a new fresh angle.

It’s been many years since I’ve seen the film so I’ll rely on Rodger Ebert’s account to bring us all up to speed:

“(The Great Train Robbery.) That famous movie is only eleven minutes long, but long enough to make everything absolutely clear to Miner, who realizes he has a new calling in life, as a train robber. All of this could, of course, be an innocuous Disney movie, but it’s well-written and directed, and what gives it zest and joy is the performance by Richard Farnsworth, who plays Miner. Maybe you’ll recognize Farnsworth when you see him on the screen. Maybe not. His life has been one of those careers that makes you realize Hollywood is a company town, where you can make a living for years and never be a star. Farnsworth has been in more than three hundred movies.”
Roget Ebert
Chicago Sun-Times, The Grey Fox
January 1. 1982

Though Farnsworth had been in more than 300 films, they were mostly as a stuntman. He doubled for some of Hollywood’s most well-known actors; Roy Rogers, Gary Cooper, Kirk Douglas, Henry Ford, Montgomery Clift, and Steve McQueen. You think he might have picked up a thing or two about acting from those fellows because after 30 years as a stuntman he began acting.

And he did it well enough to receive a Supporting Actor Academy Award nomination in 1979 for his role in Comes a Horseman and another Oscar nomination for Lead Actor in David Lynch’s The Straight Story (that was filmed right here in Iowa). He was 79 at the time of the nomination making him the oldest actor to ever receive a best actor nomination.

You may also remember his roles in The Natural, The Two Jakes, and Misery. I had the good fortune to meet Richard Farnsworth at a movie theater in Burbank some time in the 80s. Nothing exciting, he was just standing in front of me waiting to buy popcorn or whatever.

“Are you Richard Farnsworth?”
“Yes, I am.”
“I appreciate your work.”
“Thank You.”

He smiled and we shook hands. This was in the days before IMDB so I didn’t know in that simple exchange I was shaking hands with a man who was a real life Forrest Gump in the film industry having been in some legendary Hollywood productions;   Gone with the Wind, Gunga Din, The Ten Commandments, The Outlaw Josey Wales, Roots, Bonanza, The Wild One,  Blazing Saddles, Spartacus and many others.

That means to one degree or another he worked with John Wayne, Clark Gable, Marlon Brando, Mel Brooks, Howard Hawks,  Jack Nicholson, Robert Redford, Clint Eastwood and Cecil B. DeMille.

I don’t know how long stuntman work on a regular basis in Hollywood, but it has to take its toll on your body.  Farnsworth’s last credit as a stuntman was 1975 when he would have been 55. He was almost 60 when his acting career took off. He changed with the times.

By the way, the screenwriter of The Grey Fox, John Hunter,  was no spring chicken himself and was 71 when the movie was released.

Oh yeah, Farnsworth did stunts in Butch Cassidy & the Sundance Kid, too.

Scott W. Smith

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The King of Cool’s Roots

“Two american kids growin up in the heartland…”
Jack & Diane
John Mellencamp

Steve McQueen has been dead for thirty years now, but they still call him the king of cool. Last night I watched The Sand Pebbles which was McQueen’s only Oscar-nominated role.

After the film I did some checking to see where the king of cool came from and guess what I found out? He was born seventy years ago this month in Beech Grove, Indiana. The interesting thing about that is he was born just a year earlier, and about an hour and a half drive from another cool guy, James Dean who was born in Marion, Indiana.

That’s a lot of cool for one part of the country–especially at the same time. (Can’t believe John Mellencamp from Seymour, Indiana hasn’t written a song about that.)

McQueen’s family life wasn’t so cool as his father abandoned his family, leaving him with an alcoholic mother. As a youngster he went to live with family in another Midwest town, this time outside of Kansas City on a farm in Slater, Missouri. Later in life he would settle in Santa Paula, California and say that it reminded him of his hometown of Slater. As a teenager he was back with his mother and now living in Los Angeles but he got into various trouble and ended up living in what is now known as the Boy’s Republic, a home for at risk boys in Chino Hills, California.

He left the Boy’s Republic when he was 16 and ended up wandering the country working at various odd jobs until he joined the Marines when he was 17. He was honorably discharged a couple year later and used his G.I. Bill to study acting. After a decade of smaller roles he became a star in The Great Escape (1963), followed by Bullitt, The Cincinnati Kid and The Sand Pebbles. In 1974 he was the highest paid actor in Hollywood. But it’s almost a cliché to say that didn’t mean he was happy. Cool but not content.

He went through a couple divorces and tangled with more than one director. His co-stars have said he was personable and charismatic, but also an unpredicable, angry troubled man, who was distrustful of people and insecure due to his upbringing. Perhaps that’s where his cool came from.  A sort of carefree aloofness. But there is no doubt that part of his cool factor was not only that he was a good-looking movie star, but that he raced cars and motorcycles and flew planes. That’s the image that even today sells watches, cars and khaki pants and pours money into his estate.

McQueen was a contradiction in many ways; for a while he worked out for two-hours a day, but he also smoked, drank heavily and used drugs. He was worth millions but sometimes slept in an airport hanger. He didn’t trust people and was said to be a loner who played by his own rules (much like his character Jake in The Sand Pebbles), but at the end of his life he put his trust in God. Struggling with an aggressive cancer has a way of putting into perspective fame, money and even being cool. McQueen died of cardiac arrest after a radical surgery in Mexico to remove a large tumor.

McQueen did have some advice for screenwriters saying they ruined too much with dialogue. He believed that actors could often convey more with just a look. Keep that in mind when you watch the next McQueen movie— and when you write. And if you ever question his coolness, remember that Steve McQueen is the one who encouraged Chuck Norris to study acting. That’s right, no Steve McQueen, no legend of Chuck Norris.(Found on the Internet: Chuck Norris has never won an Academy Award for acting… because he’s not acting.)

The one McQueen film I’d love to see is the one that some could say was a result of “sudden serious actor syndrome” where the cool action movie star took on the lead in Ibsen’s Enemy of the People. That’s always been one of my favorite plays and it would be interesting to see how he did playing the role of a doctor who knew what was wrong with the town, though the townspeople didn’t care to listen.

“I’m out of the Midwest. It was a good place to come from. It give you a sense of right or wrong and fairness, which I think is lacking in our society.”
Steve McQueen

Scott W. Smith

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