Marlon Brando Filmography

[Mighty Jack]

About 20 years ago I started research on a planned book titled “Brando Through Rose Colored Glasses”. It was a fans look at his career, very detailed in a film school way (I would examine each film scene by scene). I’m not going to go into that much detail (I’m not even sure where my stacks of notes and initial writings are stored) but I thought I might try and do a run through his Filmography. Lets hope I can actually finish this.

Brando changed acting. He was raw, natural - a force of nature who thumbed his nose at the establishment. Critics and audiences embraced this new breed of actor and this style soon became the norm. But what made Brando brilliant was also what made him a bit of a jackass. I loved the man but he could be childish and needlessly mean spirited. If a director didn’t take control, he could sabotage an entire production with his antics (ala Missouri Breaks) so this will be an amazing as well as frustrating journey.

The Men (1950)
Directed by Fred Zinneman
Cast: Marlon Brando (Ken), Teressa Wright (Ellen), Everett Sloan (Dr. Brock,) Jack Webb (Norm)
Oscar: Nominated for best writing, story and screenplay: Carl Foreman

Brando, who had made such a splash on Broadway was one film away from making a huge impact on Hollywood. His celluloid debut, The Men (about a soldier left wheelchair bound after being injured in the war) didn’t do very well at the box office and disappeared after 2 weeks. Critical notices were strong and Brando was commended for his performance. Time magazine wrote… 'Broadway's Marlon Brando in his first movie does a magnificent job. His halting, mumbled delivery, glowering silences and expert simulation of paraplegia do not suggest acting; they look chillingly like the real thing.'

The stories a bit didactic and it’s a strange collision of old and new Hollywood. Brando - leader of the new guard, a method actor who embraced the real and naturalized - is countered by Everett Sloane (far too affected) as his Doctor and Terressa Wright, who plays his love interest - are very much a part of the old style. I like Terresa, she was outstanding in films like Hitchcock’s "Shadow of a Doubt", but she is a bit too overwrought here (plus he was 26, she was 32, not a big gap but they just didn’t click). The contrast in acting styles is interesting though off putting. (Edit: And Jack Webb was solid as a fellow patient. His animated manner and Betanik facial hair was nothing like his Sgt. Joe Friday character).

It’s a decent movie, albeit a bit stiff and it’s nowhere near as textured and well made as “The Best Years of Our Lives” (another film that examined the after effects of war, it also stared Terresa Wright). The score is one of the worst and overbearing I’ve ever heard (and during montages it was cartoon like). Still, “The Men” did herald a new age, and upon release of Brando’s next film, the art of acting would never be the same

www.youtube.com/watch?v=TLc8ZIrdoPQ

[The Mad Plumber]

Good project. I'd like to see how you summarize his career.

I like how you note his "jackass" nature. From what my father told me, Brando would blow off dates and special appearances for pet political projects and ultimately earned a blacklisting from Hollywood. I am to assume that it was The Godfather that broke the blacklisting. I would bring up in a small note how Brando got paid lucratively more than Christopher Reeve for his role as Jor-El in Superman, which I consider to be quite unfair. I'm not diminishing his role, but Reeve was the star and had a lot more screen time.

[Mighty Jack]

Thanks! As for a summary, I'm not sure yet. I think he might have been too much for Hollywood. Kazan seemed to be only who knew how to tap into his full potential (though other directors and roles did manage to grab a spark from time to time, ala the Godfather). I think I'll be exploring this question film by film.

A Streetcar Named Desire (1951)
Director: Elia Kazan
Cast: Brando (Stanley Kowalski), Vivien Leigh (Blanch), Kim Hunter (Stella), Karl Malden (Mitch)
Oscars: Won for Best Actress (Leigh), Best Supporting Actor & Actress (Malden & Hunter), Best Art-Set direction (b/w) and Best Costume Design (b/w) – Nominated for Best Picture, Director, Actor, Screenplay, Score, Cinematography and Sound Recording

