A Legend

MARLON BRANDO

An Academy Award-winning American actor whose body of work spanned over half a century. He is widely regarded as one of the most influential actors of all time. As a young sex symbol, he is best known for his roles as Stanley Kowalski in A Streetcar Named Desireand Terry Malloy in On the Waterfront, both directed by Elia Kazan in the early 1950s. In middle age, his well-known roles include his Academy-Award winning performance as Vito Corleone in The Godfatherand Colonel Walter Kurtz in Apocalyps Now the latter two directed by Francis Ford Coppola in the 1970s.

He made a strong impression in 1951 when he brought his performance as Stanley Kowalski to the screen in Kazan's adaptation of Tennessee Williams A Streetcar Named Desire. He was nominated for an Academy Award for Best Actor for that role, and again in each of the next three years for his roles in Viva Zapata! in 1952, Julius Caesar in 1953 as Mark Antony, and On the Waterfront in 1954. These first five films of his career established Brando as perhaps the premier acting talent in the world, as evidenced in his winning the BAFTA Award for Best Actor in a Leading Role three consecutive years, 1951 to 1953.

In 1953, he also starred in Lee Falk's play Arms and the Man. Falk was proud to tell people that Marlon Brando turned down an offer of $10,000 per week on Broadway, in favor of working on Falk's play in Boston. His Boston contract was less than $500 per week. It would be the last time he ever acted in a stage play.

Brando became a hero for the younger generation by playing motorcycle rebel Johnny Strabler in 1953's The Wild One. He created the rebel image for the rock-and-rollera. Brando's explosive screen presence exuded a raw sexuality that drew repeat ticket purchases among female theater goers of all ages. Theater managers related accounts of sold out weekday matiness where small children ran up and down the aisle making motorcycle noises while their mothers sat transfixed.

Director Nick Ray took the gang image from the movie The Wild One and brought it to his movie, Rebel Without A Cause, and thus emphasized Brando's effect on youth.

Aspects of the rebel culture that included motorcycles, leather jackets, jeans and the rebel image, which inspired generations of rebels, came thanks to that film and Brando's own unique image and character. The sales of motorcycle related paraphernalia, leather jackets, jeans, boots and t-shirts skyrocketed throughout the country. The film had a similar effect on overseas audiences. Local authorities and religious figures lamented the effect it was having on the youth of their respective countries.

Under Kazan's direction, and with a talented ensemble around him, Brando won the Oscar for his role of Terry Malloy in On the Waterfront. For the famous I coulda' been a contender scene, Brando convinced Kazan that the scripted scene was unrealistic, and with Rod Steiger, improvised the final product.

Brando followed that triumph by a variety of roles in the 1950s that defied expectations: as Sky Masterson in Guys and Dolls, where he managed to carry off a singing role; as Sakini, a Japanese interpreter for the U.S. Army in postwar Japan in The Teahouse of the August Moon as an Air Force officer in Sayonara, and a Nazi officer in The Young Lions Although he won an Oscar nomination for his acting in Sayonara, his acting had lost much of its energy and direction by the end of the 1950s.

His performance as Vito Corleone in 1972's The Godfather was a mid-career turning point. Director Francis Ford Coppola convinced Brando to submit to a "make-up" test, in which Brando did his own makeup (he used cotton balls to simulate the puffed-cheek look). Coppola was electrified by Brando's characterization as the head of a crime family, but had to fight the studio in order to cast the temperamental Brando, whose reputation for difficult behavior and demands was the stuff of backlot legend. However, Paramount studio heads wanted to give the role to Danny Thomas in the hope that Thomas would have his own production company throw in its lot with Paramount. Thomas declined the role and actually urged the studio to cast Brando at the behest of Coppola and others who had witnessed the screen test.

Eventually, Charles Bludhorn, the president of Paramount parent Gulf + Western, was won over to letting Brando have the role; when he saw the screen test, he asked in amazement, "What are we watching? Who is this old guinea?"

Brando won the Academy Award for Best Actor for his performance, but turned it down, becoming the second actor to refuse a Best Actor award (the first being George C. Scott for Patton). Brando boycotted the award ceremony, sending Native American Rights activist Sacheen Littlefeather to state his reasons, which were based on his objections to the depiction of Native Americans by Hollywood and television.

The actor followed with one of his greatest performances in Bernardo Bertolucci's 1973 film, Last Tango in Paris, but the performance was overshadowed by an uproar over the erotic nature of the film. Despite the controversies which attended both the film and the man, the Academy once again nominated Brando for the Best Actor.

His career afterward was uneven. He was paid one million dollars a week to play the iconic Colonel Kurtz in 1979's Apocalypse Now. He was supposed to show up slim, fit, and to have read the book Heart of Darkness. He showed up weighing around 220 pounds and hadn't read Heart of Darkness. This is why his character was shot mostly in the shadows and most of his dialogue was improvised. After his week was over, director Francis Ford Coppola asked him to stay an extra hour so that he could shoot a close up of Brando saying, "The horror, the horror." Brando agreed for an extra $75,000. After this film his weight began to limit the roles he could play.