‘Blade Runner’ beaming bartender Tyrell was 94 – The Hollywood Reporter

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Joe Turkel, who played the ghost bartender in Stanley Kubrick’s film. Shine and creator of replicants by Ridley Scott Blade Runneralready died. He was 94 years old.

Terkel died Monday at Providence St. Johns Medical Center in Santa Monica, his family said.

Turkel also appeared in two other Kubrick films: as the shooter in the climactic gunfight in Murder (1956) and as a soldier sent to be shot in paths of glory (1957), which the lanky Brooklyn native actor called the greatest film ever made. (Only Philip Stone appeared in three of Kubrick’s films.)

For Burt I. Gordon, Turkel appeared as Abu Jinn and as a gangster respectively in the 1960 editions. Boy and Pirates as well as exhausted. He also played a prisoner of war in a Robert Wise film. sand pebbles (1966) and was the real-life bribe giver Guzik, nicknamed Greasy Finger, in the Roger Corman film. Massacre on Valentine’s Day (1967).

Kubrick first saw Turkel at work in B-picture. Crazy man (1953). As the actor recalled Kubrick Universe podcast, the director told him: “The picture was terrible, but I liked you and what you did, and that’s why I said that someday I will have to hire this guy.”

After his supporting role in Murderthe meticulous Kubrick chose the 30-year-old Terkel as one of three soldiers used as scapegoats for a failed World War I attack in the classic Kirk Douglas film. paths of glory.

His character, the decorated soldier Private Arnaud, is chosen by lot and sent to his death with Pvt. Ferol (Timothy Carey) and Cpl. Paris (Ralph Meeker). His spiral of desperation and drunkenness leads to a fight; unconscious, he lies absurdly on a stretcher in front of the firing squad.

On the halfway Shine (1980), aspiring writer and recovering alcoholic Jack Torrance (Jack Nicholson) wanders into the empty Gold Room of the Overlook Hotel and approaches the bar, where he begs in a state of madness for a glass of beer.

The living room bartender, Lloyd (Terkel), suddenly appears and pours him a bourbon even though Torrance has no money. “I like you, Lloyd, I always liked you,” Torrance says. “You have always been the best of them all. The best damn bartender from Timbuktu to Portland, Maine—Portland, Oregon, for that matter.

When Torrance returns to the room, Lloyd is still behind the bar, but now it’s packed with guests from the 1920s.

Joe Turkel as Dr. Eldon Tyrell in Blade Runner 1982.
Warner Bros./Photofest

In just two scenes, Turkel speaks 96 words. In 2014, he noted that rehearsals lasted six weeks while “Stanley was looking for the perfect shot”, and he was on set one day from 9 am to 10:30 pm: “I went to my dressing room, took off my shirt, took off my T-shirt and squeezed [the sweat] out.”

Turkel’s locker room was next to Nicholson’s locker room, and in Scott Edwards’ 2018 book Typical Jackhe recalled noticing an open book on the effects of the freeze lying on Nicholson’s chest prior to filming. Shine’final snow sequence.

“Look, in the last scene, my character freezes, and I want to know how it happens. I want to get it… feel it… show it… the way it is,” Nicholson told him.

Thanks to ShineScott chose him to play Dr. Eldon Tyrell in Blade Runner (1982). “Joe had wax makeup or skin like that,” the director says in the DVD commentary, “and Joe was so clean-shaven he looked like polished ivory.”

Tyrell, who lives in a giant pyramid, runs a corporation that creates replicants with a lifespan of four years – “more people than people” – says the slogan of his company.

At the end of the film, wearing a heavy white coat and oversized glasses, Tyrell is visited by his most valuable and advanced replicant, Roy Batty (Rutger Hauer), who demands an extension of his soon-to-be-expired life.

Tyrell tells him that “a light that burns twice as bright burns twice as slowly, and you burn very, very bright, Roy.”

In one of the film’s most surprising moments, Batty, realizing that his creator cannot grant his wish, kisses Tyrell on the lips before crushing his head and eyes with her bare hands.

Tubes were passed behind Turkel’s ears to create a gory effect, and as Hauer (on his first day on set) began squeezing his face, make-up artist Marvin G. Westmore pumped artificial blood through the tubes. (The crew created an artificial dummy of Turkel’s head, but it has never been used on screen. It will find a home in visual effects maestro Douglas Trumbull’s office.)

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Left to right: Paul Richards, Joe Turkel and Jason Robards in Valentine’s Day Massacre, 1967.
20th Century Fox/Photofest

Born on July 15, 1927, Turkel began his film career in the late 1940s, appearing in film noirs, including City across the river (1949) glass wall (1953) Duffy from San Quentin (1954) human jungle (1954) and “Naked Street” (1955); in war films Halls of Montezuma as well as Fixed bayonets!, both from 1951; and comedies like Down among the sheltering palms (1952) and Small case of theft (1953).

He played Chuck Darrow’s criminal cousin in The Story of Bonnie Parker (1958), Sheriff of Gordon Valley of the Giants (1965) and Detective at Wise’s Hindenburg (1975).

You could see it on TV Boston Blackie, Public Defender, The Lone Ranger, Squad, Bonanza, The Untouchables, Tales From the Darkside as well as Miami Police.

His last film appearance was in 1990 in Dark side of the Moonand he reprized his voice-only role as Tyrell in 1997. Blade Runner video game.

Shortly before his death, Turkel wrote a memoir entitled The misfortune of successwhich the family plans to publish this year.

He has lived in Santa Monica since the early 90s and can be seen at various restaurants and venues in the city including Fromin’s Deli, Izzy’s, Bagel Nosh, Marmalade, Rosti, Spumoni and Aero Theatre.

Survivors include his sons, Craig and Robert; daughters-in-law Annie and Casilda; brother David; and grandchildren Ben and Sarah. Those wishing to attend his funeral at Hollywood Forever Cemetery are asked to email JosephTurkel1927@gmail.com.

In Dennis Fisher’s 2000 book Science fiction film directorsTurkel recalled asking Kubrick why he demanded a 17th take of an actor just walking down the hallway. “I’ve been working on this film for four years, I want it to be damn perfect,” was his reply.

On the paths of gloryTurkel witnessed how Adolphe Menjou was frustrated by the constant reshoots of the long and verbose scene he had with George Macready.

“Mr. Kubrick, when are you going to say cut and print?” he recalled Menjou yelling at Kubrick. now”.

But Kubrick kept trying again. When filming wrapped, Turkel asked the director what take he would use in the film. “The very first after the scream,” Kubrick said. “There was a certain tone in his voice that matched the fucking scene that only appeared on the first take after the anger.”

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