Skip to comments.Milo O’Shea, an Actor of the Stage and Screen, Dies at 86
Posted on 04/04/2013 11:33:44 AM PDT by EveningStar
Milo OShea, an Irish character actor recognizable by his black bushy eyebrows, tumble of white hair and impish smile whose films included Ulysses, Barbarella and The Verdict, died on Tuesday in Manhattan. He was 86.
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I didn’t recognize the name, but immediately recognized the face. One of those character actors who was in so many tv shows. May he RIP.
RIP, Duran(d) Duran(d).
Wow, another actor I could have sworn would have been dead already, just passing away.
BTW, is Abe Vigoda still alive?
Did he say where his pot of gold was buried before he went?
Yep, Abe’s still with us. I think he’s mostly retired now, but he’s still kicking.
Generalissimo Francisco Franco is still dead, however.
/70’s era Saturday Night Live.
Loved him in “The Verdict”.
I was amazed to hear that Hal Holbrook is still alive. Will be doing his characterization of Mark Twain near here at Evansville.
May have to make time to go down and see that.
First time I saw O’Shea was in a BBC sitcom called “My Mammy.” This was in about 1969 or 1970. Guy was very funny. RIP, Squire.
I remember him in a strange movie called The Adding Machine, with Phyllis Diller.
He killed his Boss with the Letter Spike.
Roger Ebert will also not be down for breakfast.
Wasn’t he great as the villainous judge in The Verdict? I love that movie.
I had the pleasure of seeing Milo in the original production of “Mass Appeal” with Eric Roberts (Julia’s brother) at the Manhattan Theatre Club. A wonderful performance!
The Adding Machine! A play by Elmer Rice. Actually, it’s a pretty good play. Needs a revival! RIP, Milo!
He lived on the Upper West Side of Manhattan and I would occasionally see him. He was sick for a very long time, poor man.
Yes he is.
The Verdict is great! Loved when Paul Newman says over and over ‘this is the case,there are no other cases...’ and also
when he lands a solid punch on Charlotte Ramplings face. WOW!
Mr O’shea was a great character actor. Thanks and RIP.
He was kind of Newman’s nemesis, but I always interpreted the ending as somewhat of a redemption for Judge Hoyle (O’Shea). He allowed the testimony of Newman’s witness, knowing it would sway the jury, because he was beginning to have doubts about the defense’s case. He went through the motions of upholding the defense objections and “warning” the jury not to give the testimony any credit, but he knew they had heard it and would not be able to ignore it in good conscience.
That had to be one of the best punches Newman ever threw.
I forgot those details. It’s still one of my favorite movies. The actors (especially Paul Newman) are splendid and the script by David Mamet is terrific.
I can tell you that the punch he gives Rampling caused mayhem in the theatre I saw it in originally. No one had ever seen such a thing. Hitting such a delicate woman who, nevertheless, betrayed Newman.
I remember vividly how James Mason - that great gent who played the opposition lawyer - condemned that bit of violence. Very Mamet violence.
Newman is probably my favorite modern-era "classic" actor. I have a signed picture from George Kennedy obtained at a collector's convention and I asked him about working with Newman on Cool Hand Luke (which was Kennedy's Oscar-winning gig). He said that working with Newman was "difficult" because he was terribly perfectionist when it came to the acting craft. But still, working with Newman the Legend was his great honor.
It was a bit of a shocking scene. He really clocked her a good one. James Mason was also great. I had a sense that deep down his character of the rich lawyer also had a trace of honor. I saw in his expression in the end when the verdict was read a sense of resignation, as if he really didn’t want to deal with his clients who at that point he suspected were really guilty and covering up their malfeasance. His expression was something like a mixture of “Oh, sh*t! (we lost)”, and then, “Well, okay, so much for that...”.
Yeah, Mason, like all good actors, is able to transit complex thought processes. Outside of “Nobody’s Fool,” it’s my favorite performance of Newman’s.
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