Oliver Reed

Burly British actor Oliver Reed juggled over 60 film roles in 40 years and a full-blooded social life of women, booze, and bar fights, both of which became fodder for stories about one of England's darker leading men and villainous character actors. After getting his start in cult monster movies from Hammer Studios, Reed forged a body of work most associated with acclaimed directors Ken Russell, Richard Lester, and Michael Winner, in which he was able to sidestep his typecasting as a brooding heavy. Reed remains one of the only prominent British thespians never to amass any stage work, making him a pure film actor. Reed was born on February 13, 1938, in Wimbledon, England, a nephew of film director Sir Carol Reed (The Third Man). An antsy type given to partying with friends, Reed did not complete high school. He ended up taking on a variety of blue-collar jobs, including nightclub bouncer and hospital porter, and even a short career in pugilism. In 1960, he suddenly burst into films, showing up in the background of the Hammer films The Two Faces of Dr. Jekyll and Sword of Sherwood Forest, and as a gay ballet dancer in The League of Gentlemen. His first starring role came with Hammer in 1961, as the title character in Curse of the Werewolf. Years later, he would serve as narrator on a full Hammer retrospective, putting his sonorous speaking voice to good use and paying homage to his roots. Such early work paved the way for a steady flow of bad-guy roles in horrors, costume dramas, and suspense thrillers. Reed's intense, glowering features could also be manipulated for believable ethnic characterizations. Titles such as These Are the Damned and Pirates of Blood River (both 1962) followed. His first of six collaborations with Michael Winner came with The Girl Getters in 1966. In 1968, he won his first leading role in a universally well-received film, the Oscar-winner Oliver!, directed by his uncle, in which he played murderous thief Bill Sikes. Despite complaints of nepotism, Reed insisted he had to persuade his uncle to cast him, even though his credentials closely matched the needs of the part. Another watershed moment came in 1969, when Ken Russell cast him as one of the leads in his adaptation of D.H. Lawrence's Women in Love. While the film was a well-received treatise on sexuality and marriage, it achieved some notoriety for featuring the first-ever full-frontal male nudity in an English-language commercial film. Reed and Alan Bates engage in a memorable nude wrestling match that audaciously fleshes out the film's themes. Reportedly, Russell had planned to scrap the scene, worried about censor backlash, until Reed wrestled him into including it, literally pinning him down, in Russell's kitchen. Still, Reed told the Los Angeles Times he had to drink a bottle of vodka before he could relax enough to film the scene. The actor and director would work together five more times, including The Devils (1971) and Tommy (1975), in which Reed played Frank Hobbs. Reed was also known for portraying musketeer Athos in three of Richard Lester's film versions of Alexandre Dumas' famous tale. Reed appeared in The Three Musketeers (1973) and its sequel, The Four Musketeers (1975), which originally had been planned as one long movie. He revived the role in 1989 for The Return of the Musketeers. During filming of the windmill scene in the first film, Reed was nearly killed when he received an accidental stab wound in the neck. Add in 36 facial stitches following a bar fight in 1963, and the actor had more than his share of scrapes. Reed peaked in many ways in the mid-'70s, and had to settle on genre work for much of his career. Films such as Dr. Heckyl and Mr. Hipe (1980), Venom (1982), Gor (1987), and Dragonard (1987) became his regular source of paychecks for many years. For every respite, such as Nicolas Roeg's Castaway (1987) or Terry Gilliam's The Adventures of Baron Munchausen (1989), there was a return to familiar territory with garbage