Since watching Fury At Gunsight Pass (1956), Neville Brand has been on my mind. (Blake Lucas brought him up, too.)
If I was to make a list of underappreciated actors, Neville Brand would be near the top. He’s so good in so many pictures — big ones and small ones. And there was so much more to him than just a bad guy.
After serving in World War II — where he was awarded the Silver Star, Purple Heart and other decorations, Brand studied acting on the G.I. Bill. His first sizable film role was in D.O.A. (1950). His career as a heavy was off to the races.
Neville Brand: “With this kisser, I knew early in the game I wasn’t going to make the world forget Clark Gable… I don’t go in thinking he’s a villain. The audience might, but the villain doesn’t think he’s a villain… I just create this human being under the circumstances that are given.”
From time to time, he’d play something other than a thug, or his thug would have a decent amount of screen time, and he’d really shine. Something like Halls Of Montezuma (1950), Stalag 17 (1953), Anthony Mann’s The Tin Star (1957) or Don Siegel’s Riot In Cell Block 11 (1954). There’s Reese Bennett on Laredo (1965-67). And he had great chemistry with John Wayne in Cahill: U.S. Marshall (1973), giving the film a much-needed shot in the arm.
Brand fought Post Traumatic Stress Disorder and alcoholism. Was a veracious reader with a huge library (some of it was lost in a fire in the 70s). And everyone seems to say the same thing: that he was a tough guy — but also a really nice man.
He’s seen up top with Mari Blanchard in The Return Of Jack Slade (1955), one of the many movies to benefit from his presence, and reading on the Laredo set.