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|Also Known As:||Garry Kent Marshall,Garry Kent Marscharelli||Died:||July 19, 2016|
|Born:||November 13, 1934||Cause of Death:|
|Birth Place:||Bronx, New York, USA||Profession:||Cast ... director screenwriter producer actor playwright comic drummer in own jazz band gagwriter newspaper copyboy sports reporter|
urt Russell, and scored hugely with female audiences with "Beaches" (1988), a sudsy, Oscar-nominated "women's picture" about a lifelong friendship between brassy Bette Midler and wealthy but fragile Barbara Hershey.
Marshall's biggest hit came in 1990 with "Pretty Woman," a slick but well-crafted romantic comedy about a businessman (Richard Gere) who falls for the escort (Julia Roberts) he hires to be his date at functions. One of the year's highest grossing films (and a 1991 Cesar and BAFTA nominee), the picture established Roberts as a major star (and earned her a Golden Globe) and solidified Marshall as one of the top film directors of the day. His follow-up, "Frankie and Johnny" (1991), was an effective translation of Terrence McNally's off-Broadway play "Frankie and Johnny in the Claire de Lune," with Al Pacino and Michelle Pfeiffer delivering believable and heartfelt performances as diner workers who fall in love despite her personal baggage. The picture would also serve as Marshall's last big hit for several years. Subsequent efforts like "Exit to Eden" (1994), "Dear God" (1996), and "The Other Sister" (1999) were met with tepid critical and box office responses. "Runaway Bride," a 1999 reunion with his "Pretty Woman" stars, fared better, but suffered by inevitable comparisons with its classic predecessor.
Marshall's interests continued to expand during this period. A lifelong passion for the theater had yielded middling results until 1993, when his play "Wrong Turn at Lungfish" (co-written with Lowell Ganz) scored in productions in Los Angeles and Chicago before eventually landing off-Broadway (with Marshall as director). He also attempted to build and sustain a theater in Los Angeles throughout much of the eighties and nineties (which apparently cost him a sizeable chunk of his own money) until he struck gold with the Falcon Theatre in Burbank, CA in 1997. The theater, which he built with his daughter Kathleen, served as home for many acclaimed productions, as well as a popular children's theater program. In 2005, Marshall directed his first opera, Offenbach's "Grand Duchess" for the Los Angeles Opera, and helmed his second, "The Elixir of Love," for the San Antonio Opera in 2008.
Marshall's film career rallied in 2001 with "The Princess Diaries," a delightful teen comedy about a young woman (Anne Hathaway) who discovers that she is the rightful heir to the throne of a small European country. The presence of Julie Andrews as her grandmother and social grace instructor helped to bring both younger and older audiences into the theater, and gave Marshall his first major hit in over a decade (the inevitable sequel, 2004's "The Princess Diaries 2: Royal Engagement," fared only slightly less successfully at the box office). Marshall also helmed "Raising Helen" (2004), a sweet but slight comedy-drama with Kate Hudson as a fast-track businesswoman who finds herself in charge of her late sister's children, and "Georgia Rule" (2007), which suffered exceptionally at the hands of critics (perhaps due to its curious plotline, which attempted to find humor in false accusations of child molestation), but fared moderately well with audiences, thanks to the casting of Jane Fonda, Felicity Huffman and Lindsay Lohan as its leads.
In addition to his efforts as producer, director, and writer, Marshall made numerous appearances in films and television episodes. Blessed with excellent comic timing and a brassy Bronx accent, he was a natural for salt-of-the-earth types as well as overbearing businessmen and other authority figures. He shone in bit parts on his own series and films - his drumming chops were given excellent exposure on multiple episodes of "The Odd Couple," "Happy Days" and "Laverne and Shirley" - as well as those produced or directed by former employees like Ron Howard (1977's "Grand Theft Auto") and peers like Albert Brooks (1985's "Lost in America," in which his scene as an exasperated Las Vegas casino boss who refuses to return the Brooks' lost gambling money was one of the film's highlights). He also appeared frequently in sister Penny's films, including "Jumpin' Jack Flash" (1987) and "A League of Their Own" (1992); starring memorably in the latter as tough candy manufacturer Walter Harvey.
Marshall's acting gained notice as cutthroat network executive Stan Lansing on "Murphy Brown," which led to larger parts on other series and films. His most substantial part came in 1997 as the patriarch of a Jewish family facing a difficult choice over their daughter's pregnancy in "The Twilight of the Golds," which Marshall also co-produced. His most surprising (and charming) on-screen turn came in "Keeping Up with the Steins" (2006), a lightweight comedy (directed by his son Scott) about a Jewish family gripped by competitive fever over their son's impending bar mitzvah. As the boy's carefree grandfather, Marshall was both amusing and affectionate, even contributing a surprising nude scene. He also lent his distinctive voice to several animated projects, including the short-lived animated primetime series "Father of the Pride" (NBC, 2004) and the feature "Chicken Little" (2005), voicing the title character's embarrassed father, Buck Cluck.
Marshall's long and celebrated streak of hit programs and features netted him numerous awards throughout his career. He received five Emmy nominations between 1971 and 1979 (four for "The Odd Couple" and one for "Mork and Mindy") and received his star on the Hollywood Walk of Fame in 1983. As two decades' worth of reruns helped to usher his '70s and '80s series into iconic status, Marshall found himself on the receiving end of several lifetime achievement awards, including those from the American Comedy Awards (1990), the Casting Society of America (1995) and Publicist Guild Awards (1998), as well as the Valentine Davies Award from the Writers Guild in 1995 and an induction into the Academy of Television Arts and Sciences Hall of Fame in 1997. In 2002, he was honored by the National Italian American Foundation in Washington, D.C.
In 1995, Marshall penned his autobiography, Wake Me When It's Funny; a paperback edition which was published in 1997. Continuing the Marshall legacy of keeping it in the family, all of his children were involved in his work and enjoyed entertainment careers of their own. In addition to collaborating with her father on his autobiography, Lori Marshall appeared in several small roles in his films. Daughter Kathleen and son Scott also made regular appearance in Marshall's films; with Scott also serving as second unit director on all of Marshall's films after "Dear God," before establishing his own directorial career with "Spin Cycle" (2000), "Keeping Up with the Steins" and "Blonde Ambition" (2007). Marshall married Barbara Marshall in 1963, and like her family, she too enjoyed a small role in her husband's films, starring in "Beaches" as a nurse.short-lived, it did give Marshall another top-rated network program, and at one point in 1979, he laid claim to four out of the five shows in the top five Nielsen slots. But Marshall's interests began to exceed the bonds of television, and in 1982, he branched out into feature film directing with "Young Doctors in Love," a broad and zany spoof of soap opera clichÃ©s starring Sean Young and Michael McKean from "Laverne and Shirley." His next effort, 1984's "The Flamingo Kid," was an affectionate period piece set in a swank hotel in 1950s Florida, and featured winning performances by lead Matt Dillon, Richard Crenna, and Hector Elizondo, who would eventually become something of a good luck charm for Marshall and appear in each of his films. Next up, "Nothing in Common" (1986), which was a family-based comedy-drama which gave TV legend Jackie Gleason a fitting final note on his long and storied career. Marshall returned to broad comedy for "Overboard" (1987), a likable nod to the screwball pictures of the 1930s starring Goldie Hawn and K
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