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Marlon Brando
Marlon Brando
Jr. (April 3, 1924 – July 1, 2004) was an American actor, film director, and activist. He is credited with bringing realism to film acting, helping to popularize the Stanislavski system of acting, studying with Stella Adler
Stella Adler
in the 1940s. Regarded for his cultural influence on 20th century film,[4] Brando's Academy Award-winning performances include that of Terry Malloy in On the Waterfront (1954) and Don Vito Corleone
Vito Corleone
in The Godfather
The Godfather
(1972). Brando was an activist for many causes, notably the civil rights movement and various Native American movements. He initially gained acclaim and an Academy Award
Academy Award
nomination for reprising the role of Stanley Kowalski
Stanley Kowalski
in the 1951 film adaptation of Tennessee Williams' play A Streetcar Named Desire, a role that he originated successfully on Broadway.[5] He received further praise for his performance as Terry Malloy in On the Waterfront, and his portrayal of the rebellious motorcycle gang leader Johnny Strabler in The Wild One
The Wild One
proved to be a lasting image in popular culture.[6] Brando received Academy Award
Academy Award
nominations for playing Emiliano Zapata in Viva Zapata!; Mark Antony
Mark Antony
in Joseph L. Mankiewicz's 1953 film adaptation of Shakespeare's Julius Caesar; and Air Force Major Lloyd Gruver in Sayonara
Sayonara
(1957), an adaption of James Michener's 1954 novel. Brando was included in a list of Top Ten Money Making Stars three times in the 1950s, coming in at number 10 in 1954, number 6 in 1955, and number 4 in 1958. The 1960s proved to be a fallow decade for Brando. He directed and starred in the cult western film One-Eyed Jacks, a critical and commercial flop, after which he delivered a series of box-office failures, beginning with the 1962 film adaptation of the novel Mutiny on the Bounty. After 10 years, during which he did not appear in a successful film, he won his second Academy Award
Academy Award
for playing Vito Corleone in Francis Ford Coppola's The Godfather, a role critics consider among his greatest. The Godfather
The Godfather
was then one of the most commercially successful films of all time. With that and his Oscar-nominated performance in Last Tango in Paris, Brando re-established himself in the ranks of top box-office stars, placing sixth and tenth in the Money Making Stars poll in 1972 and 1973, respectively. Brando took a four-year hiatus before appearing in The Missouri Breaks (1976). After this, he was content with being a highly paid character actor in cameo roles, such as in Superman
Superman
(1978) and The Formula (1980), before taking a nine-year break from motion pictures. According to the Guinness Book
Book
of World Records, Brando was paid a record $3.7 million ($15 million in inflation-adjusted dollars) and 11.75% of the gross profits for 13 days' work on Superman. He finished out the 1970s with his controversial performance as Colonel Kurtz in another Coppola film, Apocalypse Now, a box-office hit for which he was highly paid and which helped finance his career layoff during the 1980s. Brando was ranked by the American Film Institute
American Film Institute
as the fourth-greatest movie star among male movie stars whose screen debuts occurred in or before 1950. He was one of six professional actors, along with Charlie Chaplin, Ronald Reagan, Lucille Ball, Frank Sinatra, and Marilyn Monroe, named in 1999 by Time magazine as one of its 100 Most Important People of the Century.[7] He died of respiratory failure on July 1, 2004, at age 80.

Contents

1 Early life

1.1 New York and acting

2 Career

2.1 Early career: 1944–1951 2.2 Rise to fame: 1951–1954

2.2.1 On the Waterfront

2.3 Box office successes and directorial debut: 1954–1959 2.4 One-Eyed Jacks
One-Eyed Jacks
and Mutiny on the Bounty 2.5 Box office decline: 1963–1971 2.6 The Godfather
The Godfather
and Last Tango in Paris 2.7 Late 1970s 2.8 Later work

3 Final years and death 4 Personal life

4.1 Lifestyle 4.2 Politics 4.3 Comments on Jews, Hollywood and Israel

5 Legacy

5.1 Cultural influence 5.2 Views on acting 5.3 Financial legacy

6 Filmography 7 Awards and honors 8 See also 9 References 10 External links

Early life[edit] Brando was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr. (1895–1965), a pesticide and chemical feed manufacturer, and Dorothy Julia (née Pennebaker; 1897–1954).[8] Brando had two older sisters, Jocelyn Brando
Jocelyn Brando
(1919–2005) and Frances (1922–1994). His ancestry was German, Dutch, English, and Irish.[9][10][11] His patrilineal immigrant ancestor, Johann Wilhelm Brandau, arrived in New York in the early 1700s from the Palatinate in Germany.[12] Brando was raised a Christian Scientist.[13] His mother, known as Dodie, was unconventional for her time; she smoked, wore trousers and drove cars. An actress herself and even a theatre administrator, she helped Henry Fonda
Henry Fonda
begin his acting career. However, she was an alcoholic and often had to be brought home from Chicago
Chicago
bars by her husband. In his autobiography, Songs My Mother Taught Me, Brando expressed sadness when writing about his mother: "The anguish that her drinking produced was that she preferred getting drunk to caring for us."[14] Dodie and Brando's father eventually joined Alcoholics Anonymous.[15] Brando harbored far more enmity for his father, stating, "I was his namesake, but nothing I did ever pleased or even interested him. He enjoyed telling me I couldn't do anything right. He had a habit of telling me I would never amount to anything."[16] Brando's parents moved to Evanston, Illinois, when his father's work took him to Chicago, but separated when Brando was 11 years old. His mother took the three children to Santa Ana, California, where they lived with her mother. In 1937, Brando's parents reconciled and moved together to Libertyville, Illinois, a small town north of Chicago.[17] In 1939 and 1941, he worked as an usher at the town's only movie theatre, The Liberty.[18] Brando, whose childhood nickname was "Bud", was a mimic from his youth. He developed an ability to absorb the mannerisms of kids he played with and display them dramatically while staying in character. He was introduced to neighborhood boy Wally Cox
Wally Cox
and the two were unlikely closest friends until Cox's death in 1973. In the 2007 TCM biopic, Brando: The Documentary, childhood friend George Englund recalls Brando's earliest acting as imitating the cows and horses on the family farm as a way to distract his mother from drinking. His sister Jocelyn was the first to pursue an acting career, going to study at the American Academy of Dramatic Arts
American Academy of Dramatic Arts
in New York City. She appeared on Broadway, then films and television. Brando's sister Frances left college in California to study art in New York. Brando had been held back a year in school and was later expelled from Libertyville High School
Libertyville High School
for riding his motorcycle through the corridors.[19] He was sent to Shattuck Military Academy, where his father had studied before him. Brando excelled at theatre and did well in the school. In his final year (1943), he was put on probation for being insubordinate to a visiting army colonel during maneuvers. He was confined to his room, but snuck into town and was caught. The faculty voted to expel him, though he was supported by the students, who thought expulsion was too harsh. He was invited back for the following year, but decided instead to drop out of high school. Brando worked as a ditch-digger as a summer job arranged by his father. He tried to enlist in the Army, but his induction physical revealed that a football injury he had sustained at Shattuck had left him with a trick knee. He was classified 4-F and not inducted.[9] New York and acting[edit] Brando decided to follow his sisters to New York, studying at the American Theatre Wing Professional School, part of the Dramatic Workshop of the New School, with influential German director Erwin Piscator. In a 1988 documentary, Marlon Brando: The Wild One, Brando's sister Jocelyn remembered, "He was in a school play and enjoyed it ... So he decided he would go to New York and study acting because that was the only thing he had enjoyed. That was when he was 18." In the A&E Biography episode on Brando, George Englund said Brando fell into acting in New York because "he was accepted there. He wasn't criticized. It was the first time in his life that he heard good things about himself."[20] Brando was an avid student and proponent of Stella Adler, from whom he learned the techniques of the Stanislavski system. This technique encouraged the actor to explore both internal and external aspects to fully realize the character being portrayed. Brando's remarkable insight and sense of realism were evident early on. Adler used to recount that when teaching Brando, she had instructed the class to act like chickens, and added that a nuclear bomb was about to fall on them. Most of the class clucked and ran around wildly, but Brando sat calmly and pretended to lay an egg. Asked by Adler why he had chosen to react this way, he said, "I'm a chicken—what do I know about bombs?"[21] Despite being commonly regarded as a Method actor, Brando disagreed. He claimed to have abhorred Lee Strasberg's teachings:

After I had some success, Lee Strasberg
Lee Strasberg
tried to take credit for teaching me how to act. He never taught me anything. He would have claimed credit for the sun and the moon if he believed he could get away with it. He was an ambitious, selfish man who exploited the people who attended the Actors Studio and tried to project himself as an acting oracle and guru. Some people worshipped him, but I never knew why. I sometimes went to the Actors Studio on Saturday mornings because Elia Kazan
Elia Kazan
was teaching, and there were usually a lot of good-looking girls, but Strasberg never taught me acting. Stella (Adler) did—and later Kazan.[22]

Brando was the first to bring a natural approach to acting on film. According to Dustin Hoffman
Dustin Hoffman
in his online Masterclass, Brando would often talk to camera men and fellow actors about their weekend even after the director would call action. Once Brando felt he could deliver the dialogue as natural as that conversation he would start the dialogue. In his 2015 documentary, Listen To Me Marlon, he said before that actors were like breakfast cereals. He was calling them predictable. Critics would later say this was Brando being difficult, but actors who worked opposite would say it was just all part of his technique.[23] Career[edit] Early career: 1944–1951[edit]

A 24-year-old Marlon Brando
Marlon Brando
on the set of the Broadway production of A Streetcar Named Desire, 1948