What else can I write about this legendary film that hasn’t already been said? This is a powerhouse of performance and script. Kazan is the perfect director for such a film, the perfect director for Brando. Tennessee Williams play was originally a look at Blanche and Stanley’s struggle to hold onto, maybe even take control of Stella. But Brando was so overwhelming that he became the focus, even when Kazan adjusted the story for the film in order to zero on Blanche. Even then, Stanley was such a raw force of nature he couldn’t help but draw all our attention. Marlon rocketed to superstardom in this picture, he captivated audiences and other actors; he was sexy, violent, charming, infantile, even funny at times (a solid gold dress? Ha, Ha)

That’s not to slight Leigh’s work, she was stunning (and she had a tough act to follow, as Jessica Tandy played the part on Broadway). Blanche is ill equipped to deal with life’s harsh realties, so she creates he own world – she can be irritating (she never stops prattling) but it’s heartbreaking to watch her come apart at the seams and soul crushing to see Stanley destroy her the way he does. One of my favorite scenes isn’t one that is talked about - it comes as Blanche is unraveling, Mitch has left her and she stands by the door, whispering like a little girl… "I’ll be good. I’ll be good”.

Malden, playing mother’s boy Mitch and Hunter round out the superlative cast. Stella's got it bad for her husband and those steamy looks she gets when she talks about, or looks at him are red-hot convincing and tells us everything about the relationship.

Free of the stage, Kazan does open things up a bit, but primarily he keeps the focus within the apartment, which helps build the tension. Another important factor was the score by Alex North, there’s a symphonic, jazzy vibe to it which breaths so much life into film. The music is like an actor in itself and Oscar made a mistake in giving the award to Waxman for “A Place In The Sun” (a fine score, but not the years best). North would be nominated 14 times in his career and shamefully he never took home the statue.

The 2 disc DVD is the one to buy at this writing. The picture still has some defects and graininess, but is cleaner than it has been in years. It restores the 3 minutes of film, cut by the censors. The extras are generally great; there is a little overlap, especially in the weak commentary track that is stitched together from several sources. But overall they are fresh, especially the extensive look at Kazan’s career and the piece on censorship issues is fascinating (a key note, the homosexuality of Blanche’s husband, who she caught in bed with another man, had to be removed,).

It also includes an early Brando screen test in 1947 for “Rebel Without A Cause”. The movie wasn’t made until years later, with James Dean (a man who modeled himself after Brando). It’s said that Marlon wasn’t a great practice player; rehearsals and screen tests weren’t his forte. That is illustrated here, as he seems uncertain and awkward, still it’s very interesting to watch.

In closing: Marlon has arrived like a hurricane, though he lost the Oscar to Bogart in "African Queen" he left a mark that changed and challenged everything in terms of acting. It was such a strong performance that Marlon worked hard to prove he could branch out and be more than the brutish Kowalski.

Rotten Tomatoes Ranking: 8.5 (98%)



Up next: Kazan and Brando return for the rousing Viva Zapata – strangely this hasn’t been released in the US on DVD. So I’ll have to see if I can dig up my VHS out of storage.

[Mighty Jack]

Viva Zapata! (1952)
Director: Elia Kazan
Cast: Brando (Emiliano Zapata), Anthony Quinn (Eufimo), Jean Peters (Joesfa), Joseph Wiseman (Fernando)
Oscars: Won: Best Supporting Actor (Anthony Quinn) – Nominated: Best Actor (Brando), Best Art-Set Direction (b/w), Best Score (Alex North), Best Screenplay (John Steinbeck)

When I began my first exploration of Brando’s work - friends, family and customers (I worked at a video store at the time) were united on one front, all told me I needed to watch Zapata. Such praise for a movie that wasn’t embraced upon its original release, Zapata flopped at the box office. Despite the awards and accolades and fan fever over Streetcar, it didn’t translate into enthusiasm for this film. After this, producer Darryl F. Zanuck abandoned message pictures and decreed that he would only make movies for their entertainment value alone (He was a man of his word and was the first to turn down “On The Waterfront”).

Looking to veer away from Stanley, Brando teams up with Elia Kaza for a romanticized look at the Mexican revolutionary. This tale of social injustice must have appealed greatly to the actor, who would later take up the cause for Indian rights. For Kazan, the appeal was in being able to break away from the confines of a set and make an action packed movie in the dusty wide-open country.

