Carroll O’Connor’s legacy is firmly cemented in television history thanks to his groundbreaking role as Archie Bunker on All in the Family. However, O’Connor’s career extended beyond the small screen, encompassing a range of film projects that, while memorable, did not achieve the same level of success. Yet, these lesser-known ventures are a testament to his adventurous spirit, willingness to explore new creative terrain, and determination to tackle diverse roles. Here, we take a closer look at some of Carroll O’Connor’s most intriguing, yet commercially unsuccessful, film projects that reveal another side of his artistry.
“The Devil’s Brigade” (1968): An Ambitious War Drama
One of O’Connor’s early forays into film, The Devil’s Brigade was a 1968 World War II film that aimed to capture the grit and chaos of battle through the lens of a mismatched group of soldiers. The film, which starred William Holden and Cliff Robertson, had all the ingredients for success: a compelling premise, a strong ensemble cast, and high-stakes action sequences. O’Connor played Major General Walter Naylor, a tough but compassionate officer who is crucial to the narrative.
While The Devil’s Brigade was praised for its performances and action scenes, it struggled at the box office. The film was overshadowed by other, more prominent war dramas of the era, such as The Dirty Dozen and Where Eagles Dare, which resonated more with audiences. Despite the film’s lukewarm reception, O’Connor’s portrayal of Naylor showcased his ability to play authoritative, multi-dimensional characters, providing a glimpse of the depth he would later bring to his television roles.
“Marlowe” (1969): A Noir That Didn’t Quite Hit the Mark
In the late 1960s, the gritty detective genre was making a resurgence, and Marlowe aimed to capitalize on this trend. In this film, based on Raymond Chandler’s The Little Sister, James Garner took on the role of the titular detective, Philip Marlowe, navigating a web of crime and deception in Los Angeles. O’Connor played the character of Lt. Christy French, a cynical cop at odds with Marlowe’s unconventional methods.
While the film was visually compelling and faithful to Chandler’s style, it failed to strike a chord with audiences and critics alike. Some felt the film was too derivative, lacking the punch of other noir classics. Nonetheless, O’Connor’s performance as a jaded lawman was memorable, adding a layer of tension and skepticism that complimented Garner’s easy-going, yet determined, detective. The film may not have succeeded commercially, but it remains a fascinating piece for fans of O’Connor, who want to see him in a different, more serious light.
“Waterhole #3” (1967): A Misstep in Comedy Westerns
Long before he became the face of All in the Family, O’Connor experimented with various film genres, including Westerns. Waterhole #3 was a comedic Western that attempted to blend slapstick humor with the classic Western formula. Starring James Coburn as a roguish gambler and Carroll O’Connor as Sheriff John H. Copperud, the film was a gamble in itself, trying to merge genres in a way that few films at the time dared.
Unfortunately, the film struggled to find its audience. Critics and viewers were confused by its uneven tone—oscillating between dark humor and more conventional Western tropes. Despite the film’s failure to resonate, O’Connor’s performance as the bumbling yet earnest sheriff brought a degree of charm and levity, showing his potential in comedic roles outside the confines of a sitcom. While it did not provide the big break O’Connor may have hoped for, it stands as a curious, if flawed, attempt to do something different.
“Kelly’s Heroes” (1970): An Ensemble Overshadowed by Bigger Stars
Kelly’s Heroes is perhaps one of the more notable films on this list, though it was not particularly successful upon its release. This ensemble war film starred Clint Eastwood, Telly Savalas, and Donald Sutherland, with O’Connor playing Major General Colt, a blustering, oblivious officer who becomes unintentionally hilarious.
While the film eventually became a cult classic for its quirky humor and anti-war sentiment, it was not a significant hit at the time of its release. Carroll O’Connor’s role, though small, left an impression as a caricature of the gung-ho military leader more interested in glory than sense. His comedic chops were evident, but in a film dominated by larger-than-life performances from Eastwood and Sutherland, his contribution was somewhat overshadowed. Nonetheless, his performance in Kelly’s Heroes remains a testament to his ability to steal scenes even in a limited role.
“The Last Hurrah” (1977): A Politically Charged Drama That Failed to Connect
In the 1977 television film The Last Hurrah, O’Connor played the lead role of Mayor Frank Skeffington, a charismatic yet controversial political figure. The film was a remake of the 1958 Spencer Tracy classic and sought to update the story for a new generation. O’Connor’s portrayal was powerful and multi-layered, capturing the complexities of a politician trying to hold onto power while grappling with his own moral failings.
Despite a strong performance from O’Connor, the film struggled to find its footing. Some critics felt it lacked the depth and emotional resonance of the original, while others believed it was too overtly political for its time. Regardless of the mixed reception, O’Connor’s performance was a masterclass in character acting, offering a glimpse into the kind of roles he could have pursued more aggressively in a different era.
The Courage to Take Risks
Carroll O’Connor’s film projects, though not always successful in the conventional sense, demonstrated a fearless approach to his craft. He was willing to step outside his comfort zone, try new genres, and take on roles that challenged both himself and his audience. In doing so, he not only expanded his range as an actor but also left behind a series of performances that continue to intrigue and inspire. These films, while not always hits, are a reminder of the risks Carroll O’Connor took to forge a career that was anything but ordinary.