Brando used his Stanislavski System skills for his first summer stock roles in Sayville, New York, on Long Island. Brando established a pattern of erratic, insubordinate behavior in the few shows he had been in. His behavior had him kicked out of the cast of the New School's production in Sayville, but he was soon afterwards discovered in a locally produced play there. Then, in 1944, he made it to Broadway in the bittersweet drama I Remember Mama, playing the son of Mady Christians. The Lunts wanted Brando to play the role of Alfred Lunt's son in O Mistress Mine, and Lunt even coached him for his audition, but Brando's reading during the audition was so desultory that they couldn't hire him. New York Drama Critics voted him "Most Promising Young Actor" for his role as an anguished veteran in Truckline Café, although the play was a commercial failure. In 1946, he appeared on Broadway as the young hero in the political drama A Flag is Born, refusing to accept wages above the Actors' Equity rate.[24][25] In that same year, Brando played the role of Marchbanks alongside Katharine Cornell
Katharine Cornell
in her production's revival of Candida, one of her signature roles.[26] Cornell also cast him as the Messenger in her production of Jean Anouilh's Antigone
Antigone
that same year. He was also offered the opportunity to portray one of the principal characters in the Broadway premiere of Eugene O'Neill's The Iceman Cometh, but turned the part down after falling asleep while trying to read the massive script and pronouncing the play "ineptly written and poorly constructed".[27] In 1945, Brando's agent recommended he take a co-starring role in The Eagle Has Two Heads with Tallulah Bankhead, produced by Jack Wilson. Bankhead had turned down the role of Blanche Dubois
Blanche Dubois
in A Streetcar Named Desire, which Williams had written for her, to tour the play for the 1946–1947 season. Bankhead recognized Brando's potential, despite her disdain (which most Broadway veterans shared) for method acting, and agreed to hire him even though he auditioned poorly. The two clashed greatly during the pre-Broadway tour, with Bankhead reminding Brando of his mother, being her age and also having a drinking problem. Wilson was largely tolerant of Brando's behavior, but he reached his limit when Brando mumbled through a dress rehearsal shortly before the November 28, 1946, opening. "I don't care what your grandmother did," Wilson exclaimed, "and that Method stuff, I want to know what you're going to do!" Brando in turn raised his voice, and acted with great power and passion. "It was marvelous," a cast member recalled. "Everybody hugged him and kissed him. He came ambling offstage and said to me, 'They don't think you can act unless you can yell.'" Critics were not as kind, however. A review of Brando's performance in the opening assessed that Brando was "still building his character, but at present fails to impress." One Boston
Boston
critic remarked of Brando's prolonged death scene, "Brando looked like a car in midtown Manhattan searching for a parking space." He received better reviews at subsequent tour stops, but what his colleagues recalled was only occasional indications of the talent he would later demonstrate. "There were a few times when he was really magnificent," Bankhead admitted to an interviewer in 1962. "He was a great young actor when he wanted to be, but most of the time I couldn't even hear him on the stage." Brando displayed his apathy for the production by demonstrating some shocking onstage manners. He "tried everything in the world to ruin it for her," Bankhead's stage manager claimed. "He nearly drove her crazy: scratching his crotch, picking his nose, doing anything." After several weeks on the road, they reached Boston, by which time Bankhead was ready to dismiss him. This proved to be one of the greatest blessings of his career, as it freed him up to play the role of Stanley Kowalski
Stanley Kowalski
in Tennessee Williams's 1947 play A Streetcar Named Desire, directed by Elia Kazan. Bankhead had recommended him to Williams for the role of Stanley, thinking he was perfect for the part. Pierpont writes that John Garfield
John Garfield
was first choice for the role, but "made impossible demands." It was Kazan's decision to fall back on the far less experienced (and technically too young for the role) Brando. In a letter dated August 29, 1947, Williams confided to his agent Audrey Wood: "It had not occurred to me before what an excellent value would come through casting a very young actor in this part. It humanizes the character of Stanley in that it becomes the brutality and callousness of youth rather than a vicious old man ... A new value came out of Brando's reading which was by far the best reading I have ever heard." Brando based his portrayal of Kowalski on the boxer Rocky Graziano, whom he had studied at a local gymnasium. Graziano did not know who Brando was, but attended the production with tickets provided by the young man. He said, "The curtain went up and on the stage is that son of a bitch from the gym, and he's playing me."[28][page needed] In 1947, Brando performed a screen test for an early Warner Brothers script for the novel Rebel Without a Cause
Rebel Without a Cause
(1944), which bore no relation to the film eventually produced in 1955.[29] The screen test is included as an extra in the 2006 DVD release of A Streetcar Named Desire. Brando's first screen role was a bitter paraplegic veteran in The Men (1950). He spent a month in bed at the Birmingham Army Hospital in Van Nuys to prepare for the role. The New York Times
The New York Times
reviewer Bosley Crowther wrote that Brando as Ken "is so vividly real, dynamic and sensitive that his illusion is complete" and noted, "Out of stiff and frozen silences he can lash into a passionate rage with the tearful and flailing frenzy of a taut cable suddenly cut." By Brando's own account, it may have been because of this film that his draft status was changed from 4-F to 1-A. He had had surgery on his trick knee, and it was no longer physically debilitating enough to incur exclusion from the draft. When Brando reported to the induction center, he answered a questionnaire by saying his race was "human", his color was "Seasonal-oyster white to beige", and he told an Army doctor that he was psychoneurotic. When the draft board referred him to a psychiatrist, Brando explained that he had been expelled from military school and had severe problems with authority. Coincidentally, the psychiatrist knew a doctor friend of Brando. Brando avoided military service during the Korean War.[9] Early in his career, Brando began using cue cards instead of memorizing his lines. Despite the objections of several of the film directors he worked with, Brando felt that this helped bring realism and spontaneity to his performances. He felt otherwise he would appear to be reciting a writer's speech.[30][31] In the TV documentary The Making of Superman: The Movie, Brando explained:

If you don't know what the words are but you have a general idea of what they are, then you look at the cue card and it gives you the feeling to the viewer, hopefully, that the person is really searching for what he is going to say—that he doesn't know what to say.

However, some[who?] thought Brando used the cards out of laziness or an inability to memorize his lines. Once on The Godfather
The Godfather
set, Brando was asked why he wanted his lines printed out. He responded, "Because I can read them that way."[32] Rise to fame: 1951–1954[edit] Brando brought his performance as Stanley Kowalski
Stanley Kowalski
to the screen in Tennessee William's A Streetcar Named Desire
A Streetcar Named Desire
(1951). The role is regarded as one of Brando's greatest. The reception of Brando's performance was so positive that Brando quickly became a male sex symbol in Hollywood. The role earned him his first Academy Award nomination in the Best Actor category.

Brando as Emiliano Zapata
Emiliano Zapata
in a trailer for the 1952 film Viva Zapata!

He was also nominated the next year for Viva Zapata!
Viva Zapata!
(1952), a fictionalized account of the life of Mexican revolutionary Emiliano Zapata. It recounted his peasant upbringing, his rise to power in the early 20th century, and death. The film was directed by Elia Kazan
Elia Kazan
and co-starred Anthony Quinn. In the biopic Marlon Brando: The Wild One, Sam Shaw says, "Secretly, before the picture started, he went to Mexico to the very town where Zapata lived and was born in and it was there that he studied the speech patterns of people, their behavior, movement."[citation needed] Most critics focused on the actor rather than the film, with Time and Newsweek
Newsweek
publishing rave reviews. Years later, in his autobiography, Brando remarked: "Tony Quinn, whom I admired professionally and liked personally, played my brother, but he was extremely cold to me while we shot that picture. During our scenes together, I sensed a bitterness toward me, and if I suggested a drink after work, he either turned me down or else was sullen and said little. Only years later did I learn why." Brando related that, to create on-screen tension between the two, "Gadg" (Kazan) had told Quinn—who had taken over the role of Stanley Kowalski
Stanley Kowalski
on Broadway after Brando had finished—that Brando had been unimpressed with his work. After achieving the desired effect, Kazan never told Quinn that he had misled him. It was only many years later, after comparing notes, that Brando and Quinn realized the deception. Brando's next film, Julius Caesar (1953), received highly favorable reviews. Brando portrayed Mark Antony. While most acknowledged Brando's talent, some critics felt Brando's "mumbling" and other idiosyncrasies betrayed a lack of acting fundamentals and, when his casting was announced, many remained dubious about his prospects for success. Directed by Joseph L. Mankiewicz
Joseph L. Mankiewicz
and co-starring British stage actor John Gielgud, Brando delivered an impressive performance, especially during Antony's noted "Friends, Romans, countrymen ..." speech. Gielgud was so impressed that he offered Brando a full season at the Hammersmith Theatre, an offer he declined. In his biography on the actor, Stefan Kanfer writes, "Marlon's autobiography devotes one line to his work on that film: Among all those British professionals, 'for me to walk onto a movie set and play Mark Anthony was asinine'—yet another example of his persistent self-denigration, and wholly incorrect."[33] Kanfer adds that after a screening of the film, director John Huston
John Huston
commented, "Christ! It was like a furnace door opening—the heat came off the screen. I don't know another actor who could do that."[citation needed] During the filming of Julius Caesar, Brando learned that Elia Kazan
Elia Kazan
had cooperated with congressional investigators, naming a whole string of "subversives" to the House Committee on Un-American Activities. By all accounts, Brando was upset by his mentor's decision, but he worked with him again in On The Waterfront. "None of us is perfect," he later wrote in his memoir, "and I think that Gadg has done injury to others, but mostly to himself."[citation needed] In 1953, Brando also starred in The Wild One, riding his own Triumph Thunderbird 6T motorcycle. Triumph's importers were ambivalent at the exposure, as the subject matter was rowdy motorcycle gangs taking over a small town. The film was criticized for its perceived gratuitous violence at the time, with Time stating, "The effect of the movie is not to throw light on the public problem, but to shoot adrenaline through the moviegoer's veins."[citation needed] Brando allegedly did not see eye to eye with the Hungarian director László Benedek and did not get on with costar Lee Marvin. To Brando's expressed puzzlement, the movie inspired teen rebellion and made him a role model to the nascent rock-and-roll generation and future stars such as James Dean
James Dean
and Elvis Presley. After the movie's release, the sales of leather jackets and blue jeans skyrocketed.[citation needed] Reflecting on the movie in his autobiography, Brando concluded that it had not aged very well but said:

More than most parts I've played in the movies or onstage, I related to Johnny, and because of this, I believe I played him as more sensitive and sympathetic than the script envisioned. There's a line in the picture where he snarls, 'Nobody tells me what to do.' That's exactly how I've felt all my life.[34]

Later that same year, Brando starred in Lee Falk's production of George Bernard Shaw's Arms and the Man
Arms and the Man
in Boston. Falk was proud to tell people that Brando turned down an offer of $10,000 per week on Broadway, in favor of working in his production in Boston, for less than $500 per week.[citation needed] It was the last time Brando acted in a stage play.[citation needed] On the Waterfront[edit] In 1954, Brando starred in On the Waterfront, a crime drama film about union violence and corruption among longshoremen. The film was directed by Elia Kazan
Elia Kazan
and written by Budd Schulberg; it also stars Karl Malden, Lee J. Cobb, Rod Steiger
Rod Steiger
and, in her film debut, Eva Marie Saint. When initially offered the role, Brando—still stung by Kazan's testimony to HUAC—demurred and the part of Terry Malloy nearly went to Frank Sinatra. According to biographer Stefan Kanfer, the director believed that Sinatra, who grew up in Hoboken, would work as Malloy, but eventually producer Sam Spiegel
Sam Spiegel
wooed Brando to the part, signing him for $100,000. "Kazan made no protest because, he subsequently confessed, 'I always preferred Brando to anybody.'"[35]

Brando with Eva Marie Saint
Eva Marie Saint
in the trailer for On the Waterfront (1954).