Marlon is a master of conflicting emotions (sometimes crashing one against the other as we’ll see in “Reflection In A Golden Eye”) though there are bits that tax him - the movie is sluggish during romantic exchanges, and Brando, perhaps trying to show a different, quieter side, is too muted and mannered in those sequences.

But when the fires of injustice inspire him, when he becomes the incorruptible rebel to challenge those in power, he comes to life with passion and fury. He’s also able to successfully draw dark moody tones when he and his ideals are tested, and tenderness for his oppressed people. When his own brother (brilliant played by Anthony Quinn), who is nowhere near the idealist Emiliano is, adds to their trouble, he (Brando) shows outraged and shame.

The movie has its shortcomings, there are stretches where it drags, and the romantic angle fails. Still, I found much to enjoy - the performances, Alex North’s wonderful score as well as the authentic setting and costumes - The movie has heart and intelligence and the ending was truly moving. Notices were good for the actor and he received his 2nd Oscar nom (losing to Gary Cooper in High Noon).

Of Note: Joseph Wiseman is also very good playing a manipulator who lives by cool logic; he was later seen as Dr. No in the Bond film of the same name. Henry Silva has an uncredited cameo.

Rotten Tomatoes Ranking: 6.4 (67%)



Up next, Critics are silenced as mumbling Marlon takes on Shakespeare!

[Mighty Jack]

Julius Caesar (1953)
Directed by Joseph L. Mankiewicz
Cast: Brando (Mark Antony), James Mason (Brutus), John Gieldgud (Cassius), Louis Calhern (Caesar)
Oscars: Won for Art-Set Direction (b/w) - Nominated for Best Picture, Best Actor (Brando), Best Score (Miklos Rozsa), Best Cinamatography

When it was announced that Brando would tackle Shakespeare, the film community at large was not convinced that the mumbling Method actor, who’d shrugged off the artifices of traditional acting, could handle the discipline and rhythm of such a role. When I first sat down to watch it, I too was very curious to see how he’d do. And what he did was striking. After watching the “Friends, Romans, Countrymen” speech, I discovered my mouth was bone dry. I had been so enthralled and moved by the emotion and power of the scene that I’d sat through it slack jawed. His approach was not oratory as was tradition, instead he was a man conversing with the crowd intimately, his eyes searching the throng, drawing all to him, and drawing me in as well. In one swift moment, Marlon made the film breathe.

Was it pure Shakespearian acting? Perhaps not, but it was strong, refined and assured. He had proven his versatility, so much so that John Guilgud was eager to work with him on Hamlet. Unfortunately the project fell through as Brando’s interest shifted from acting to social issues in the 60s.

For the 3rd straight year, Brando was nominated for an Oscar (Lost to William Holden, Stalag 17). The movie did surprisingly well at the box office and from here on out there were no limits on the actor. There were, sadly, limits inherent in the material he was offered. Only rarely would the medium of film rise up to his talent.

Rotten Tomatoes Ranking: 7.7 (100%)



Up next: A cool biker film that thrilled teens, boosted sales of motorcycles and black leather jackets and inspired James Dean to adopt his own Brando-isms.

[Torgo]

I, and many others, are on the edge of our seats waiting for your praising words of the Island of Dr. Moreau. Just curious if there are any good words about it.

[Mighty Jack]

Ah Marlon's "let me play dress up and act weird" stage. Yeah, that'll be a fun one.

You know I hate to say it, but being serious, I think Marlon suffered some form of metal illness as the years passed. I think it went beyond being self indulgent, and while he never dipped into Howard Hughes territory, I think there was something broken inside that great mind of his. No proof, just a feeling. Anyhoo...

The Wild One (1953)
Directed by Laslo Benedek
Cast: Brando (Johnny), Mary Murphy (Kathie), Robert Keith (Sheriff Bleeker), Lee Marvin (Chino)
Oscars: None

Inspired by the true tale of bikers going on rampage in a small town. The Wild One was going to be a ground breaking, cutting edge story and Brando was enthralled over the opportunity it offered to explore the psychology of violence. But his hopes were dashed and he quickly soured on the project when it became apparent that fear of reproach would force director, writers ands producers to water down the message (and it still caused controversy).

