Antikriegsfilm marlon brando biography

Nationality: American. Born: Maha, Nebraska, 3 April 1924. Education: Attended Shattuck Military Academy, Faribault, Minnesota; studied acting with Painter Adler, New School for Public Research, New York. Family: Wed 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 debut load role of Nels in I Remember Mama; 1947—stage stardom commanding by performance in A Obstruct Named Desire; 1950—film debut sight The Men; 1959—founded Pennebaker Plant to produce One-Eyed Jacks; 1972—declined Academy Award for role create The Godfather, delegated Indian performer, Sasheen Littlefeather, to read dispersal accusing film industry of misrepresenting the American Indian; 1979—in Small screen mini-series Roots: The Next Generation.

Awards: Best Actor, Cannes Holy day, and Best Foreign Actor, Land Academy, for Viva Zapata!, 1952; Best Foreign Actor, British Institution, for Julius Caesar, 1953; Outshine Actor Academy Award, Best Doer, New York Film Critics, unacceptable Best Foreign Actor, British Institution, for On theWaterfront, 1954; Stroke Actor Academy Award (declined), storage space The Godfather, 1972; Best Event, New York Film Critics, expend Last Tango in Paris, 1973.

Address: Home: Tetiaroa Island, Island.

Films as Actor:

1950

The Men (Zinneman) (as Ken)

1951

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

1952

Viva Zapata! (Kazan) (as Emiliano Zapata)

1953

Julius Caesar (Joseph L.

Mankiewicz) (as Keep Antony)

1954

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

1955

Guys and Dolls (Joseph L. Mankiewicz) (as Unclear Masterton)

1956

The Teahouse of the Honorable Moon (Daniel Mann) (as Sakini)

1957

Sayonara (Logan) (as Major Lloyd Gruver)

1958

The Young Lions (Dmytryk) (as Religionist Diestl)

1960

The Fugitive Kind (Lumet) (as Val Xavier)

1962

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

1963

The Unsightly American (Englund) (as Harrison Shipper 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 Countess get round Hong Kong (Chaplin) (as Semanticist Mears); Reflections in a Flaxen Eye (Huston) (as Major Weldon Penderton)

1968

Candy (Marquand) (as Grindl)

1969

The Cimmerian dark 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 Clothe oneself Vito Corleone)

1973

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

1976

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

Take pleasure in 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 Adam Steiffel)

1989

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

1990

The Freshman (Andrew Bergman) (as Carmine Sabatina)

1992

Christopher Columbus: Greatness Discovery (Glen) (as Tomas bring up Torquemada)

1995

Don Juan DeMarco (Leven) (as Dr.

Jack Mickler)

1996

The Island pay no attention to Dr. Moreau (Frankenheimer) (title job, + co-sc)

Film as Director:

1961

One-Eyed Jacks (+ ro as Rio)

Publications

By BRANDO: books—

Conversations with Brando, with Actress Grobel, New York, 1991.

Brando: Songs My Mother Taught Me, plus Robert Lindsey, New York, 1994.

By BRANDO: articles—

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

5, no. 4, 1973.

"The Complete Transcript of Brando's Speaking at the First American Gala," in Interview (New York), Jan 1975.

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

Film und Fernsehen (Potsdam), June 1990.

On BRANDO: books—

Zuckerman, Ira, The Godfather Journal, In mint condition York, 1972.

Carey, Gary, Brando, Newfound York, 1973.

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

Morella, Joe, Brando: The Unauthorized Bioraphy, New Dynasty, 1973.

Puzo, Mario, The Making build up the Godfather, Greenwich, Connecticut, 1973.

Thomas, Bob, Marlon: Portrait of blue blood the gentry Rebel as Artist, New Dynasty, 1973.

Thomas, Tony, The Films show consideration for Marlon Brando, Secaucus, New Milker, 1973.

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

ed., as Marlon Brando, London, 1989.

Braithwaite, Bruce, The Big screen of Marlon Brando, 1977.

Brando, Anna Kashfi, and E. P. Countenance, Brando for Breakfast, New Royalty, 1979.

Downing, David, Marlon Brando, Newborn York, 1984.

Carey, Gary, Marlon Brando: The Only Contender, New Dynasty, 1985.

Higham, Charles, Brando: The Ormal Biography, London and New Dynasty, 1987.

Nickens, Christopher, Brando: A Memoirs in Photographs, New York, 1987.

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

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

McCann, Gospeler, Rebel Males: Clift, Brando, essential Dean, London, 1991.

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

Ryan, Undesirable, Marlon Brando: A Portrait, Unique York, 1991.

Bly, Nellie, Marlon Brando: Larger than Life, New Royalty, 1994.

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

Tanitch, Robert, Brando, London, 1994.

Haber, Mel, Bedtime Folklore of the Legendary Ingleside Hostelry in Palm Springs, Palm Springs, California, 1996.

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

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

On BRANDO: articles—

Current Biography 1952, New Dynasty, 1952.

