There was much more to James Garner than Bret Maverick and Jim Rockford. Here are ten movies roles which he should be remembered for, as well.
For a certain generation, he will always be the quick-witted, adroit cardshark Bret Maverick in Maverick. His slick, snide persona left a major impact, even after he walked at the end of the third season (the show ran for another two years).
For others, he remains the laid back beach bum private dick Jim Rockford, a problem-plagued PI whose questionable abilities were quelled by his flashy (?) fashion sense, beachside mobile home office/residence, street savvy, and complicated backstory (he served time in prison on a wrongful conviction). Audiences loved this Maverick-like update (co-producer Roy Huggins was responsible for both shows) and it set a standard for which actor James Garner would be both grateful and a bit glum.
The Rockford Files was so successful, in fact, that its theme song became a Top 40 hit and the actor felt he had been stereotyped as a middle-aged, down to earth slacker. He would revisit both characters (for financial reasons) throughout the rest of his career.
But there was more to Garner (who passed away last week at the age of 86) than two iconic TV roles. He grew up James Bumgarner in Norman, Oklahoma, the youngest of three boys. After his mother died when he was five, his father remarried, and his stepmother was horribly abusive. After an attempt at the Merchant Marines, he moved to LA and began modeling. He served in Korea, received the Purple Heart for his wounds, and returned to civilian life to try his hand at acting.
He landed work in commercials and was soon playing minor roles in films. Maverick would be his big break, but he worked steadily in films throughout the '60, '70s and '80s. In fact, his movie work remains one of the most under appreciated aspects of his career. In lieu of an obituary, here are our picks for his ten best performances. They range from comedy to drama, Westerns to war efforts. One thing was constant, however. Garner was great in all of them, beginning with this melodrama disguised as an intriguing cinematic experiment:
By including real life racing footage and cameos from famous Formula One racers, this movie made a significant impression on 1966 audiences. Perhaps even more impressive, however, was the use of 70mm Cinerama in some locations (a process which offered three separate 35mm prints synced up to run simultaneously). Garner is great as the American looking for a comeback -- and bedding the disgruntled wife of one of his rivals -- though he is often overshadowed by the triptych nature of John Frankenheimer's storytelling. Yet it says something about our star that he can make a major impact among all the RPMs and screening stuntwork.
There was a time, during the late '50s and early '60s, when Garner was partnered up with Doris Day. Together, they created ongoing roles that we now think of as a "RomCom given", i.e., a slick and smart hunk who can't see the fetching female forest for the stuck in the same old male chauvinist mode trees. In the case of this hilarious movie (written by Carl Reiner and Larry Gelbart) she is a housewife who becomes a TV commercial pitchwoman. He's the successful doctor who wants his little woman "back in the kitchen". Considering how dated (and hateful) his character can be, Garner still manages to give his befuddled hubby an appealing side.
Reunited with Julie Andrews (his co-star in The Americanization of Emily), Garner is the mobster and club owner, King Marchand. In Paris looking for possible acts, he stumbles across a Polish female impersonator and is immediately smitten. Of course, it's Andrews. Of course, Marchand can't have his sexuality questioned. Of course, things end up in a hilarious last act filled with Blake Edwards' patented big screen slapstick and farce. While Garner's character is proven "right" in the end (he didn't fall for a man, after all), the sequences where it's suggested that his character may be gay are some of the best, most subtle comedic acting he ever committed to film.