Acting
Peppard made his stage debut in 1949 at the Pittsburgh Playhouse. After moving to New York City, Peppard enrolled in The Actors Studio, where he studied the Method with Lee Strasberg. His first work on Broadway led to his first television appearance, with a young Paul Newman, in The United States Steel Hour (1956), as the singing, guitar-playing baseball player Piney Woods in Bang the Drum Slowly.
Peppard's Broadway appearance in The Pleasure of His Company (1958) led to an MGM contract. Following to a strong film debut in The Strange One (1957), he played the illegitimate son of Robert Mitchum's character in the popular melodrama Home from the Hill (1960).
His good looks, elegant manner and superior acting skills landed Peppard his most famous film role as Paul Varjak in Breakfast at Tiffany's with Audrey Hepburn. This 1961 role boosted him briefly to a major film star. His leading roles in that film's wake included How the West Was Won in 1962 (his character spanned two sections of the episodic Cinerama extravaganza), The Victors in 1963, The Carpetbaggers in 1964, and The Blue Max in 1966.
The Carpetbaggers was based on an epic Harold Robbins novel which used the life of Howard Hughes as inspiration and featured Alan Ladd in his final screen role as Nevada Smith, also played by Steve McQueen in a smash hit prequel the following year.
Peppard started choosing tough guy roles in big, ambitious pictures where he was somewhat overshadowed by ensemble casts; for example, his role as German pilot Bruno Stachel, an obsessively competitive officer from humble beginnings who challenges the Prussian aristocracy during World War I in The Blue Max (1966). For this role, Peppard earned a private pilot's license and did much of his own stunt flying, although stunt pilot Derek Piggott was at the controls for the famous under-the-bridge scene.
He was cast as the lead in Sands of the Kalahari (1965) but walked off the set after only a few days of filming.
Due to Peppard's alcoholism, and notoriously difficult personality on the set, his career devolved into a string of B-movies through the late sixties and early seventies. As film critic David Shipman once wrote of this stage in his career:
With his cool, blond baby-face looks and a touch of menace, of meanness, he had established a screen persona as strong as any of the time. He might have been the Alan Ladd or the Richard Widmark of the Sixties: but the Sixties didn't want a new Alan Ladd. Peppard began appearing in a series of action movies, predictably as a tough guy, but there were much tougher guys around - like Cagney, Bogart and Robinson, whose films had now become television staples.
Peppard then had a notable success with the TV series Banacek (1972–74), (part of the NBC Mystery Movie series), and one of his most critically acclaimed, though rarely seen, performances in the TV movie Guilty or Innocent: The Sam Sheppard Murder Case (1975), as Sam Sheppard.
Among the disappointing films was the 1970 Western Cannon for Cordoba, in which Peppard played the steely Captain Rod Douglas, who has been put in charge of gathering a group of soldiers on a dangerous mission into Mexico, and 1967's Rough Night in Jericho in which he was billed over crooner Dean Martin and Jean Simmons, a reflection of his status at that point in his career. Peppard appeared in the short-lived (half a season) Doctors' Hospital (1975) and several other television films. He was in the cult science-fiction film Damnation Alley in 1977. With fewer interesting film roles coming his way, he acted in, directed and produced the drama Five Days from Home in 1979.
In a rare game show appearance, Peppard did a week of shows on Password Plus in 1979. Out of five shows, one was never broadcast on NBC (but aired much later on GSN) due to comments made by Peppard regarding personal dissatisfaction he felt related to his treatment by NBC standards & practices.
Read more about this topic: George Peppard
Famous quotes containing the word acting:
“We dont want bores in the theatre. We dont want standardised acting, standard actors with standard-shaped legs. Acting needs everybody, cripples, dwarfs and people with noses so long. Give us something that is different.”
—Dame Sybil Thorndike (18821976)
“When committees gather, each member is necessarily an actor, uncontrollably acting out the part of himself, reading the lines that identify him, asserting his identity.... We are designed, coded, it seems, to place the highest priority on being individuals, and we must do this first, at whatever cost, even if it means disability for the group.”
—Lewis Thomas (b. 1913)
“Acting is not about dressing up. Acting is about stripping bare. The whole essence of learning lines is to forget them so you can make them sound like you thought of them that instant.”
—Glenda Jackson (b. 1937)