Brando won the Oscar for his role as Irish-American
Irish-American
stevedore Terry Malloy in On the Waterfront. His performance, spurred on by his rapport with Eva Marie Saint
Eva Marie Saint
and Kazan's direction, was praised as a tour de force. For the famous I coulda been a contender scene, he convinced Kazan that the scripted scene was unrealistic. Schulberg's script had Brando acting the entire scene with his character being held at gunpoint by his brother Charlie, played by Rod Steiger. Brando insisted on gently pushing away the gun, saying that Terry would never believe that his brother would pull the trigger and doubting that he could continue his speech while fearing a gun on him. Kazan let Brando improvise and later expressed deep admiration for Brando's instinctive understanding, saying:

what was extraordinary about his performance, I feel, is the contrast of the tough-guy front and the extreme delicacy and gentle cast of his behavior. What other actor, when his brother draws a pistol to force him to do something shameful, would put his hand on the gun and push it away with the gentleness of a caress? Who else could read "Oh, Charlie!" in a tone of reproach that is so loving and so melancholy and suggests the terrific depth of pain? ... If there is a better performance by a man in the history of film in America, I don't know what it is.[36]

Upon its release, On the Waterfront
On the Waterfront
received glowing reviews from critics and was a commercial success, earning an estimated $4.2 million in rentals at the North American box office in 1954.[37] In his July 29, 1954, review, The New York Times
The New York Times
critic A. H. Weiler praised the film, calling it "an uncommonly powerful, exciting, and imaginative use of the screen by gifted professionals."[38] Film critic Roger Ebert
Roger Ebert
lauded the film, stating that Brando and Kazan changed acting in American films forever and added it to his "Great Movies" list.[39] In his autobiography, Brando was typically dismissive of his performance: "On the day Gadg showed me the complete picture, I was so depressed by my performance I got up and left the screening room ... I thought I was a huge failure."[citation needed] After Brando won the Academy Award
Academy Award
for Best Actor, the statue was stolen. Much later, it turned up at a London auction house, which contacted the actor and informed him of its whereabouts.[citation needed] Brando would later say in his 2015 documentary, Listen to me Marlon, that he felt the part in On the Waterfront
On the Waterfront
that won him an Oscar was to him personally, not good, and that he knew he had done better acting. In the behind the scenes of On the Waterfront
On the Waterfront
film experts and critics would say he would change lines because he didn't like the script, and that he'd let the director know by having regular conversations. However, this was a way for Brando to prepare before a scene by warming up before starting the dialogue, in order to deliver it as natural as possible. Brando often saw a shrink, and reportedly wasn't there for some of the shooting of the scene when the close up was on the opposite actor. This is why this part of his technique is recognized mistakenly as him being difficult, and not a part of his approach.[40] Box office successes and directorial debut: 1954–1959[edit] Following On the Waterfront, Brando remained a top box office draw, but critics increasingly felt his performances were half-hearted, lacking the intensity and commitment found in his earlier work, especially in his work with Kazan. He portrayed Napoleon
Napoleon
in the 1954 film Désirée. According to co-star Jean Simmons, Brando's contract forced him to star in the movie. He put little effort into the role, claiming he didn't like the script, and later dismissed the entire movie as "superficial and dismal". Brando was especially contemptuous of director Henry Koster. Brando and Simmons were paired together again in the film adaptation of the musical Guys and Dolls (1955). Guys and Dolls would be Brando's first and last musical role. Time found the picture "false to the original in its feeling", remarking that Brando "sings in a faraway tenor that sometimes tends to be flat." Appearing in Edward Murrow's Person to Person interview in early 1955, he admitted to having problems with his singing voice, which he called "pretty terrible." In the 1965 documentary "Meet Marlon Brando", he revealed that the final product heard in the movie was a result of countless singing takes being cut into one and later joked, "I couldn't hit a note with a baseball bat; some notes I missed by extraordinary margins ... They sewed my words together on one song so tightly that when I mouthed it in front of the camera, I nearly asphyxiated myself". Relations between Brando and costar Frank Sinatra
Frank Sinatra
were also frosty, with Stefan Kanfer observing, "The two men were diametrical opposites: Marlon required multiple takes; Frank detested repeating himself." Upon their first meeting Sinatra reportedly scoffed, "Don't give me any of that Actors Studio shit." Brando later famously quipped, "Frank is the kind of guy, when he dies, he's going to heaven and give God a hard time for making him bald." Frank Sinatra
Frank Sinatra
famously called Brando "the world's most overrated actor", and referred to him as "mumbles".[41] The film was commercially though not critically successful, costing $5.5 million to make and grossing $13 million.[citation needed] Brando played Sakini, a Japanese interpreter for the U.S. Army in postwar Japan, in The Teahouse of the August Moon (1956). Pauline Kael was not particularly impressed by the movie, but noted "Marlon Brando starved himself to play the pixie interpreter Sakini, and he looks as if he's enjoying the stunt—talking with a mad accent, grinning boyishly, bending forward, and doing tricky movements with his legs. He's harmlessly genial (and he is certainly missed when he's offscreen), though the fey, roguish role doesn't allow him to do what he's great at and it's possible that he's less effective in it than a lesser actor might have been." In Sayonara
Sayonara
(1957) he appeared as a United States Air Force officer. Newsweek
Newsweek
found the film a "dull tale of the meeting of the twain", but it was nevertheless a box office success. According to Stefan Kanfer's biography of the actor, Brando's manager Jay Kanter negotiated a profitable contract with ten percent of the gross going to Brando, which put him in the millionaire category. The movie was controversial due to openly discussing interracial marriage, but proved a great success, earning 10 Academy Award nominations, with Brando being nominated for Best Actor. The film went on to win four Academy Awards. Teahouse and Sayonara
Sayonara
were the first in a string of films Brando would strive to make over the next decade which contained socially relevant messages, and he formed a partnership with Paramount to establish his own production company called Pennebaker, its declared purpose to develop films that contained "social value that would improve the world." The name was a tribute in honor of his mother, who had died in 1954. By all accounts, Brando was devastated by her death, with biographer Peter Manso telling A&E's Biography, "She was the one who could give him approval like no one else could and, after his mother died, it seems that Marlon stops caring." Brando appointed his father to run Pennebaker. In the same A&E special, George Englund claims that Brando gave his father the job because "it gave Marlon a chance to take shots at him, to demean and diminish him". In 1958, Brando appeared in The Young Lions, dyeing his hair blonde and assuming a German accent for the role, which he later admitted was not convincing. The film is based on the novel by Irwin Shaw, and Brando's portrayal of the character Christian Diestl was controversial for its time. He later wrote, "The original script closely followed the book, in which Shaw painted all Germans as evil caricatures, especially Christian, whom he portrayed as a symbol of everything that was bad about Nazism; he was mean, nasty, vicious, a cliché of evil ... I thought the story should demonstrate that there are no inherently 'bad' people in the world, but they can easily be misled." Shaw and Brando even appeared together for a televised interview with CBS correspondent David Schoenbrun and, during a bombastic exchange, Shaw charged that, like most actors, Brando was incapable of playing flat-out villainy; Brando responded by stating "Nobody creates a character but an actor. I play the role; now he exists. He is my creation." The Young Lions also features Brando's only appearance in a film with friend and rival Montgomery Clift
Montgomery Clift
(although they shared no scenes together). Brando closed out the decade by appearing in The Fugitive Kind (1960) opposite Anna Magnani. The film was based on another play by Tennessee Williams
Tennessee Williams
but was hardly the success A Streetcar Named Desire had been, with the Los Angeles Times
Los Angeles Times
labeling Williams's personae "psychologically sick or just plain ugly" and The New Yorker calling it a "cornpone melodrama". One-Eyed Jacks
One-Eyed Jacks
and Mutiny on the Bounty[edit] In 1961, Brando made his directorial debut in the western One-Eyed Jacks. The picture was originally directed by Stanley Kubrick, but he was fired early in the production. Paramount then made Brando the director. Brando portrays the lead character Rio, and Karl Malden plays his partner "Dad" Longworth. The supporting cast features Katy Jurado, Ben Johnson, and Slim Pickens. Brando's penchant for multiple retakes and character exploration as an actor carried over into his directing, however, and the film soon went over budget; Paramount expected the film to take three months to complete but shooting stretched to six and the cost doubled to more than six million dollars. Brando's inexperience as an editor also delayed postproduction and Paramount eventually took control of the film. Brando later wrote, "Paramount said it didn't like my version of the story; I'd had everyone lie except Karl Malden. The studio cut the movie to pieces and made him a liar, too. By then, I was bored with the whole project and walked away from it."[citation needed] One-Eyed Jacks was poorly reviewed by critics. While the film did solid business, it ran so over budget that it lost money. Brando's revulsion with the film industry reportedly boiled over on the set of his next film, Metro-Goldwyn-Mayer's remake of Mutiny on the Bounty, which was filmed in Tahiti. The actor was accused of deliberately sabotaging nearly every aspect of the production. On June 16, 1962, The Saturday Evening Post
The Saturday Evening Post
ran an article by Bill Davidson with the headline "Six million dollars down the drain: the mutiny of Marlon Brando". Mutiny director Lewis Milestone
Lewis Milestone
claimed that the executives "deserve what they get when they give a ham actor, a petulant child, complete control over an expensive picture." Mutiny on the Bounty nearly capsized MGM and, while the project had indeed been hampered with delays other than Brando's behavior, the accusations would dog the actor for years as studios began to fear Brando's difficult reputation. Critics also began taking note of his fluctuating weight. Box office decline: 1963–1971[edit]

