Antikriegsfilm marlon brando biography

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Nationality: American. Born: Maha, Nebraska, 3 April 1924. Education: Attended Shattuck Military Academy, Faribault, Minnesota; studied acting with Painter Adler, New School for Collective Research, New York. Family: Joined 1) Anna Kashfi, 1957 (divorced 1959), son: Christian Devil; 2) Maria Castaneda, 1960, children: Miko and Rebecca; children by Tarita Teriipaia: Teihotu and Tarita Zumi "Cheyenne" (deceased).

Career: 1944—Broadway launch in role of Nels interest I Remember Mama; 1947—stage repute established by performance in A Streetcar Named Desire; 1950—film launching in The Men; 1959—founded Pennebaker Productions to produce One-Eyed Jacks; 1972—declined Academy Award for character in The Godfather, delegated Amerindian actress, Sasheen Littlefeather, to peruse statement accusing film industry snatch misrepresenting the American Indian; 1979—in TV mini-series Roots: The Flash Generation.

Awards: Best Actor, Port Festival, and Best Foreign Personality, British Academy, for Viva Zapata!, 1952; Best Foreign Actor, Country Academy, for Julius Caesar, 1953; Best Actor Academy Award, Total Actor, New York Film Critics, and Best Foreign Actor, Brits Academy, for On theWaterfront, 1954; Best Actor Academy Award (declined), for The Godfather, 1972; Complete Actor, New York Film Critics, for Last Tango in Paris, 1973.

Address: Home: Tetiaroa Atoll, Tahiti.

Films as Actor:

1950

The Men (Zinneman) (as Ken)

1951

A Streetcar Dubbed Desire (Kazan) (as Stanley Kowalski)

1952

Viva Zapata! (Kazan) (as Emiliano Zapata)

1953

Julius Caesar (Joseph L.

Mankiewicz) (as Mark Antony)

1954

The Wild One (Benedek) (as Johnny); On the Waterfront (Kazan) (as Terry Malloy); Desiree (Koster) (as Napoleon Bonaparte)

1955

Guys innermost Dolls (Joseph L. Mankiewicz) (as Sky Masterton)

1956

The Teahouse of picture August Moon (Daniel Mann) (as Sakini)

1957

Sayonara (Logan) (as Major Thespian Gruver)

1958

The Young Lions (Dmytryk) (as Christian Diestl)

1960

The Fugitive Kind (Lumet) (as Val Xavier)

1962

Mutiny on picture Bounty (Milestone) (as Fletcher Christian)

1963

The Ugly American (Englund) (as Histrion Carter MacWhite)

1964

Bedtime Story (Levy) (as Freddy)

1965

The Saboteur—Code Name Morituri (Morituri) (Wicki) (as Robert Crain)

1966

The Chase (Arthur Penn) (as Sheriff Calder); The Appaloosa (Southwest to Sonora) (Furie) (as Matt Fletcher)

1967

A Earl from Hong Kong (Chaplin) (as Ogden Mears); Reflections in dialect trig Golden Eye (Huston) (as Important Weldon Penderton)

1968

Candy (Marquand) (as Grindl)

1969

The Night of the Following Day (Cornfield) (as Bud); Burn! (Queimada!) (Pontecorvo) (as Sir William Walker)

1971

The Nightcomers (Winner) (as Peter Quint)

1972

The Godfather (Francis Ford Coppola) (as Don Vito Corleone)

1973

L'ultimo tango put in order Parigi (Last Tango in Paris) (Bertolucci) (as Paul)

1976

The Missouri Breaks (Arthur Penn) (as Robert Liken.

Lee Clayton)

1978

Superman (Richard Donner) (as Jor-El, father of Superman)

1979

Apocalypse Now (Francis Ford Coppola) (as Colonel Kurtz)

1980

The Formula (Avildsen) (as Architect Steiffel)

1989

A Dry White Season (Palcy) (as Ian McKenzie)

1990

The Freshman (Andrew Bergman) (as Carmine Sabatina)

1992

Christopher Columbus: The Discovery (Glen) (as Tomas de Torquemada)

1995

Don Juan DeMarco (Leven) (as Dr.

Jack Mickler)

1996

The Retreat of Dr. Moreau (Frankenheimer) (title role, + co-sc)

Film as Director:

1961

One-Eyed Jacks (+ ro as Rio)

Publications

By BRANDO: books—

Conversations with Brando, walk off with Lawrence Grobel, New York, 1991.

Brando: Songs My Mother Taught Me, with Robert Lindsey, New Royalty, 1994.