Had Kazan been the director, he’d have had the strength to fight the censors, and where he couldn’t bend them, the proficiency to get what he wanted through skillful implication. But Kazan was nowhere in sight and what was produced was cool for it’s time, but today it comes off weak and dated. A quaint artifact that is silly in light of the tougher biker films from the 60s and 70s.

Brando’s sporting some baby fat, but fans and teens of the era were mesmerized nonetheless. He’s aloof and tough, though that edge of danger is tame by today’s standards. He does get in a classic line - when a woman asks him

“Hey Johnny, what are you rebelling against?”

He mumbles… “What do ya got?”

He also managed to add a few subtle dimensions. As when he’s running from the angry crowd - you see him fighting panic, near tears, trying so hard to maintain his cool, but cracking under the fear.

The Wild One hasn’t held up over the years and today’s audiences can’t know what it was like for those who saw this in theaters in ’53. It was a landmark film and I like it despite the cobwebs.



Up Next: One of the greatest movies ever made, and the greatest performance seen on film

[Mighty Jack]

On The Waterfront (1954)
Directed by Elia Kazan
Cast: Brando (Terry Malloy), Eva Marie Saint (Edie Doyle), Karl Malden (Father Barry), Lee J. Cobb (Johnny Friendly), Rod Steiger (Charley Malloy)
Oscars: Won for Best Picture, Actor (Brando), Supporting Actress (Saint), Director, Writing, Cinematography, Art Direction, Film Editing - Nominated for best Score and 3 Best Supporting Actors (Steiger, Cobb and Malden)

Despite all the controversy, despite all the hardships and bad feelings surrounding the project and Kazan himself. Despite the fact that that no studio wanted to touch this movie and even Columbia Pictures Harry Cohn predicted it would be a disaster even as the production company took it on. From all of that debris… emerged a masterpiece.

The final collaboration between Kazan and Brando is the pinnacle of both men’s careers. Visually it is a work of art. The gloomy, gray skylines highlight the sorrow and the struggles revealed in the story. The acting was multi faced, nurtured by Kazan’s deft hand, Brando gives the performance of a lifetime. Waterfront is a tale of redemption that is soaked in blood and tears and regret. Even the score is often a mournful cry. All of it, every ounce of sweat that went into making this film was molded into something transcendent.

The story is about corruption on the New York docks and of a young punch drunk ex-fighter who has it easy because he’s aligned with this group of thugs who hold the power. He follows orders, keeps quiet and only wakes up when he realizes that he had a hand in causing unbearable hurt to someone he’s falling in love with. Kazan said that the heart of the film, what made it work, was that relationship and I agree. Eva Marie Saint has never been more beautiful, never more perfect in a film and her chemistry with Brando is palpable - their scenes are the soul of the picture.

The performances are seamless, it goes beyond mere acting - it is real, flesh and blood. It’s method acting done better than it has ever been done. The scene in the park, when Terry picks up Edie’s glove and puts it on his own hand. He’s found a way to keep here there, talking with him, but there’s also something sweet, even intimate in it. He has a part of her. Their scene in the bar is another touching moment. When Edie tells Terry that she knows that he’d help her (find her brother’s killers) if he could and then gently places her hand on his arm, the expression that washes over Malloy’s face is devastating. It’s subtle but it’s there - all the guilt and the anguish and desperation. He so wants to be clean of this stain, so that he can just be with her. Love her.

Of course there’s the famous taxicab sequence between the brothers (I could have been a contender). That speech, the acting, there’s so much loss in it and it has become one of filmdom enduring moments.

You can examine this film frame by frame and discover treasures like this throughout. It’s simply amazing, well acted, written, directed, filmed, scored. With Kurosawa’s “Seven Samurai” it stands as my favorite film of all time. And all those critics and producers who passed on the film, got to watch it take home 8 Academy Awards (there were 12 nominations), including one for Brando. His 4th nomination in a row, only this time out he finally received a richly deserved win.