Brando in 1973

Distracted by his personal life and becoming disillusioned with his career, Brando began to view acting as a means to a financial end. Critics protested when he started accepting roles in films many perceived as being beneath his talent, or criticized him for failing to live up to the better roles. Previously only signing short term deals with movie studios, in 1961 Brando uncharacteristically signed a five-picture deal with Universal Studios that would haunt him for the rest of the decade. The Ugly American (1963) was the first of these films. Based on the 1958 novel of the same name that Pennebaker had optioned, the movie, which featured Brando's sister Jocelyn, was rated fairly positively but died at the box office. Brando was nominated for a Golden Globe for his performance. All of Brando's other Universal films during this period, including Bedtime Story (1964), The Appaloosa (1966), A Countess from Hong Kong
A Countess from Hong Kong
(1967) and The Night of the Following Day (1969), were also critical and commercial flops.[42] Countess in particular was a disappointment for Brando, who had looked forward to working with one of his heroes, director Charlie Chaplin. The experience turned out to be an unhappy one; Brando was horrified at Chaplin's didactic style of direction and his authoritarian approach. Brando had also appeared in the spy thriller Morituri in 1965; that, too, failed to attract an audience. Brando acknowledged his professional decline, writing later, "Some of the films I made during the sixties were successful; some weren't. Some, like The Night of the Following Day, I made only for the money; others, like Candy, I did because a friend asked me to and I didn't want to turn him down ... In some ways I think of my middle age as the Fuck You Years." Candy was especially appalling for many; a 1968 sex farce film directed by Christian Marquand and based on the 1958 novel by Terry Southern, the movie satirizes pornographic stories through the adventures of its naive heroine, Candy, played by Ewa Aulin. It is generally regarded as the nadir of Brando's career. The Washington Post observed: "Brando's self-indulgence over a dozen years is costing him and his public his talents." In the March 1966 issue of The Atlantic, Pauline Kael
Pauline Kael
wrote that in his rebellious days, Brando "was antisocial because he knew society was crap; he was a hero to youth because he was strong enough not to take the crap", but now Brando and others like him had become "buffoons, shamelessly, pathetically mocking their public reputations." In an earlier review of The Appaloosa in 1966, Kael wrote that the actor was "trapped in another dog of a movie ... Not for the first time, Mr. Brando gives us a heavy-lidded, adenoidally openmouthed caricature of the inarticulate, stalwart loner." Although he feigned indifference, Brando was hurt by the critical mauling, admitting in the 2015 film Listen to Me Marlon, "They can hit you every day and you have no way of fighting back. I was very convincing in my pose of indifference, but I was very sensitive and it hurt a lot."[this quote needs a citation] While Brando had lost much of his critical and commercial appeal in the 1960s, he still gave some memorable performances. Brando portrayed a repressed gay army officer in Reflections in a Golden Eye, directed by John Huston
John Huston
and costarring Elizabeth Taylor. The role turned out as one of his most acclaimed in years, with Stanley Crouch marveling, "Brando's main achievement was to portray the taciturn but stoic gloom of those pulverized by circumstances."[43] The film overall received mixed reviews. Another notable film was The Chase (1966), which paired the actor with Arthur Penn, Robert Duvall, Jane Fonda
Jane Fonda
and Robert Redford. The film deals with themes of racism, sexual revolution, small-town corruption, and vigilantism. The film was received mostly positively. Brando cited Burn! (1969) as his personal favorite of the films he had made, writing in his autobiography, "I think I did some of the best acting I've ever done in that picture, but few people came to see it." Brando dedicated a full chapter to the film in his memoir, stating that the director, Gillo Pontecorvo, was the best director he had ever worked with next to Kazan and Bernardo Bertolucci. Brando also detailed his clashes with Pontecorvo on the set and how "we nearly killed each other." Loosely based on events in the history of Guadeloupe, the film got a hostile reception from critics. In 1971, Michael Winner
Michael Winner
directed him in the British horror film The Nightcomers with Stephanie Beacham, Thora Hird, Harry Andrews
Harry Andrews
and Anna Palk. It is a prequel to The Turn of the Screw, which later became the 1961 film The Innocents. Brando's performance earned him a nomination for a Best Actor BAFTA, but the film bombed at the box office. The Godfather
The Godfather
and Last Tango in Paris[edit] During the 1970s, Brando was considered "unbankable".[44] Critics were becoming increasingly dismissive of his work and he had not appeared in a box office hit since The Young Lions in 1958, the last year he had ranked as one of the Top Ten Box Office Stars[45] and the year of his last Academy Award
Academy Award
nomination, for Sayonara. Brando's performance as Vito Corleone, the "Don," in The Godfather
The Godfather
(1972), Francis Ford Coppola's adaptation of Mario Puzo's 1969 best-selling novel of the same name, was a career turning point, putting him back in the Top Ten and winning him his second Best Actor Oscar. Paramount production chief Robert Evans, who had given Puzo an advance to write The Godfather
The Godfather
so that Paramount would own the movie rights,[46] hired Coppola after many major directors had turned the movie down because he wanted an Italian-American director who could provide the movie with cultural authenticity. Coppola also came cheap. Evans was conscious of the fact that Paramount's last Mafia movie, The Brotherhood (1968) had been a box office bomb, and he believed it was partly due to the fact that the director, Martin Ritt, and the star, Kirk Douglas, were Jews and the film lacked an authentic Italian flavor.[47] The studio originally intended the movie to be a low-budget production set in contemporary times without any major actors, but the phenomenal success of the novel gave Evans the clout to turn The Godfather
The Godfather
into a prestige picture. Coppola had developed a list of actors for all the roles, and his list of potential Dons included the Oscar-winning Italian-American Ernest Borgnine,[48] the Italian-American Frank de Kova
Frank de Kova
(best known for playing Chief Wild Eagle on the TV sit-com F-Troop), John Marley (a Best Supporting Oscar-nominee for Paramount's 1970 hit movie Love Story who was cast as the movie producer Jack Woltz in the picture), the Italian-American Richard Conte
Richard Conte
(who was cast as Don Corleone's deadly rival Don Emilio Barzini), and Italian movie producer Carlo Ponti. Coppola admitted in a 1975 interview, "We finally figured we had to lure the best actor in the world. It was that simple. That boiled down to Laurence Olivier
Laurence Olivier
or Marlon Brando, who are the greatest actors in the world." The holographic copy of Coppola's cast list shows Brando's name underlined.[49] Evans told Coppola that he had been thinking of Brando for the part two years earlier, and Puzo had imagined Brando in the part when he wrote the novel and had actually written to him about the part,[50] so Coppola and Evans narrowed it down to Brando.[51] (Ironically, Olivier would compete with Brando for the Best Actor Oscar for his part in Sleuth. He bested Brando at the 1972 New York Film Critics Circle Awards.) Albert S. Ruddy, whom Paramount assigned to produce the film, agreed with the choice of Brando. However, Paramount studio heads were opposed to casting Brando due to his reputation for difficulty and his long string of box office flops. Brando also had One-Eyed Jacks working against him, a troubled production that lost money for Paramount when it was released in 1961. Paramount Pictures
Paramount Pictures
President Stanley Jaffe told an exasperated Coppola, "As long as I'm president of this studio, Marlon Brando
Marlon Brando
will not be in this picture, and I will no longer allow you to discuss it."[52] Jaffe eventually set three conditions for the casting of Brando: That he would have to take a fee far below what he typically received; he'd have to agree to accept financial responsibility for any production delays his behavior cost; and he had to submit to a screen test. Coppola convinced Brando to a videotaped "make-up" test, in which Brando did his own makeup (he used cotton balls to simulate the character's puffed cheeks). Coppola had feared Brando might be too young to play the Don, but was electrified by the actor's characterization as the head of a crime family. Even so, he had to fight the studio in order to cast the temperamental actor. Brando had doubts himself, stating in his autobiography, "I had never played an Italian before, and I didn't think I could do it successfully." Eventually, Charles Bluhdorn, 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 was signed for a low fee of $50,000, but in his contract, he was given a percentage of the gross on a sliding scale: 1% of the gross for each $10 million over a $10 million threshold, up to 5% if the picture exceeded $60 million. According to Evans, Brando sold back his points in the picture for $100,000, as he was in dire need of funds. "That $100,000 cost him $11 million," Evans claimed.[53] In a 1994 interview that can be found on the Academy of Achievement website, Coppola insisted, " The Godfather
The Godfather
was a very unappreciated movie when we were making it. They were very unhappy with it. They didn't like the cast. They didn't like the way I was shooting it. I was always on the verge of getting fired." When word of this reached Brando, he threatened to walk off the picture, writing in his memoir, "I strongly believe that directors are entitled to independence and freedom to realize their vision, though Francis left the characterizations in our hands and we had to figure out what to do." In a 2010 television interview with Larry King, Al Pacino
Al Pacino
also talked about how Brando's support helped him keep the role of Michael Corleone in the movie—despite the fact Coppola wanted to fire him. Brando was on his best behavior during filming, buoyed by a cast that included Pacino, Robert Duvall, James Caan
James Caan
and Diane Keaton. In the Vanity Fair article " The Godfather
The Godfather
Wars", Mark Seals writes, "With the actors, as in the movie, Brando served as the head of the family. He broke the ice by toasting the group with a glass of wine. 'When we were young, Brando was like the godfather of actors,' says Robert Duvall. 'I used to meet with Dustin Hoffman
Dustin Hoffman
in Cromwell's Drugstore, and if we mentioned his name once, we mentioned it 25 times in a day.' Caan adds, 'The first day we met Brando everybody was in awe.'" Brando's performance was glowingly reviewed by critics. "I thought it would be interesting to play a gangster, maybe for the first time in the movies, who wasn't like those bad guys Edward G. Robinson
Edward G. Robinson
played, but who is kind of a hero, a man to be respected," Brando recalled in his autobiography. "Also, because he had so much power and unquestioned authority, I thought it would be an interesting contrast to play him as a gentle man, unlike Al Capone, who beat up people with baseball bats." Duvall later marveled to A&E's Biography, "He minimized the sense of beginning. In other words he, like, deemphasized the word action. He would go in front of that camera just like he was before. Cut! It was all the same. There was really no beginning. I learned a lot from watching that." Brando won the Academy Award for Best Actor for his performance, but he declined it, becoming the second actor to refuse a Best Actor award (after George C. Scott for Patton). He boycotted the award ceremony, instead sending aboriginal American rights activist Sacheen Littlefeather, who appeared in full Apache attire, to state Brando's reasons, which were based on his objection to the depiction of aboriginal Americans by Hollywood and television.[54] The actor followed The Godfather
The Godfather
with Bernardo Bertolucci's 1972 film Last Tango in Paris
Last Tango in Paris
opposite Maria Schneider, but Brando's highly noted performance threatened to be overshadowed by an uproar over the sexual content of the film. Brando portrays a recent American widower named Paul, who begins an anonymous sexual relationship with a young, betrothed Parisian woman named Jeanne. As with previous films, Brando refused to memorize his lines for many scenes; instead, he wrote his lines on cue cards and posted them around the set for easy reference, leaving Bertolucci with the problem of keeping them out of the picture frame. The film features several intense, graphic scenes involving Brando, including Paul anally raping Jeanne using butter as a lubricant, which, it was alleged was not consensual,[55] and Paul's angry, emotionally charged final confrontation with the corpse of his dead wife. The controversial movie was a hit, however, and Brando made the list of Top Ten Box Office Stars for the last time. The voting membership of the Academy of Motion Picture Arts & Sciences again nominated Brando for Best Actor, his seventh nomination. Although Brando won the 1973 New York Film Critics Circle Awards, the actor did not appear at the ceremony or send a representative to pick up the award if he won. Critic Pauline Kael, in her famous New Yorker review, wrote "The movie breakthrough has finally come. Bertolucci and Brando have altered the face of an art form." Brando confessed in his autobiography, "To this day I can't say what Last Tango in Paris
