Halliwell's Filmgoer's Companion has characterized Harris' persona on and off the screen as follows: "Usually cast as a rebel, he tries to match the part in real life." Though in many ways accurate (witness Harris as the murderous Cain in John Huston's THE BIBLE, 1966 or in Sam Peckinpah's Civil War saga MAJOR DUNDEE, 1965), the description does not quite encompass the quiet modernist alienation of Michelangelo Antonioni's brilliant RED DESERT (1964) or the stalwart brand of suffering heroism he could often convey. With his musical speaking voice -- and surprisingly good singing voice -- Harris scored as the larger-than-life King Arthur in the adaptation of Lerner and Loewe's CAMELOT (1967). (His voice would also be put to use on the syrupy but extremely popular 1968 recording, "MacArthur Park.") Sometimes though, Harris's volatile charisma, edgy quirkiness and egocentric flamboyance found itself in an unworthy epic such as CROMWELL (1970), while A MAN CALLED HORSE (1970) seemed to exist largely to show just how great his capacity for suffering could be.
The 1970s were a comedown for Harris, cast as he was in a number of all-star actioners ranging from the enjoyably old-fashioned THE CASSANDRA CROSSING (1977) to the irredeemably dreadful ORCA (1977). Harris himself knew his career was bottoming out as he hammed his way through such bombs as the Canadian-made HIGHPOINT (1980) and the flat Bo Derek starrer, TARZAN, THE APE MAN (1981). Having survived a near-fatal overdose of cocaine in 1978, Harris proceeded to kick his longstanding alcohol addiction and found a career jump-start when an ill Richard Burton asked him to finish out the final eight weeks of a Camelot tour in 1982. Harris would eventually stick with the show for five years, buying out the show's original producers and netting himself a very tidy bundle.
His confidence bolstered, Harris returned triumphantly to the London stage in a 1989 production of Pirandello's Henry IV. His screen career was also reactivated when he played a white-haired curmudgeon determined to hold onto his property in THE FIELD (1990). An Oscar® nomination resulted, and Hollywood beckoned the fascinatingly weathered but still youthfully vibrant actor with a flashy supporting role as a seemingly classy hired gun in Clint Eastwood's UNFORGIVEN (1992), and a leading part as a robust blowhard of a sea captain who delights in telling of his WRESTLING ERNEST HEMINGWAY (1993).
His later screen credits include PATRIOT GAMES (1992) and the title role in TNT's ABRAHAM (1994). 1995 brought CRY, THE BELOVED COUNTRY and SAVAGE HEARTS. 1996 saw TROJAN EDDIE, and he played Andreas Tork in 1997's SMILLA'S SENSE OF SNOW. Firmly settling into character roles, he played Emperor Marcus Aurelius in GLADIATOR (2000), Headmaster Albus Dumbledore in HARRY POTTER AND THE SORCERER'S STONE (2001) and its sequel, HARRY POTTER AND THE CHAMBER OF SECRETS (2002). However, he wasn't able to complete HARRY POTTER AND THE PRISONER OF AZKABAN (2004), and Michael Gambon assumed the role. THE PEARL (2001), THE COUNT OF MONTE CHRISTO (2002), KAENA: THE PROPHECY (2002) and roles in TV projects "The Apocolypse" and the mini-series "Julius Caesar" closed out a great career.
Harris was married twice, to Elizabeth Rees and Ann Turkel, and is survived by three children, actors Jamie Harris and Jared Harris and director Damian Harris. He died at the age of 72 at University College in London of complications of Hodgkin's Disease,
Nominated for Actor 1963: THIS SPORTING LIFE
Nominated for Best Performance by an Actor in a Leading Role 1990: THE FIELD
2 nominations