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Cast as Marilyn Monroe's estranged husband, it was not a role to equal his previous success, but marked a phase in his career when he became steadily busier, if often undervalued. Possibly the main attraction of his next major film, The Misfits (1961), was the original screenplay by Miller, whose classic play had launched McCarthy's career.
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(He later appeared in a 1978 remake, directed by Philip Kaufman.) The film works as an allegory about conformity and as an intelligent, tense, no-nonsense chiller. He enjoyed the perfect role as a small-town doctor who discovers that his fellow inhabitants – and eventually his friends and lover – have been taken over by alien pods. The notable exception from supporting roles came in Don Siegel's science-fiction masterpiece, Invasion of the Body Snatchers (1956). Possibly his age – by this time he was 40 – and a slightly grave demeanour counted against him as a romantic lead, and he never displayed any leaning towards comedy. With one notable exception, he never received star billing throughout his career, playing countless patriarchal roles, often politicians, doctors, judges and generals. It gave McCarthy a decent part as a heavy, characteristically playing an important supporting role – this time to Mickey Rooney. His next film, Drive a Crooked Road (1954), scripted by Blake Edwards and directed by Richard Quine, was the kind of tough, low-budget movie that died out during that decade. Despite his success in the film version of Death of a Salesman, a few years passed before he returned to the screen. He first appeared on screen in an uncredited role in George Cukor's patriotic Winged Victory (1944). McCarthy married the actor Augusta Dabney in 1941. He made his Broadway debut in 1938 in the play Abe Lincoln in Illinois, and then served with the military police during the second world war. (Mary McCarthy later became a celebrated critic and author of novels including The Group.) His enthusiasm for the theatre was sparked while studying at the University of Minnesota. He and his siblings, Mary, Preston and Sheridan, were raised by relatives after their parents died from influenza in 1918. All three actors received Oscar nominations. Resuming the role of Biff, he held his own against the awe-inspiring performances of Fredric March as Willy and Mildred Dunnock as Willy's devoted wife, Linda. By the time of the movie, he was a youthful-looking 37, with considerable stage experience. McCarthy had previously played Biff, one of Willy Loman's disillusioned sons, in the London production of Arthur Miller's play, in 1949. He received his first screen credit in Laslo Benedek's version of Death of a Salesman (1951). As it happened, he preferred to play politicians rather than be one. However mundane the material, it was usually enhanced by his lazy charm and natural elegance, his intriguing baritone voice and unconventional good looks – all attributes that might well have led him down the political path of his cousin, senator Eugene McCarthy.
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Consider this the all-encompassing cousin of our collection of traumatic dog death scenes, and see which of these are streaming on Netflix right now (if you have a strong enough stomach).Kevin McCarthy, who has died aged 96, notched up more than 70 years as a working actor on stage and screen, with more than 200 film and TV credits. They range from the disgusting to the disturbing to the downright despicable. Whatever the case, they don’t get much more aggressive than what’s seen in the 53 most hard-to-watch scenes in movie history. It can be a scene marked by such intense violence that it’s nauseating, a conversation so uncomfortable you can’t handle the second-hand embarrassment, or some other heinous exhibitions of mankind’s darkest impulses. It’s those moments in a movie where people either cover their eyes, peek through open fingers to catch a cautious glimpse, or stare at the screen in disbelief, as if a freight train is barreling toward them and they’re frozen in fear. They want to push the envelope so far that their viewers aren’t even sure if they’ll continue watching.
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Then there are those directors who don’t care about that agreement. There may be some laughs, some jolts, and possibly a tear or two, but nothing that will leave any permanent scars. There’s an unspoken agreement between moviegoers and filmmakers who make safe, mainstream fare: if the former gives the latter’s work a look, the latter won’t do anything to disrupt the viewer’s emotions beyond what’s usually called for.