Last Tango in Paris
was about," and added the film "required me to do a lot of emotional arm wrestling with myself, and when it was finished, I decided that I wasn't ever again going to destroy myself emotionally to make a movie. I felt I had violated my innermost self and I didn't want to suffer like that anymore ... You can't fake it."[this quote needs a citation] In 1973, Brando was devastated by the death of his childhood best friend Wally Cox. Brando slept in Cox's pajamas and wrenched his ashes from his widow. She was going to sue for their return, but finally said "I think Marlon needs the ashes more than I do."[56] Late 1970s[edit] In 1976, Brando appeared in The Missouri Breaks
The Missouri Breaks
with his friend Jack Nicholson. The movie also reunited the actor with director Arthur Penn. As biographer Stefan Kanfer describes, Penn had difficulty controlling Brando, who seemed intent on going over the top with his border-ruffian-turned-contract-killer Robert E. Lee Clayton: "Marlon made him a cross-dressing psychopath. Absent for the first hour of the movie, Clayton enters on horseback, dangling upside down, caparisoned in white buckskin, Littlefeather-style. He speaks in an Irish accent for no apparent reason. Over the next hour, also for no apparent reason, Clayton assumes the intonation of a British upper-class twit and an elderly frontier woman, complete with a granny dress and matching bonnet. Penn, who believed in letting actors do their thing, indulged Marlon all the way."[57] Critics were unkind, with The Observer calling Brando's performance "one of the most extravagant displays of grandedamerie since Sarah Bernhardt",[58] while The Sun complained, " Marlon Brando
Marlon Brando
at fifty-two has the sloppy belly of a sixty-two-year-old, the white hair of a seventy-two-year-old, and the lack of discipline of a precocious twelve-year-old."[58] However, Kanfer noted: "Even though his late work was met with disapproval, a re-examination shows that often, in the middle of the most pedestrian scene, there would be a sudden, luminous occurrence, a flash of the old Marlon that showed how capable he remained."[58] In 1977, Brando made a rare television appearance in the miniseries Roots: The Next Generations, portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni, a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil. Brando portrayed Superman's father Jor-El
Jor-El
in the 1978 film Superman. He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and that his lines would be displayed somewhere off-camera. It was revealed in a documentary contained in the 2001 DVD release of Superman
Superman
that he was paid $3.7 million for two weeks of work. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage. "I asked for my usual percentage," he recollected in his memoir, "but they refused, and so did I." However, after Brando's death, the footage was reincorporated into the 2006 re-cut of the film, Superman
Superman
II: The Richard Donner Cut and in the 2006 "loose sequel" Superman
Superman
Returns, in which both used and unused archive footage of him as Jor-El
Jor-El
from the first two Superman
Superman
films was remastered for a scene in the Fortress of Solitude, and Brando's voice-overs were used throughout the film.[citation needed] Brando starred as Colonel Walter E. Kurtz in Francis Ford Coppola's Vietnam epic Apocalypse Now
Apocalypse Now
(1979). He plays a highly decorated U.S. Army Special
Special
Forces officer who goes renegade, running his own operation based in Cambodia and is feared by the U.S. military as much as the Vietnamese. Brando was paid $1 million a week for 3 weeks work. The film drew attention for its lengthy and troubled production, as Eleanor Coppola's documentary Hearts of Darkness: A Filmmaker's Apocalypse documents: Brando showed up on the set overweight, Martin Sheen suffered a heart attack, and severe weather destroyed several expensive sets. The film's release was also postponed several times while Coppola edited millions of feet of footage. In the documentary, Coppola talks about how astonished he was when an overweight Brando turned up for his scenes and, feeling desperate, decided to portray Kurtz, who appears emaciated in the original story, as a man who had indulged every aspect of himself. Coppola: "He was already heavy when I hired him and he promised me that he was going to get in shape and I imagined that I would, if he were heavy, I could use that. But he was so fat, he was very, very shy about it ... He was very, very adamant about how he didn't want to portray himself that way." Brando admitted to Coppola that he had not read the book, Heart of Darkness, as the director had asked him to, and the pair spent days exploring the story and the character of Kurtz, much to the actor's financial benefit, according to producer Fred Roos: "The clock was ticking on this deal he had and we had to finish him within three weeks or we'd go into this very expensive overage ... And Francis and Marlon would be talking about the character and whole days would go by. And this is at Marlon's urging—and yet he's getting paid for it." Upon release, Apocalypse Now
Apocalypse Now
earned critical acclaim, as did Brando's performance. His whispering of Kurtz's final words "The horror! The horror!", has become particularly famous. Roger Ebert, writing in the Chicago
Chicago
Sun-Times, defended the movie's controversial denouement, opining that the ending, "with Brando's fuzzy, brooding monologues and final violence, feels more satisfactory than any conventional ending possibly could."[this quote needs a citation] Later work[edit] After appearing as oil tycoon Adam Steiffel in 1980's The Formula, which was poorly received critically, Brando announced his retirement from acting. However, he returned in 1989 in A Dry White Season, based on André Brink's 1979 anti-apartheid novel. Brando agreed to do the film for free, but fell out with director Euzhan Palcy
Euzhan Palcy
over how the film was edited; he even made a rare television appearance in an interview with Connie Chung
Connie Chung
to voice his disapproval. In his memoir, he maintained that Palcy "had cut the picture so poorly, I thought, that the inherent drama of this conflict was vague at best." Brando received praise for his performance, earning an Academy Award nomination for Best Supporting Actor and winning the Best Actor Award at the Tokyo Film Festival. Brando also scored enthusiastic reviews for his caricature of his Vito Corleone
Vito Corleone
role as Carmine Sabatini in 1990's The Freshman. In his original review, Roger Ebert
Roger Ebert
wrote, "There have been a lot of movies where stars have repeated the triumphs of their parts—but has any star ever done it more triumphantly than Marlon Brando
Marlon Brando
does in The Freshman?"[59] Variety also praised Brando's performance as Sabatini and noted, "Marlon Brando's sublime comedy performance elevates The Freshman from screwball comedy to a quirky niche in film history."[60] Brando also starred alongside his friend Johnny Depp
Johnny Depp
in the box office hit Don Juan DeMarco
Don Juan DeMarco
(1995) and in Depp's controversial The Brave (1997), which was never released in the United States. Later performances, such as his appearance in Christopher Columbus: The Discovery (1992) (for which he was nominated for a Raspberry as "Worst Supporting Actor"), The Island of Dr. Moreau (in which he won a "Worst Supporting Actor" Raspberry) (1996), and his barely recognizable appearance in Free Money (1998), resulted in some of the worst reviews of his career. However, his last completed film, The Score (2001), was received generally positively. In the film, in which he portrays a fence, he starred with Robert De Niro, who had portrayed Vito Corleone
Vito Corleone
in The Godfather
The Godfather
Part II. Brando conceived the idea of a novel called Fan-Tan with director Donald Cammell in 1979, which was not released until 2005.[61] Final years and death[edit] Brando's notoriety, his troubled family life, and his obesity attracted more attention than his late acting career. He gained a great deal of weight in the 1970s and by the early to mid-1990s he weighed over 300 pounds (140 kg) and suffered from Type 2 diabetes. He had a history of weight fluctuation throughout his career that, by and large, he attributed to his years of stress-related overeating followed by compensatory dieting. He also earned a reputation for being difficult on the set, often unwilling or unable to memorize his lines and less interested in taking direction than in confronting the film director with odd demands. He also dabbled with some innovation in his last years. He had several patents issued in his name from the U.S. Patent and Trademark Office, all of which involve a method of tensioning drumheads, in June 2002 – November 2004. (For example, see U.S. Patent 6,812,392 and its equivalents). In 2004, Brando recorded voice tracks for the character Mrs. Sour in the unreleased animated film Big Bug Man. This was his last role and his only role as a female character.[1] The actor was a longtime close friend of entertainer Michael Jackson and paid regular visits to his Neverland Ranch, resting there for weeks at a time. Brando also participated in the singer's two-day solo career 30th-anniversary celebration concerts in 2001, and starred in his 13-minute-long music video, "You Rock My World," in the same year. On Jackson's 30th anniversary concert, Brando gave a rambling speech to the audience on humanitarian work which received a poor reaction and was unaired. The actor's son, Miko, was Jackson's bodyguard and assistant for several years, and was a friend of the singer. He stated, "The last time my father left his house to go anywhere, to spend any kind of time ... was with Michael Jackson. He loved it ... He had a 24-hour chef, 24-hour security, 24-hour help, 24-hour kitchen, 24-hour maid service."[62] "Michael was instrumental helping my father through the last few years of his life. For that I will always be indebted to him. Dad had a hard time breathing in his final days, and he was on oxygen much of the time. He loved the outdoors, so Michael would invite him over to Neverland. Dad could name all the trees there, and the flowers, but being on oxygen it was hard for him to get around and see them all, it's such a big place. So Michael got Dad a golf cart with a portable oxygen tank so he could go around and enjoy Neverland. They'd just drive around—Michael Jackson, Marlon Brando, with an oxygen tank in a golf cart."[63] In April 2001, Brando was hospitalized with pneumonia.[64] In 2004, Brando signed with Tunisian film director Ridha Behi and began pre-production on a project to be titled Brando and Brando. Up to a week before his death, he was working on the script in anticipation of a July/August 2004 start date.[65] Production was suspended in July 2004 following Brando's death, at which time Behi stated that he would continue the film as an homage to Brando,[66] with a new title of Citizen Brando.[67][68] On July 1, 2004, Brando died of respiratory failure from pulmonary fibrosis with congestive heart failure at the UCLA Medical Center.[69] The cause of death was initially withheld, with his lawyer citing privacy concerns. He also suffered from failing eyesight caused by diabetes and liver cancer.[70] Shortly before his death and despite needing an oxygen mask to breathe, he recorded his voice to appear in The Godfather: The Game, once again as Don Vito Corleone. However, Brando only recorded one line due to his health and an impersonator was hired to finish his lines. Some lines from his character were directly lifted from the film. Karl Malden—a fellow actor in A Streetcar Named Desire, On the Waterfront, and One-Eyed Jacks
One-Eyed Jacks
(the only film directed by Brando)—talks in a documentary accompanying the DVD of A Streetcar Named Desire about a phone call he received from Brando shortly before Brando's death. A distressed Brando told Malden he kept falling over. Malden wanted to come over, but Brando put him off, telling him there was no point. Three weeks later, Brando was dead. Shortly before his death, he had apparently refused permission for tubes carrying oxygen to be inserted into his lungs, which, he was told, was the only way to prolong his life. Brando was cremated, and his ashes were put in with those of his childhood friend, comedian and actor Wally Cox
Wally Cox
and another longtime friend, Sam Gilman.[71] They were then scattered partly in Tahiti
Tahiti
and partly in Death Valley.[72] In 2007, a 165-minute biopic of Brando for Turner Classic Movies, Brando: The Documentary, produced by Mike Medavoy (the executor of Brando's will), was released.[73] Personal life[edit]