Note: This was Martin Balsam’s first movie, MSTies know him for his part in “Mitchell”



Next: After such triumph, Brando is forced to take a forgettable role

[Mighty Jack]

Desiree (1954)
Directed by Henry Koster
Cast: Brando (Napoleon), Jean Simmons (Desiree), Merle Oberon (Josephine), Michael Rennie (Jean-Baptiste)
Oscars: Nominated for Art Direction and Costume Design.

A love triangle between Napoleon, Desiree and Josephine: This is the movie where my 2 favorite actors almost starred together, Audrey Hepburn was considered or considered and passed, I’m not sure, but the rumor was that she was in line for the title role. Simmons at the start, plays it very much like Hepburn.

The film is a costume drama best suited for an earlier Hollywood era and such an ill fit for its brash new voice. It’s a talky, cornaball affair that tells us the story of Napoleon through the eyes of his one true love, Desiree. The story is so dry it can’t even stoop to show us Napoleon’s wars, defeat and rebellion… it simply tells us about them in voice over as Desiree writes in her diary.

Brando was forced to take this role when he refused the studio’s first offer, “The Egyptian” – while that was bad, this isn’t much better and Brando deports himself as one completely disinterested in the whole vapid exercise. It’s his lone poor performance in the 50s and the only truly terrible film from that time frame.



Up next: We know he can be both cruel and sensitive, he can tackle social issues and he can do Shakespeare, but can cinema’s greatest voice handle a musical?

[Mighty Jack]

Guys and Dolls (1955)
Directed by Joseph L. Mankiewicz
Cast: Brando (Sky Masterson), Jean Simmons (Sarah Brown), Frank Sinatra (Nathan Detroit), Vivian Blaine (Adelainde)
Oscars: Nominated for Cinematography, Art Direction, Costumes and Music (went to Oklahoma!)

Brando follows up the lackluster Desiree with something light and fluffy, a Damon Runyon style flick about romance and gamblers. Should be fun, ahh but right from the start, Frank Sinatra and Brando were at loggerheads. Frank was used to being the chairman of the board, but at that moment there was a new king, and in Hollywood he trumped even Frank. Which meant that he –Brando- got the starring role over Sinatra, which irritated the singer to no end (It didn’t help that he lost the lead in Waterfront to Brando). He whined nonstop (and for years) over “that actor”. Sure Frank you had the superior voice - but he kicks your ass in regards to acting… so it’s a draw in my book.

I think Brando was wonderful in this part. His voice isn’t strong by any means, it does falter at times and wasn’t good enough for a showstopper like “Luck Be A Lady”, but it was warm and pleasant enough. And seeing Marlon playing the charmer was a blast, this is the first time he tried on such a slick, silver-tongued figure, and he wore it well.

I’ve always liked Jean Simmons and she and Brando work much better here than in their last coupling, they are cute together, often funny. The other half of the romance between Nathan and Adelaine wasn’t as smooth. Frank was fantastic and in fine voice, but the chemistry wasn’t there with Blaine. Vivian originated the role on Broadway, but she doesn’t click with her co-star, they didn’t match, and in truth I found her voice and mannerisms annoying to no end. Even her famous songs gave me an earache (these days whenever I pop this on, I reach for the remote every time she sings).

The direction by Mankiewicz is too stiff. It doesn’t move the way a musical should. It runs too long, and is far too talky, he really needed to shave back some sequences. He added a couple of new songs and ditched others, and some people complain about that. I’m not familiar with the source so I can’t comment, but I loved hearing Marlon croon, “Your eyes are the eyes of a woman in love”.

I need to add one more thought: The best song didn’t come from any of the four leads. That honor belongs to Stubby Kaye who playing Nicely-Nicely Johnson. At the end when he tears into “Sit Down, You’re Rocking the Boat” he brings the house down and steals the show. For that scene alone I give the film a thumbs up. “Guys and Dolls” is flawed but when it strikes the right chord, when Sky Masterson looks deeply into Sarah’s eyes and woos her with music, it’s magic.