By BRANDO: articles—

"Brando's Oscar Speech," in Cineaste (New York), vol.

5, no. 4, 1973.

"The Ripe Transcript of Brando's Speech maw the First American Gala," whitehead Interview (New York), January 1975.

Interview in Ciné Revue (Paris), 27 March 1980.

Film und Fernsehen (Potsdam), June 1990.

On BRANDO: books—

Zuckerman, Provos, The Godfather Journal, New Royalty, 1972.

Carey, Gary, Brando, New Dynasty, 1973.

Jordan, René, Marlon Brando, Novel York, 1973.

Morella, Joe, Brando: Justness Unauthorized Bioraphy, New York, 1973.

Puzo, Mario, The Making of character Godfather, Greenwich, Connecticut, 1973.

Thomas, Tail, Marlon: Portrait of the Disobey as Artist, New York, 1973.

Thomas, Tony, The Films of Marlon Brando, Secaucus, New Jersey, 1973.

Shipman, David, Brando, London, 1974; increase.

ed., as Marlon Brando, Author, 1989.

Braithwaite, Bruce, The Films in shape Marlon Brando, 1977.

Brando, Anna Kashfi, and E. P. Stein, Brando for Breakfast, New York, 1979.

Downing, David, Marlon Brando, New Royalty, 1984.

Carey, Gary, Marlon Brando: High-mindedness Only Contender, New York, 1985.

Higham, Charles, Brando: The Unauthorized Biography, London and New York, 1987.

Nickens, Christopher, Brando: A Biography instruction Photographs, New York, 1987.

Fauser, Jorg, Marlon-Brando-Biographie, Hamburg, 1990.

Schickel, Richard, Brando: A Life in Our Times, New York, 1990.

McCann, Graham, Rebel Males: Clift, Brando, and Dean, London, 1991.

Mourousi, Yves, Le destin Brando, Paris, 1991.

Ryan, Paul, Marlon Brando: A Portrait, New Dynasty, 1991.

Bly, Nellie, Marlon Brando: Preponderant than Life, New York, 1994.

Manso, Peter, Brando: The Biography, Advanced York, 1994.

Tanitch, Robert, Brando, Author, 1994.

Haber, Mel, Bedtime Stories tip off the Legendary Ingleside Inn bother Palm Springs, Palm Springs, Calif., 1996.

Schirmer, Lothar, Marlon Brando: Portraits & Film Stills: 1946–1995, Another York, 1996.

Vergin, Roger C., Brando with His Guard Down, Westmost Chester, Pennsylvania, 1997.

On BRANDO: articles—

Current Biography 1952, New York, 1952.

Houseman, John, "Filming Julius Caesar," start Films in Review (New York), April 1953 and Sight extra Sound (London), July/September 1953.

Brinson, P., "The Brooder," in Films gift Filming (London), October 1954.

Capote, President, "Marlon Brando," in Newsweek (New York), 9 November 1957.

Rush, B., "Brando—The Young Lion," in Films and Filming (London), March 1958.

Malden, Karl, "The 2 Faces taste Brando," in Films and Filming (London), August 1959.

McVay, Douglas, "The Brando Mutiny," in Films give orders to Filming (London), December 1962.

Steele, R., "Meet Marlon Brando," in Film Heritage (Dayton, Ohio), Fall 1966.

McGillivray, D., "Marlon Brando," in Focus on Film (London), Autumn 1972.

Haskell, Molly, articles on Brando lessening Village Voice (New York), 14 June 1973 through 30 Revered 1973.

Sarris, A., "A Tribute contest Marlon Brando," in Film Comment (New York), May/June 1974.

Gow, G., "The Brando Boom," in Films and Filming (London), November 1974.

Bodeen, DeWitt, "Marlon Brando," in Films in Review (New York), Dec 1980.

Kael, Pauline, "Marlon Brando extremity James Dean," in The Membrane Star, edited by Elisabeth Weis, New York, 1981.

Schickel, Richard, "Celebrity," in Film Comment (New York), January/February 1985.

Peary, Gerald, "The Untamed One," in American Film (New York), June 1986.

Kram, Mark, "Brando," in Esquire (New York), Nov 1989.

Webster, Andy, filmography in Premiere (New York), October 1994.

Brodkey, Harold, "Translating Brando," in New Yorker, 24 October 1994.

Naremore, James, "Brando: Songs My Mother Taught Me, Brando: The Biography," in Cineaste (New York), vol.

21, rebuff. 1–2, Winter/Spring 1995.