Anna Kashfi
Anna Kashfi
in 1959

Movita Castaneda
Movita Castaneda
in Paradise Isle
Paradise Isle
(1937)

Brando's children

By Anna Kashfi

Christian Brando (1958–2008)

By Movita Castaneda

Miko Brando (born 1961) Rebecca Brando (born 1966)

By Tarita Teriipaia

Simon Teihotu Brando (born 1963) Tarita Cheyenne Brando
Cheyenne Brando
(1970–1995)

By Maria Cristina Ruiz

Ninna Priscilla Brando (born 1989) Myles Jonathan Brando (born 1992) Timothy Gahan Brando (born 1994)

Through adoption:

Petra Brando-Corval (born 1972) Maimiti Brando (born 1977) Raiatua Brando (born 1982)

Brando was known for his tumultuous personal life and his large number of wives, girlfriends and children. He was the father to eleven children, three of whom were adopted. In 1976, he told a French journalist, "Homosexuality is so much in fashion, it no longer makes news. Like a large number of men, I, too, have had homosexual experiences, and I am not ashamed. I have never paid much attention to what people think about me. But if there is someone who is convinced that Jack Nicholson
Jack Nicholson
and I are lovers, may they continue to do so. I find it amusing."[74][75][76] In Songs My Mother Taught Me, Brando wrote he met Marilyn Monroe
Marilyn Monroe
at a party where she played piano, unnoticed by anybody else there, that they had an affair and maintained an intermittent relationship for many years, and that he received a telephone call from her several days before she died. He also claimed numerous other romances, although he did not discuss his marriages, his wives, or his children in his autobiography. He met nisei actress and dancer Reiko Sato in the early 1950s; in 1954 Dorothy Kilgallen
Dorothy Kilgallen
reported they were an item. Though their relationship cooled, they remained friends for the rest of Sato's life, with her dividing her time between Los Angeles and Tetiaroa
Tetiaroa
in her later years.[77] Brando married actress Anna Kashfi
Anna Kashfi
in 1957. Kashfi was born in Calcutta and moved to Wales from India in 1947. She is said to have been the daughter of a Welsh steel worker of Irish descent, William O'Callaghan, who had been superintendent on the Indian State railways. However, in her book, Brando for Breakfast, she claimed that she really is half Indian and that the press incorrectly thought that her stepfather, O'Callaghan, was her biological father. She said that her biological father was Indian and that she was the result of an "unregistered alliance" between her parents. Brando and Kashfi had a son, Christian Brando, on May 11, 1958; they divorced in 1959. In 1960, Brando married Movita Castaneda, a Mexican-American actress seven years his senior; they were divorced in 1962. Castaneda had appeared in the first Mutiny on the Bounty film in 1935, some 27 years before the 1962 remake with Brando as Fletcher Christian. They had two children together: Miko Castaneda Brando (born 1961) and Rebecca Brando (born 1966). Tahitian actress Tarita Teriipaia, who played Brando's love interest in Mutiny on the Bounty, became his third wife on August 10, 1962. She was 20 years old, 18 years younger than Brando, who was reportedly delighted by her naïveté.[78] Because Teriipaia was a native French speaker, Brando became fluent in the language and gave numerous interviews in French.[79][80] Teriipaia became the mother of two of his children: Simon Teihotu Brando (born 1963) and Tarita Cheyenne Brando (born 1970). Brando also adopted Teriipaia's daughter, Maimiti Brando (born 1977) and niece, Raiatua Brando (born 1982). Brando and Teriipaia divorced in July 1972. Brando had a long-term relationship with his housekeeper Maria Cristina Ruiz, with whom he had three children: Ninna Priscilla Brando (born May 13, 1989), Myles Jonathan Brando (born January 16, 1992), and Timothy Gahan Brando (born January 6, 1994). Brando also adopted Petra Brando-Corval (born 1972), the daughter of his assistant Caroline Barrett and novelist James Clavell.[81][82] Brando's close friendship with Wally Cox
Wally Cox
was the subject of rumors. Brando told a journalist: "If Wally had been a woman, I would have married him and we would have lived happily ever after."[83] Two of Cox's wives, however, dismissed the suggestion that the love was more than platonic.[84] Brando's grandson Tuki Brando (born 1990), son of Cheyenne Brando, is a fashion model. His numerous grandchildren also include Michael Brando (born 1988), son of Christian Brando, Prudence Brando and Shane Brando, children of Miko C. Brando, the children of Rebecca Brando,[85] and the three children of Teihotu Brando among others.[86] Stephen Blackehart has been reported to be the son of Brando.[87][88] Blackehart disputes this claim.[89] Lifestyle[edit] Brando earned a reputation as a 'bad boy' for his public outbursts and antics. According to Los Angeles magazine, "Brando was rock and roll before anybody knew what rock and roll was."[90] His behavior during the filming of Mutiny on the Bounty (1962) seemed to bolster his reputation as a difficult star. He was blamed for a change in director and a runaway budget, though he disclaimed responsibility for either. On June 12, 1973, Brando broke paparazzo Ron Galella's jaw. Galella had followed Brando, who was accompanied by talk show host Dick Cavett, after a taping of The Dick Cavett
Dick Cavett
Show in New York City. He reportedly paid a $40,000 out-of-court settlement and suffered an infected hand as a result. Galella wore a football helmet the next time he photographed Brando at a gala benefiting the American Indians Development Association. The filming of Mutiny on the Bounty affected Brando's life in a profound way, as he fell in love with Tahiti
Tahiti
and its people. He bought a 12-island atoll, Tetiaroa, and in 1970 hired an award-winning young Los Angeles architect, Bernard Judge, to build his home and natural village there without despoiling the environment. An environmental laboratory protecting sea birds and turtles was established and student groups were welcomed there for many years. Tragically, the 1983 hurricane destroyed many of the structures including his resort. A hotel using Brando's name, The Brando Resort[91] was officially opened to the public in 2014.[92][not in citation given] Brando was an active ham radio operator, with the call signs KE6PZH and FO5GJ (the latter from his island). He was listed in the Federal Communications Commission (FCC) records as Martin Brandeaux to preserve his privacy.[93][94] In the A&E Biography episode on Brando, biographer Peter Manso comments, "On the one hand, being a celebrity allowed Marlon to take his revenge on the world that had so deeply hurt him, so deeply scarred him. On the other hand he hated it because he knew it was false and ephemeral." In the same program another biographer, David Thomson, relates, "Many, many people who worked with him, and came to work with him with the best intentions, went away in despair saying he's a spoiled kid. It has to be done his way or he goes away with some vast story about how he was wronged, he was offended, and I think that fits with the psychological pattern that he was a wronged kid." Politics[edit]

Brando with James Baldwin
James Baldwin
at the 1963 Civil Rights March on Washington, D.C.

With Charlton Heston, James Baldwin, Sidney Poitier
Sidney Poitier
and Harry Belafonte at the March on Washington
March on Washington
in 1963

In 1946, Brando performed in Ben Hecht's Zionist
Zionist
play A Flag is Born. He attended some fundraisers for John F. Kennedy
John F. Kennedy
in the 1960 presidential election. In August 1963, he participated in the March on Washington along with fellow celebrities Harry Belafonte, James Garner, Charlton Heston, Burt Lancaster
Burt Lancaster
and Sidney Poitier.[95] Along with Paul Newman, Brando also participated in the freedom rides. In the aftermath of the 1968 assassination of Martin Luther King, Jr., Brando made one of the strongest commitments to furthering King's work. Shortly after King's death, he announced that he was bowing out of the lead role of a major film (The Arrangement) (1969) which was about to begin production in order to devote himself to the civil rights movement. "I felt I'd better go find out where it is; what it is to be black in this country; what this rage is all about," Brando said on the late-night ABC-TV talk show Joey Bishop Show. In A&E's Biography episode on Brando, actor and co-star Martin Sheen
Martin Sheen
states, "I'll never forget the night that Reverend King was shot and I turned on the news and Marlon was walking through Harlem with Mayor Lindsay. And there were snipers and there was a lot of unrest and he kept walking and talking through those neighborhoods with Mayor Lindsay. It was one of the most incredible acts of courage I ever saw, and it meant a lot and did a lot." Brando's participation in the civil rights movement actually began well before King's death. In the early 1960s, he contributed thousands of dollars to both the Southern Christian Leadership Conference (S.C.L.C.) and to a scholarship fund established for the children of slain Mississippi
Mississippi
N.A.A.C.P.
N.A.A.C.P.
leader Medgar Evers. In 1964 Brando was arrested at a "fish-in" held to protest a broken treaty that had promised Native Americans fishing rights in Puget Sound.[96] By this time, Brando was already involved in films that carried messages about human rights: Sayonara, which addressed interracial romance, and The Ugly American, depicting the conduct of U.S. officials abroad and the deleterious effect on the citizens of foreign countries. For a time, he was also donating money to the Black Panther Party
Black Panther Party
and considered himself a friend of founder Bobby Seale.[97] Brando ended his financial support for the group over his perception of its increasing radicalization, specifically a passage in a Panther pamphlet put out by Eldridge Cleaver
Eldridge Cleaver
advocating indiscriminate violence, "for the Revolution." At the 1973 Academy Awards
Academy Awards
ceremony, Brando refused to accept the Oscar for his performance in The Godfather. Sacheen Littlefeather represented him at the ceremony. She appeared in full Apache attire and stated that owing to the "poor treatment of Native Americans in the film industry", Brando would not accept the award.[98] This occurred while the standoff at Wounded Knee was ongoing. The event grabbed the attention of the US and the world media. This was considered a major event and victory for the movement by its supporters and participants. Outside of his film work, Brando appeared before the California Assembly in support of a fair housing law and personally joined picket lines in demonstrations protesting discrimination in housing developments. He was also an activist against apartheid.[99] In 1964, he favored a boycott of his films in South Africa to prevent them from being shown to a segregated audience. He took part at a 1975 protest rally against American investments in South Africa and for the release of Nelson Mandela.[100] In 1989, Brando also starred in the film A Dry White Season, based upon André Brink's novel of the same name. Comments on Jews, Hollywood and Israel[edit] In an interview in Playboy
Playboy
magazine in January 1979, Brando said: "You've seen every single race besmirched, but you never saw an image of the kike because the Jews were ever so watchful for that—and rightly so. They never allowed it to be shown on screen. The Jews have done so much for the world that, I suppose, you get extra disappointed because they didn't pay attention to that."[101] Brando made a similar comment on Larry King
Larry King
Live in April 1996, saying "Hollywood is run by Jews; it is owned by Jews, and they should have a greater sensitivity about the issue of—of people who are suffering. Because they've exploited—we have seen the—we have seen the nigger and greaseball, we've seen the chink, we've seen the slit-eyed dangerous Jap, we have seen the wily Filipino, we've seen everything, but we never saw the kike. Because they knew perfectly well, that that is where you draw the wagons around." Larry King, who is Jewish, replied, "When you say—when you say something like that, you are playing right in, though, to anti-Semitic people who say the Jews are—" Brando interrupted: "No, no, because I will be the first one who will appraise the Jews honestly and say 'Thank God for the Jews'."[102] Jay Kanter, Brando's agent, producer, and friend, defended him in Daily Variety: "Marlon has spoken to me for hours about his fondness for the Jewish people, and he is a well-known supporter of Israel."[103] Similarly, Louie Kemp, in his article for Jewish Journal, wrote: "You might remember him as Don Vito Corleone, Stanley Kowalski
Stanley Kowalski
or the eerie Col. Walter E. Kurtz in 'Apocalypse Now', but I remember Marlon Brando as a mensch and a personal friend of the Jewish people when they needed it most."[24] In an interview with NBC Today one day after Brando's death, King also defended Brando's comments, saying that they had been blown out of proportion and taken out of context. Legacy[edit]

That will be Brando's legacy whether he likes it or not—the stunning actor who embodied a poetry of anxiety that touched the deepest dynamics of his time and place.

Jack Kroll in 1994

Brando was one of the most respected actors of the post-war era. He is listed by the American Film Institute
American Film Institute
as the fourth greatest male star whose screen debut occurred before or during 1950 (it occurred in 1950). He earned respect among critics for his memorable performances and charismatic screen presence. He helped popularize Method acting.[104] He is regarded as one of the greatest cinema actors of the 20th century.[105][106][107] Encyclopedia Britannica describes him as "the most celebrated of the method actors, and his slurred, mumbling delivery marked his rejection of classical dramatic training. His true and passionate performances proved him one of the greatest actors of his generation". It also notes the apparent paradox of his talent: "He is regarded as the most influential actor of his generation, yet his open disdain for the acting profession... often manifested itself in the form of questionable choices and uninspired performances. Nevertheless, he remains a riveting screen presence with a vast emotional range and an endless array of compulsively watchable idiosyncrasies."[108] Cultural influence[edit]

He was our angry young man—the delinquent, the tough, the rebel—who stood at the center of our common experience.

—Pauline Kael[109]

Madame Tussauds
Madame Tussauds
waxwork exhibit of Brando in The Wild One
The Wild One
albeit with a later 1957/8 model Triumph Thunderbird.