Note: Sky Masterson’s real name, was Obidiah (Stane?) Jerry Orbach makes an uncredited appearance He is seen early on, spinning around as a customer in one of the barber chairs, and shaking Frank Sinatra's hand during the song "The Oldest Established"




Up next: What’s left for the man who can do everything? Let’s try a comedy!

[Mighty Jack]

Teahouse of the August Moon (1956)
Directed by Daniel Mann
Cast: Brando (Sakini), Glenn Ford (Cap. Fisby), Machiko Kyo (Lotus Blossom), Eddie Albert (Cap. McLaine), Paul Ford (Col. Purdy)
Oscars: None (Brando was nominated for a Golden Globe)

Some people are uncomfortable with Brando made up as an Asian man and I certainly wont tell anyone how they are suppose to react to that. But I didn’t have a problem with it; plus I thought he was a sharp and funny as all get out. I once spoke to George Takai (He brought up the subject at a convention I was working) and though he felt that Asian roles should go to Asian’s, he did say that Brando was the only non-Asian who ever came close to getting it right (Brando studied voice and mannerisms tirelessly). While I agree that Asians are better played by Asians, there are exceptions to the rule in regards to exceptional talent. With Brando you want to see him try anything and everything, just to see what he does with it.

I’m with those who don’t feel this story is racist or insulting (Sakini is no Mr. Yunioshi), and in comedies people, all people of all races, act silly. And in truth it’s the stuffy white military men that are trying to tell the villagers what they need, who look foolish and small minded.

Anyway, while it might not be everyone’s cup of tea (as seen in the mixed reviews) I find it an utter delight. I’m charmed by the people and their situations, and I laugh frequently. I’ve read that Glenn Ford and Brando clashed on set, their acting styles were complete opposites and Ford wasn’t used to the off-the-cuff Method style, which required several takes and Ford was a hammy scene stealer who was constantly stepping on Marlon's lines- but that schism doesn’t interfere with what happens on screen.

The movie loses step a bit when it shifts its attention off Sakini and puts it on the fidgety, shrill Fisby - never-the-less I adore this quaint little comedy, it has held up well over the years and is one of my all time favorites from the actor. Leonard Maltin’s book gave it 3 and one half stars and called it “Outstanding. Warm and memorable” I agree!



Up Next: Brando stays East in a tale of romance and racism


(Edited to make for a better read)

[Torgo]

Jun 27, 2009 0:02:42 GMT -5 Mighty Jack said:

I once spoke to George Takai (I was working a convention) and though he felt that Asian roles should go to Asian?s, he did say that Brando was the only non-Asian who ever came close to getting it right (Brando studied voice and mannerisms tirelessly).

I'm curious as to how this subject came up.

That's like me walking up to Morgan Freeman and saying "Which do you prefer: Amos or Andy?"

[Mighty Jack]

He was a very, very cool guy and it was a small convention in Oregon, he took time and spoke to a lot of us on the first day (on the 2nd he had to catch a flight and was much more businesslike, which was understandable). But the subject was something he brought up himself. He was speaking of the difficulty he and other Asians had in getting roles, and how frustrating it was to see non-Asians be given those roles.

He mentioned Brando, and that he was the only one who got it right and that made my ears prick up and so we talked a bit about it when he stopped by my booth.

It’s a dicey issue, that you don’t see come up much anymore. I think it comes down to tone, intent. Sakini is no Mr. Yunioshi (Mickey Rooney in Breakfast At Tiffany’s) but some take offence no matter the intent.





Sayonara (1957)
Directed by Joshua Logan
Cast: Brando (Lloyd), Red Buttons (Kelly), Miyoshi Umeki (Katsumi), Miiko Tara (Hana Ogi), James Garner (Mike)
Oscars: Won for Best Supporting Actor (Red Buttons), Supporting Actress (Miyoshi Umeki), Best Art Direction, Best Sound – Nominated for Best Picture, Actor (Brando), Director, Cinematography, Editing, Screenplay

At this point in his career Marlon wanted to make pictures with weight and substance that addressed serious issues and Sayonara fit the bill. This romantic tale examines the racism, ill will and difficulties that faced American soldiers who married Japanese women during the war. It’s said that Brando detested Director Joashua Logan and who knows why. I’ve read that Logan was a good guy, though he suffered thriough several mental breakdowns which effected his personality. Despite this rhubarb, the film succeeds more than it fails.