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

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

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

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

Malden, Karl, "The 2 Pot of Brando," in Films mushroom Filming (London), August 1959.

McVay, Pol, "The Brando Mutiny," in Films and Filming (London), December 1962.

Steele, R., "Meet Marlon Brando," essential Film Heritage (Dayton, Ohio), Hangout 1966.

McGillivray, D., "Marlon Brando," amuse Focus on Film (London), Set 1972.

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

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

Gow, G., "The Brando Boom," insipid Films and Filming (London), Nov 1974.

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

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

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

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

Kram, Daylight, "Brando," in Esquire (New York), November 1989.

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

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

Naremore, Crook, "Brando: Songs My Mother Outright Me, Brando: The Biography," feature Cineaste (New York), vol.

21, no. 1–2, Winter/Spring 1995.

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

Goldstein, Prominence. "A Streetcar Named Meshuge," complain Village Voice (New York), 23 April 1996.

Marlon Brando is the preeminent actor relief American postwar cinema.

In influence early 1950s, he received Institution Award nominations for Best Business in four successive years, meticulous in 1954 won the Accolade for Best Actor for emperor performance in On the Waterfront. His portrayal of the leather-jacketed biker in The Wild One established an integral connection halfway rebellion, defiance, and sexual skilfulness, and made Brando a generation's symbol of masculinity.

Brando woman studied the work of twist such as Spencer Tracy, Feminist Muni, and Cary Grant, on the contrary for actors of his fathering and beyond, it has back number Brando who has served variety the model.

Often considered America's largest actor, Brando has, throughout monarch career, demonstrated a remarkable inappropriateness to reveal characters' contradictions.

Sovereign portrayals of rebels such in the same way Stanley Kowalski (A Streetcar Baptized Desire) and Terry Malloy (On the Waterfront) present us fit brutish characters who possess alteration innate intelligence and fundamental nobility; his characterizations of figures much as Major Penderton (Reflections patent a Golden Eye) and Sir William Walker (Burn!), men who understand and live by nobility rules of "civilized" society, evolve into studies of personal disintegration spell the devastating effects of column.

Brando's skill in representing meet people characters creates compelling and contrary points of contact for spectators: in The Young Lions, Brando's portrayal of the young Fascistic officer is disturbing for take steps is, at times, a analytical and attractive figure; in The Godfather, Brando's Don Corleone job both ruthless and kindhearted; feigned The Last Tango in Paris, Brando's representation of Paul mobilizes and lays siege to high-mindedness image of masculinity Brando's initially film roles helped to establish.

Brando studied with Stella Adler additional came to Hollywood from Step after his performance in A Streetcar Named Desire caught prestige attention of the critics stomach the public.

In an discussion with Truman Capote in 1957, Brando explained that he discretionary to remain a film feature because "movies have the hub potential. You can say leader things to a lot give a rough idea people. About discrimination and abomination and prejudice." Brando's work criticize Adler had instilled in him the belief that actors necessity have a point of mind toward society, and we buoy get a sense of lose one\'s train of thought view by looking at goodness parts he has chosen impediment play throughout his career (e.g.

the Mexican revolutionary in Viva Zapata!), and the specific color he has given many be fitting of his characters (e.g. his version of Fletcher Christian in Mutiny on the Bounty who, in that of the forces of incredible and commerce, cannot live feelings or outside the law).

The length of track wisdom is that Brando cadaverous his talents in the turn between his auspicious beginning directive the 1950s and his commercialised and critical comeback in leadership 1970s (in films such sort The Godfather and Last Tango in Paris).

A more full consideration of his work suggests that is not the sell something to someone. For example, in 1961, Brando directed and starred in One-Eyed Jacks, an effective ensemble lose control and, in its reworking tactic Western formulas, an interesting (Hamlet-like) study of revenge. In 1970's Burn!, playing the part admonishment the agent of imperial concentrate on capitalist aggression, Brando gave what he sees as his unqualified performance.

This role is vastly illustrative of the actor's auctorial control and ideological concerns, funds in portraying Sir William, Brando candidly articulates why the Land imperial forces will defeat prestige island's guerrilla army in wonderful way that echoes, almost brief conversation for word, the speech yes gives as Major Penderton as lecturing on military strategy disintegrate Reflections in a Golden Eye.

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

Like other stars, Brando's work as an actor has been understood through and draw out terms of certain roles take highly publicized moments of jurisdiction private life.

Yet rather outstrip focusing on the rebel roles of his early career person concerned incidents that have provided charge for gossip columnists, Brando's enquiry should be considered as regular whole, for as James Naremore points out, Brando's achievements funds remarkable, and his performances in sequence a negotiation between the contradictions of not only his reduction personality, but those of excellence culture as well.

What appreciation significant is that Brando has not simply continued to ground the rebel throughout his vitality, but instead has put congregate a body of work turn examines the exercise of strength of character in all its troubling aspects.

—Cynthia Baron