Marlon Brando
Marlon Brando
is a cultural icon whose popularity has endured for over six decades. His rise to national attention in the 1950s had a profound effect on American culture.[110] According to film critic Pauline Kael, "Brando represented a reaction against the post-war mania for security. As a protagonist, the Brando of the early fifties had no code, only his instincts. He was a development from the gangster leader and the outlaw. He was antisocial because he knew society was crap; he was a hero to youth because he was strong enough not to take the crap ... Brando represented a contemporary version of the free American ... Brando is still the most exciting American actor on the screen."[110] Sociologist Dr. Suzanne Mcdonald-Walker states: "Marlon Brando, sporting leather jacket, jeans, and moody glare, became a cultural icon summing up 'the road' in all its maverick glory."[111] His portrayal of the gang leader Johnny Strabler in The Wild One
The Wild One
has become an iconic image, used both as a symbol of rebelliousness and a fashion accessory that includes a Perfecto style motorcycle jacket, a tilted cap, jeans and sunglasses. Johnny's haircut inspired a craze for sideburns, followed by James Dean and Elvis Presley, among others.[112] Dean copied Brando's acting style extensively and Presley used Brando's image as a model for his role in Jailhouse Rock.[113] The "I coulda been a contender" scene from On the Waterfront, according to the author of Brooklyn Boomer, Martin H. Levinson, is "one of the most famous scenes in motion picture history, and the line itself has become part of America's cultural lexicon."[112] Brando's powerful "Wild One" image was still, as of 2011, being marketed by the makers of his Triumph Thunderbird motorcycle, in a range of clothing inspired by his character from the film and licensed by Brando's estate.[114] Brando was also considered a male sex symbol. Linda Williams writes: " Marlon Brando
Marlon Brando
[was] the quintessential American male sex symbol of the late fifties and early sixties".[115] Views on acting[edit] In his autobiography Songs My Mother Taught Me, Brando observed:

I've always thought that one benefit of acting is that it gives actors a chance to express feelings that they are normally unable to vent in real life. Intense emotions buried inside you can come smoking out the back of your head, and I suppose in terms of psychodrama this can be helpful. In hindsight, I guess my emotional insecurity as a child—the frustrations of not being allowed to be who I was, of wanting love and not being able to get it, of realizing that I was of no value—may have helped me as an actor, at least in a small way. It probably gave me a certain intensity that most people don't have.[116][full citation needed]

He also confessed that, while having great admiration for the theater, he did not return to it after his initial success primarily because the work left him drained emotionally:

What I remember most about A Streetcar Named Desire
A Streetcar Named Desire
was the emotional grind of acting in it six nights and two afternoons. Try to imagine what it was like walking on stage at 8:30 every night having to yell, scream, cry, break dishes, kick the furniture, punch the walls and experience the same intense, wrenching emotions night after night, trying each time to evoke in audiences the same emotions I felt. It was exhausting.[116][full citation needed]

Brando repeatedly credited Stella Adler
Stella Adler
and her understanding of the Stanislavsky acting technique for bringing realism to American cinema, but also added:

This school of acting served the American theater and motion pictures well, but it was restricting. The American theater has never been able to present Shakespeare
Shakespeare
or classical drama of any kind satisfactorily. We simply do not have the style, the regard for the language or the cultural disposition ... You cannot mumble in Shakespeare. You cannot improvise, and you are required to adhere strictly to the text. The English theater has a sense of language that we do not recognize ... In the United States the English language has developed almost into a patois.[116][full citation needed]

In the 2015 documentary Listen to Me Marlon, Brando shared his thoughts on playing a death scene, stating, "That's a tough scene to play. You have to make 'em believe that you are dying ... Try to think of the most intimate moment you've ever had in your life."[citation needed] Brando's favorite actors were Spencer Tracy, John Barrymore, Fredric March, James Cagney
James Cagney
and Paul Muni. Financial legacy[edit] Upon his death in 2004, Brando left an estate valued at $21.6 million.[117] Brando's estate still earned about $9 million in 2005, the year following his death, according to Forbes. That year Brando was named one of the top-earning deceased celebrities in the world by the magazine.[118] Filmography[edit] Main article: Marlon Brando
Marlon Brando
filmography Awards and honors[edit] Further information: List of awards and nominations received by Marlon Brando Brando was named the fourth greatest male star whose screen debut occurred before or during 1950 by the American Film Institute,[119] and part of TIME
TIME
magazine's Time 100: The Most Important People of the Century.[120] He was also named one of the top 10 "Icons of the Century" by Variety magazine.[106][121] See also[edit]

Marlon Brando
Marlon Brando
– book List of actors who have appeared in multiple Best Picture Academy Award winners

References[edit] Notes

Citations

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Time 100
Persons of the Century." Time, June 14, 1999. ^ Dimare 2011, pp. 580–582. ^ a b c Brando and Lindsey 1994, pp. 32, 34, 43. ^ "Brando." The New Yorker, Volume 81, Issues 43–46, p. 39. ^ Bly 1994, p. 11. ^ Kanfer 2008, pp. 5, 6. ^ "The religion of Marlon Brando, actor." adherents.com. Retrieved April 5, 2015. ^ Brando, Marlon, Songs My Mother Taught Me (New York: Random House, 1994), p. 4. Via Google Books. Retrieved July 28, 2015. ^ Brando, Marlon, Songs My Mother Taught Me, p. 227. Via Google Books. Retrieved July 28, 2015. ^ Brando, Marlon, Songs My Mother Taught Me, p. 7. Via Google Books. Retrieved July 28, 2015. ^ Kanfer 2008, p. 134. ^ Forrest, Lauren, "A Look At Historical Libertyville" in Drops of Ink, May 5, 2015. Retrieved January 6, 2015. ^ Elder, Robert K. "Marlon Brando, 1924–2004: Illinois youth full of anger, family strife." Chicago
Chicago
Tribune, July 3, 2004. ^ "Marlon Brando", A&E Biography episode. ^ Adler and Paris, 1999, p. 271. ^ Brando and Lindsey 1994, p. 83. ^ TheLipTV (July 30, 2015). " Marlon Brando
Marlon Brando
In His Own Words – LISTEN TO ME MARLON" – via YouTube.  ^ a b Kemp, Louie. "My Seder With Brando." The Jewish Journal. ^ "Welcome." Archived March 25, 2015, at the Wayback Machine. David S. Wyman Institute for Holocaust Studies. Retrieved April 5, 2015. ^ Mosel, "Leading Lady: The World and Theatre of Katharine Cornell ^ Kanfer 2008, p. 59. ^ Graziano and Barber 1955 ^ Voynar, Kim. "Lost Brando Screen Test for Rebel Surfaces – But It's Not for the Rebel We Know and Love."Cinematical, Weblogs, Inc., March 28, 2006. Retrieved April 3, 2008. ^ Powell and Garrett 2013, p. 111. ^ "40 things you didn't know about The Godfather: Brando and the cue cards." Time, March 14, 2012. Retrieved December 31, 2014. ^ Rawlings, Nate. "The Anniversary You Can't Refuse: 40 Things You Didn't Know About The Godfather" – via Time.  ^ Kanfer, Stefan. Somebody: The Reckless Life and Remarkable Career of Marlon Brando. p. 112. Retrieved November 12, 2016.  ^ Brando and Lindsey 1994, p. 178 ^ Kanfer 2008, p. 125. ^ Girgus 1998, p. 175. ^ 'The Top Box-Office Hits of 1954', Variety (January 5, 1955) ^ Weiler, A. H. "Movie Review: 'On the Waterfront'." The New York Times, July 29, 1954. ^ Khairy, Wael. "Review: On the Waterfront'(1954)." Roger Ebert.com, March 21, 1999. Retrieved April 5, 2015. ^ Eyes On Cinema (September 26, 2015). " Rod Steiger
Rod Steiger
talks about Marlon Brando & the taxi-scene of 'On the Waterfront' (1954)" – via YouTube.  ^ Nolan Moore (June 7, 2014). "10 Strange Stories About Frank Sinatra".  ^ " Marlon Brando
Marlon Brando
declines Best Actor Oscar – Mar 27, 1973". HISTORY.com. Retrieved August 16, 2017.  ^ Crouch, Stanley. "How DVD adds new depth to Brando's greatness." Slate, January 25, 2007. Retrieved June 10, 2012. ^ Lebo 2005, p. 47. ^ Anthony, Elizabeth. "Quigley's Annual List of Box-Office Champions, 1932–1970." Reel Classics. Retrieved August 7, 2013. ^ Gelmis, Joe."Merciful heavens, is this the end of Don Corleone?" New York, August 23, 1971, pp. 52–53. Retrieved August 7, 2013. ^ Evans 1994, p. 225. ^ Santopietro 2012, P. 45. ^ Davis, Noah. "Check Out The Original Godfather Casting List From Francis Ford Coppola's Notebook." Business Insider, June 11, 2011. Retrieved August 7, 2013. ^ Pierpont 2008, p. 71. ^ Hamilton 2006, p. 126. ^ Lebo 2005, pp. 47–48. ^ Grobel 2000, p. 22. ^ "American Indians mourn Brando's death- Marlon Brando
Marlon Brando
(1924–2004)." MSNBC, July 2, 2004. Retrieved April 5, 2015. ^ Malkin, Bonnie (December 4, 2016). " Last Tango in Paris
Last Tango in Paris
director suggests Maria Schneider 'butter rape' scene not consensual". the Guardian.  ^ Bosworth, Patricia Marlon Brando, Viking 2001 p198 ^ Kanfer 2008, p. 269. ^ a b c Kanfer 2008, p. 270. ^ "The Freshman" RogerEbert.com, July 27, 1990. ^ "Review: 'The Freshman'". Variety. December 31, 1989. Retrieved February 3, 2017.  ^ Schickel, Richard. "A Legend Writes a Novel." Time, August 7, 2005. ^ "Brando, Jackson of his closest friends Neverland as 2nd home."[permanent dead link] MJNewsOnline.com, November 11, 2006. ^ "Michael Jackson's friend and Marlon Brando's son on the Michael Jackson he knew." Larrykinglive.blogs.cnn.com. Retrieved April 5, 2015. ^ " Marlon Brando
Marlon Brando
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Marlon Brando
dies at 80." CNN.com, July 2, 2004 Archived October 16, 2007, at the Wayback Machine. ^ "Brando biography."[permanent dead link] New Netherland Institute. Retrieved April 5, 2015. ^ "When the wild one met the mild one." Los Angeles Times, October 17, 2004. ^ Porter, Dawn. "Wild things." Archived June 4, 2010, at the Wayback Machine. The Times, February 12, 2006. ^ Brooks, Xan. "The last word on Brando." The Guardian, May 22, 2007. Retrieved April 6, 2008. ^ Stern 2009, p. 70. ^ Brando, Kashfi Anna; Stein, E.P. Brando For Breakfast, Crown Publishers, 1979, p268 ^ Bosworth, Patricia Marlon Brando, Viking 2001, p190 ^ http://encyclopedia.densho.org/Reiko%20Sato/ ^ Motion Picture,1961. ^ "institut nationale de l'audiovisuel archivepourtous " (in French). www.ina.fr. Retrieved April 5, 2015. ^ " Marlon Brando
Marlon Brando
interview en francais à la grande époque/ alexandre lacharme – vidéo dailymotion". dailymotion.com. Retrieved June 14, 2015.  ^ Heller, Matthew. "Brando Will Left Zilch For 2 Kids." Daily News, July 10, 2004. Retrieved September 20, 2012. ^ Kanfer 2008, p. 310. ^ Sellers, Robert Hollywood Hellraisers: The Wild Lives and Fast Times of Marlon Brando, Herman Graff Skyhorse Publishing 2010, p109 ^ Welkos, Robert W. When the wild one met the mild one, October 17, 2004, Los Angeles Times; http://articles.latimes.com/2004/oct/17/entertainment/ca-brando17/2 ^ " Movita Castaneda
Movita Castaneda
obituary." ABC News. Retrieved April 5, 2015. ^ "Last Tango on Brando Island." Archived December 5, 2011, at the Wayback Machine. Maxim.com, , July 1, 2004. Retrieved April 5, 2015. ^ "Marlon Brando's love life had an epic cast of women and men".  ^ Butters, Patrick (July 3, 2004). "Film legend Marlon Brando
Marlon Brando
dies". Deseret News. Retrieved April 5, 2015.  ^ TromaMovies (September 4, 2015). "Lloyd Kaufman And Stephen Blackehart Have A Heart-To-Heart" – via YouTube.  ^ "Brando." Los Angeles Magazine, Vol. 49, No. 9, September 2004. ISSN 1522-9149. ^ "The Brando". Paltino Resorts. Retrieved February 12, 2018.  ^ Sancton, Julian."Last Tango on Brando Island."Maxim, November 2010. ^ Kanfer 2008, p. 271. ^ "Amateur License – KE6PZH-Brandeaux, Martin." Federal Communications Commission: Universal Licensing System. Retrieved October 29, 2012. ^ Baker, Russell. "Capital Is Occupied by a Gentle Army." (PDF) The New York Times, August 28, 1963, p. 17. ^ "Native Americans and supporters stage fish-in to protest denial of treaty rights on March 2, 1964". historylink.org.  ^ "Archival footage of Marlon Brando
Marlon Brando
with Bobby Seale
Bobby Seale
in Oakland, 1968." Diva.sfsu.edu. Retrieved: June 10, 2012. ^ The Academy. "Marlon Brando's Oscar Win for the Godfather" on YouTube
YouTube
Retrieved: August 6, 2013. ^ Cusick, James. "Opponents of apartheid decide their job is done: The Anti- Apartheid
Apartheid
Movement has agreed to disband. James Cusick looks back at its victorious 35-year political struggle – UK – News." The Independent, June 27, 1994. Retrieved April 5, 2015. ^ Hamilton, Ed. "Jazz Community: Brown, Brando and Mandela." Archived April 7, 2014, at the Wayback Machine. JazzTimes, February 11, 1990. Retrieved April 5, 2015. ^ Grobel, Lawrence." Playboy
Playboy
Interview: Marlon Brando."[permanent dead link] Playboy, January 1979, ISSN 0032-1478. Retrieved April 3, 2008. ^ " Marlon Brando
Marlon Brando
on Jewish Influence On U.S. Culture in Films."Washington-report.org. Retrieved: June 10, 2012. ^ Tugend, Tom. "Jewish groups riled over Brando's attacks." Jewish Telegraphic Agency, April 1996. ^ Ankeny, Jason. "Marlon Brando: Film Biography". All Movie Guide. Retrieved August 18, 2011. ^ Movies in American History: An Encyclopedia' ^ a b " Marlon Brando
Marlon Brando
Quotes." Flixster. Retrieved August 19, 2009. ^ Ebert 2010, p. 218. ^ Marlon Brando
Marlon Brando
at Encyclopædia Britannica ^ Kael, Pauline. "Marlon Brando: An American Hero". The Atlantic. Retrieved 19 February 2017.  ^ a b Kael, Pauline."Marlon Brando: An American Hero." The Atlantic. Retrieved August 19, 2011. ^ McDonald-Walker 2000, p. 212. ^ a b Levinson 2011, p. 81. ^ Kaufman and Kaufman 2009, p. 38. ^ "Triumph to produce replicas of Marlon Brando's leather jacket from The Wild One."[permanent dead link] old.boxwish.com. Retrieved: June 10, 2012. ^ Williams 2008, p. 114. ^ a b c Brando & Lindsey 1994. ^ Silverman, Stephen M." Marlon Brando
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Leaves $21.6 Million Estate." People, August 4, 2007. Retrieved August 19, 2011. ^ Kafka, Peter and Leah Hoffmann. "Top-Earning Dead Celebrities." Forbes, October 27, 2005. Retrieved August 19, 2011. ^ "AFI's 100 Years ... 100 Stars." afi.com.. Retrieved December 1, 2012. ^ "People of the Century: One Century, 100 Remarkable People". Time, 2015. Retrieved April 5, 2015. ^ "100 Icons of the Century: Marlon Brando" Variety. Retrieved August 19, 2011.