Brando is subtle and understated playing a likable (and funny) Southerner who wrestles with his own change of heart. He received a 5th Oscar nomination, his last for quite a while. He and Miiko Tara as Hana Ogi have a nice chemistry. Red Buttons gives a particularly sensitive performance and earned an Academy Award, as did Miyoshi Umeki playing his gentle wife.

A few critics feel that Sayonara has lost some impact; I can’t go with that as I find it a moving romance and that the story resonates honestly and true after all these years. As to films that address racism it’s no “In The Heat of the Night”, but I think it holds up better than Kazan’s Oscar winning “Gentleman’s Agreement”. Sayonara was nominated for 10 Academy Awards and won 4.

Note: Also present in the cast is Ricardo Montalban, who dresses up as a woman during a Kabuki play (not Noh!)

[Torgo]

Jun 28, 2009 0:19:40 GMT -5 Mighty Jack said:

He was a very, very cool guy and it was a small convention in Oregon, he took time and spoke to a lot of us on the first day (on the 2nd he had to catch a flight and was much more businesslike, which was understandable). But the subject was something he brought up himself. He was speaking of the difficulty he and other Asians had in getting roles, and how frustrating it was to see non-Asians be given those roles.

He mentioned Brando, and that he was the only one who got it right and that made my ears prick up and so we talked a bit about it when he stopped by my booth.

It?s a dicey issue, that you don?t see come up much anymore. I think it comes down to tone, intent. Sakini is no Mr. Yunioshi (Mickey Rooney in Breakfast At Tiffany?s) but some take offence no matter the intent.

Interesting. Thaks for sharing the info. Takai sounds like a good guy.

[Mighty Jack]

He was, friendly guy, even started singing a song (I can't remember why).

The Young Lions (1958)
Directed by Edward Dmytryk
Cast: Brando (Christian), Montgomery Clift (Noah), Dean Martin (Mike),
Oscars: Nominated for Cinematography, Score and Sound

It’s a war movie that strives to be more than gunfire and explosions and show us the people inside the uniforms. Brando wanted to do something different than to simply show the Nazi soldier as purely evil. He pushed for changes that would add complexity and make his character fully human. A basically good man who at first views Hitler as someone who will bring pride and hope to Germany, then slowly begins to understand that his country is involved with something horrible. Marlon gives one of his more mannered performances (Brando with a few exceptions was probably the most mannered of the Method actors)

Martin and Clift are the American soldiers; Dean is a hard drinking singer (is that typecasting? lol), reluctant to join the fight but out of guilt, does so, I didn’t find his story as interesting but Dean’s laid-back style of acting was a nice counterpoint to Marlon and Clift’s polish. Montgomery, who plays his usual unsure and twitchy character, is also good as a Jew who is fighting for respect. His romance with Hope Davis’s character adds some sweet old-fashioned romance to the tale.

The main problem with this film is that the direction is flat and the story grabs at threads but rarely addresses them successfully. For example, the anti-Semitism directed at Noah is solved with a series of fights at the barracks and a long walk with the father of the woman he wants to marry - and that’s it, it’s no longer an issue for the rest of the film.

Lions is long, nearly 3 hours and it’s an uneven production. I felt it did finish up strong and the cast help make it worthy. May Britt and Maximillian Schell are 2 other’s whose performances add to the film. They make up for the director’s flaws. The movie was a hit, the last hit Brando would be involved with in over a decade.

Note: Young Lions is when Marlon first started using cue cards




Thus closes the first part of Brando’s career. The 50s were the most memorable for the actor: He filmed 2 classics (Streetcar and Waterfront) and about a half dozen outstanding pieces with only one dud (Desiree). He wouldn’t make another movie for 2 years and what awaited him in the 60s wasn’t as wonderful. He didn’t know it, but the tide was about to turn against him.