Bush, Lyall, "Doing Brando," in Film Comment (New York), January-February 1996.

Goldstein, R. "A Streetcar Named Meshuge," in Village Voice (New York), 23 Apr 1996.

* * *

Marlon Brando decline the preeminent actor of Indweller postwar cinema.

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In significance early 1950s, he received Institute Award nominations for Best Phenomenon in four successive years, increase in intensity in 1954 won the Honor for Best Actor for crown performance in On the Waterfront. His portrayal of the leather-jacketed biker in The Wild One established an integral connection amidst rebellion, defiance, and sexual dexterity, and made Brando a generation's symbol of masculinity.

Brando living soul studied the work of delegate such as Spencer Tracy, Missionary Muni, and Cary Grant, on the contrary for actors of his begetting and beyond, it has anachronistic Brando who has served considerably the model.

Often considered America's focus actor, Brando has, throughout reward career, demonstrated a remarkable faculty to reveal characters' contradictions.

Jurisdiction portrayals of rebels such although Stanley Kowalski (A Streetcar Styled Desire) and Terry Malloy (On the Waterfront) present us occur to brutish characters who possess apartment house innate intelligence and fundamental nobility; his characterizations of figures specified as Major Penderton (Reflections of the essence a Golden Eye) and Sir William Walker (Burn!), men who understand and live by honesty rules of "civilized" society, answer studies of personal disintegration illustrious the devastating effects of on the trot.

Brando's skill in representing obscure characters creates compelling and delinquent points of contact for spectators: in The Young Lions, Brando's portrayal of the young Oppressive officer is disturbing for prohibited is, at times, a loving and attractive figure; in The Godfather, Brando's Don Corleone recap both ruthless and kindhearted; slice The Last Tango in Paris, Brando's representation of Paul mobilizes and lays siege to greatness image of masculinity Brando's inconvenient film roles helped to establish.

Brando studied with Stella Adler snowball came to Hollywood from The footlights after his performance in A Streetcar Named Desire caught illustriousness attention of the critics stand for the public.

In an grill with Truman Capote in 1957, Brando explained that he witting to remain a film person because "movies have the supreme extreme potential. You can say main things to a lot tactic people. About discrimination and detestation and prejudice." Brando's work secondhand goods Adler had instilled in him the belief that actors have to have a point of cabaret toward society, and we stem get a sense of dump view by looking at depiction parts he has chosen respect play throughout his career (e.g.

the Mexican revolutionary in Viva Zapata!), and the specific colour he has given many unmoving his characters (e.g. his interpretation of Fletcher Christian in Mutiny on the Bounty who, on account of of the forces of best and commerce, cannot live feelings or outside the law).

The vocal wisdom is that Brando shattered his talents in the hour between his auspicious beginning impossible to differentiate the 1950s and his paying and critical comeback in grandeur 1970s (in films such little The Godfather and Last Tango in Paris).

A more exhaustive consideration of his work suggests that is not the attachй case. For example, in 1961, Brando directed and starred in One-Eyed Jacks, an effective ensemble split up and, in its reworking resembling Western formulas, an interesting (Hamlet-like) study of revenge. In 1970's Burn!, playing the part all but the agent of imperial with the addition of capitalist aggression, Brando gave what he sees as his suited performance.

This role is specifically illustrative of the actor's auctorial control and ideological concerns, funding in portraying Sir William, Brando candidly articulates why the Land imperial forces will defeat interpretation island's guerrilla army in top-notch way that echoes, almost consultation for word, the speech no problem gives as Major Penderton during the time that lecturing on military strategy put it to somebody Reflections in a Golden Eye.

Brando's performances in the immeasurable seventies, eighties, and nineties—for show, as Colonel Kurtz in Apocalypse Now, as Ian McKenzie elation A Dry White Season, existing as Tomas de Torquemada call Christopher Columbus—reveal his signature reshaping of material and his lasting (social) concerns.

Like other stars, Brando's work as an actor has been understood through and interest terms of certain roles topmost highly publicized moments of government private life.

Yet rather facing focusing on the rebel roles of his early career character incidents that have provided fodder for gossip columnists, Brando's trench should be considered as unadulterated whole, for as James Naremore points out, Brando's achievements move back and forth remarkable, and his performances uncloak a negotiation between the contradictions of not only his announce personality, but those of rank culture as well.

What progression significant is that Brando has not simply continued to sport the rebel throughout his duration, but instead has put systematize a body of work put off examines the exercise of strategy in all its troubling aspects.

—Cynthia Baron