By MICHAEL MADSEN (Vantage Press; 1995)
In remembrance of actor Michael Madsen, who died on July 3, 2025 at age 67, here’s a look at BEER, BLOOD, AND ASHES, his first book of poetry—or, as the back cover terms it, “poems and short stories,” which is more appropriate, as despite taking the guise of free-form poetry these 46 autobiographical recountings consist mostly of artfully arranged prose.
Madsen, who attempted to become the modern-day Robert Mitchum, worked steadily since his film debut in AGAINST ALL HOPE (1982). He had a moment in the 1990s, following standout turns in THELMA & LOUISE (1991) and RESERVOIR DOGS (1992), before being relegated to supporting roles in grade B fare due to alcoholism and bad behavior (according to my sister, who worked with Madsen on a late 1990s film, both of those things were on full display throughout the shoot). I know I’ll always remember Madsen’s appearance at a Comic-Con panel promoting KILL BILL (2003), in which he summed up his work on WYATT EARP (1994) as “a big waste of time” and shut down a would-be heckler’s parting remark, “thanks for making me feel like a complete ass,” with “You did that yourself!”
Yes, the man had a gift for witty trash talk. He also amassed an impressive 327 film credits (Mitchum only managed 132) despite his bad reputation. This book appeared at the height of Madsen’s fame, and partook greatly of the badass image he so assiduously cultivated.
Of Madsen’s Hollywood career little-to-no info is offered, with the focus on his impoverished upbringing, numerous odd jobs, hard drinking and whoring (“I like whores you/know there is something/pure about them”). His model appears to have been the late Charles Bukowski, America’s foremost purveyor of poetic grunge, and as with the soft-spoken, Mercedes driving Bukowski, it’s hard to tell how much of the drunkenness, delinquency and debauchery described by Madsen were mere posturing.
Madsen’s actress sister Virginia is remembered for adorning her bedroom walls with Marilyn Monroe posters, and fellow thespian Graham Greene for being “drunk in the Apache Room,” while Madsen’s THELMA & LOUISE co-star Chris MacDonald has a poem named after him whose contents consist of a description of a flea market buying spree. “Wyatt Earp” focuses primarily on returning home after filming on that opus was complete, while “My Son” devotes more wordage to what Madsen sees on TV than the subject at hand.
There are some interesting examples of subjective observation to be found (“I can still run faster/than a speeding bullet and I/know Superman had a cigarette/once in a while”), and much striking imagery (“Stepped on roses/stapled to the floor”), so BEER, BLOOD AND ASHES can be said to entertain, at the very least. The book is also admirably blunt about its author’s bad attitude and the vices that hastened his demise: “I heard Cat Stevens/was a Sufi. Maybe I should/listen to more of his music/or maybe I shouldn’t drink/so much vodka…But I doubt if/either of those/things will happen.”
R.I.P. Michael Madsen.