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Marlon Brando: Performances
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A powerhouse performance from Marlon Brando, as a WWII German soldier whose enthusiasm erodes into bitter disillusionment as he witnesses the horrors of war and the Holocaust, highlights this exceptional character study from director Edward Dmytryk. Montgomery Clift, Maximilian Schell, Dean Martin and Hope Lange ... star. 167 min. Widescreen (Enhanced); Soundtracks: English Dolby stereo, French; Subtitles: English, Spanish; theatrical trailer; scene access.
Brando was able to disprove his critics who claimed his illustrious acting career was over. In 1972 Francis Ford Coppola selected him to play the part of Vita Corleone in “The Godfather”. Brando performed brilliantly and was nominated by the Academy for Best Actor and he won handily. True to his nature as a rebel he turned down the award and boycotted the Academy Award Ceremony. The following year, in 1973, he had one of his greatest performances in “The Last Tango in Paris”. The Academy once again nominated Brando for the Best Actor Award, which he failed to win.
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O[N] The Waterfront, directed by Kazan, certainly deserves mention here, not only as Brando's first Oscar-winning performance (he was nominated eight times, won twice) but as another outstanding example of his improvisational work. Written by Budd Schulberg and directed by Elia Kazan, Brando's favorite director at the time, Brando was happily surrounded with Actors Studio pals: Karl Malden who had appeared with him in Truckline, Lee J. Cobb, Martin Balsam and Rudy Bond. Roger Donoghue, former light heavyweight boxer, was hired to tutor Brando in the art of prizefighting so that, as former boxer Terry Malloy, he would more easily adopt a fighter's attitude and even a fighter's walk. He and Brando practiced at Stillman's Gym, at the Actors Studio, and on Hoboken rooftops. Donoghue picked up on Brando's concentration and attention to the smallest detail. The boxer recalled, "Whenever I'd vary my footwork, he noticed it right away....
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The '90s saw Brando deliver a decidedly mixed bag of performances, from larkish romps to grandiose put-ons. But one of the best was his pairing with Matthew Broderick in the 1990 comedy "The Freshman," directed by Andrew Bergman. Recalling how Brando was late for his first meeting with co-stars Broderick and Bruno Kirby, Bergman recalled, "Matthew and Bruno are pacing up and down the halls because they are semi-terrified and the wait is making it worse. Then the doorbell rings, and there is Marlon on his hands and knees crawling into the apartment, begging forgiveness of Matthew and Bruno for being late. It was completely disarming, and after that it was very collegial and put things in a really good place."
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Brando was supported by a script by Coppola and Mario Puzo adapted from Puzo’s best-selling novel and was surrounded by an unprecedented cast: Pacino, Caan, Duvall, Keaton, Vigoda and many more. Yet his performance remains the magnetic foundation of this historic, genre-smashing cinematic experience.
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The Appaloosa... from 1966, is a western that steals some of its drama from One-Eyed Jacks and was another movie that was part of Brando's contract with Universal. The film features an over-the-top performance by John Saxon (Golden Globe® nomination) in opposition to Brando's mumbling cowboy trying to retrieve his stolen horse. It is beautifully shot by director Sydney Furie, but this film marks another destructive pattern in Brando's career: the tendency to sabotage his own performances. Although the movie is really not that bad as a B Western, it just seems that Brando would rather be doing something else.
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