Bibliography

Adler, Stella and Barry Paris. Stella Adler
Stella Adler
on Ibsen, Strindberg, and Chekhov. New York: Alfred A. Knopf, 1999. ISBN 0-679-42442-3. Bain, David Haward. The Old Iron Road: An Epic of Rails, Roads, and the Urge to Go West. New York: Penguin Books, 2004. ISBN 0-14-303526-6. Bly, Nellie. Marlon Brando: Larger than Life. New York: Pinnacle Books/Windsor Pub. Corp., 1994. ISBN 0-7860-0086-4. Bosworth, Patricia. Marlon Brando. London: Weidenfeld & Nicolson, 2001. ISBN 0-297-84284-6. Brando, Anna Kashfi
Anna Kashfi
and E.P. Stein. Brando for Breakfast. New York: Crown Publishers, 1979. ISBN 0-517-53686-2. Brando, Marlon and Donald Cammell. Fan-Tan. New York: Knopf, 2005. ISBN 1-4000-4471-5. Brando, Marlon and Robert Lindsey. Brando: Songs My Mother Taught Me. New York: Random House, 1994. ISBN 0-679-41013-9. Dimare, Philip C. Movies in American History: An Encyclopedia. Santa Barbara, California: ABC-CLIO, 2011. ISBN 1-59884-296-X. Ebert, Roger. The Great Movies III. Chicago: University of Chicago Press, 2010. ISBN 0-226-18208-8. Englund, George. The Way It's Never Been Done Before: My Friendship With Marlon Brando. New York: Harper Collins Publishers, 2004. ISBN 0-06-078630-2. Evans, Robert. The Kid Stays in the Picture. New York: Hyperion, 1994. ISBN 978-0-7868-6059-3. Girgus, Sam B. Hollywood Renaissance: The Cinema of Democracy in the Era of Ford, Kapra, and Kazan. New York: Cambridge University Press, 1998. ISBN 978-0-521-62552-4. Graziano, Rocky with Rowland Barber. Somebody Up There Likes Me. New York: Simon & Schuster, 1955. Grobel, Lawrence.Above the Line: Conversations about the Movies. New York: Da Capo Press, 2000. ISBN 978-0-306-80978-1. Grobel, Lawrence. "Conversations with Brando." New York, Hyperion, 1990. Cooper Square Press 1999. Rat Press, 2009 Hamilton, Neil A. The 1970s (Eyewitness History). New York: Facts on File, 2006 ISBN 978-0-8160-5778-8. Judge, Bernard. Waltzing With Brando: Planning a Paradise in Tahiti. New York: ORO Editions, 2011.ISBN 978-0-9826226-4-3 Kanfer, Stefan. Somebody: The Reckless Life and Remarkable Career of Marlon Brando. New York: Knopf, 2008. ISBN 978-1-4000-4289-0. Kaufman, Burton I. and Diane Kaufman. The A to Z of the Eisenhower Era. Lanham, Maryland: Scarecrow Press, 2009. ISBN 0-8108-7150-5. Lebo, Harlan. The Godfather
The Godfather
Legacy: The Untold Story of the Making of the Classic Godfather Trilogy. New York: Touchstone Press, 2005. ISBN 978-0-7432-8777-7. Levinson, Martin H. Brooklyn Boomer: Growing Up in the Fifties. Bloomington, Indiana: iUniverse, 2011. ISBN 1-4620-1712-6. McDonald-Walker, Suzanne. Bikers: Culture, Politics and Power. Oxford, UK: Berg Publishers, 2000. ISBN 1-85973-356-5. McDonough, Jimmy. Big Bosoms and Square Jaws: The Biography of Russ Meyer, King of the Sex Film. New York: Crown, 2005. ISBN 978-1-4000-5044-4. Pendergast, Tom and Sara.St. James Encyclopedia of Popular Culture, Volume 1. Detroit, Michigan: St. James Press, 2000. ISBN 978-1-55862-405-4. Petkovich, Anthony. "Burn, Brando, Burn!". UK: Headpress 19: World Without End (1999), pp. 91–112. Pierpont, Claudia Roth. Method Man. New Yorker, October 27, 2008. Powell, Larry and Tom Garrett. The Films of John Avildsen: Rocky, The Karate Kid and Other Underdogs. Jefferson, North Carolina: McFarland & Company, 2013. ISBN 978-0-7864-6692-4. Santopietro, Tom. The Godfather
The Godfather
Effect: Changing Hollywood, America, and Me. New York: Thomas Dunne Books, 2012. ISBN 978-1-250-00513-7. Schoell, William. The Sundance Kid: A Biography of Robert Redford. Boulder, Colorado: Taylor Trade Publishing, 2006. ISBN 978-1-58979-297-5. Stern, Keith. Queers in History: The Comprehensive Encyclopedia of Historical Gays, Lesbians and Bisexual. Jackson, Tennessee: BenBella Books, 2009. ISBN 1-933771-87-9. Williams, Linda. Screening Sex. Durham, North Carolina: Duke University Press, 2008. ISBN 0-8223-4285-5.

External links[edit]

Wikimedia Commons has media related to Marlon Brando.

Wikiquote has quotations related to: Marlon Brando

Marlon Brando
Marlon Brando
at Encyclopædia Britannica Marlon Brando
Marlon Brando
on IMDb
IMDb
Marlon Brando
Marlon Brando
at the TCM Movie Database Marlon Brando
Marlon Brando
at the Internet Broadway Database
Internet Broadway Database
Vanity Fair: "The King Who Would Be Man" by Budd Schulberg The New Yorker: "The Duke in His Domain" – Truman Capote's influential 1957 interview. Excess after success: Marlon Brando "Marlon Brando". Find a Grave. Retrieved June 10, 2013. 

Awards for Marlon Brando

v t e

Academy Award
Academy Award
for Best Actor

1928–1950

Emil Jannings
Emil Jannings
(1928) Warner Baxter
Warner Baxter
(1929) George Arliss
George Arliss
(1930) Lionel Barrymore
Lionel Barrymore
(1931) Fredric March
Fredric March
/ Wallace Beery
Wallace Beery
(1932) Charles Laughton
Charles Laughton
(1933) Clark Gable
Clark Gable
(1934) Victor McLaglen
Victor McLaglen
(1935) Paul Muni
Paul Muni
(1936) Spencer Tracy
Spencer Tracy
(1937) Spencer Tracy
Spencer Tracy
(1938) Robert Donat
Robert Donat
(1939) James Stewart
James Stewart
(1940) Gary Cooper
Gary Cooper
(1941) James Cagney
James Cagney
(1942) Paul Lukas
Paul Lukas
(1943) Bing Crosby
Bing Crosby
(1944) Ray Milland
Ray Milland
(1945) Fredric March
Fredric March
(1946) Ronald Colman
Ronald Colman
(1947) Laurence Olivier
Laurence Olivier
(1948) Broderick Crawford
Broderick Crawford
(1949) José Ferrer
José Ferrer
(1950)

1951–1975

Humphrey Bogart
Humphrey Bogart
(1951) Gary Cooper
Gary Cooper
(1952) William Holden
William Holden
(1953) Marlon Brando
Marlon Brando
(1954) Ernest Borgnine
Ernest Borgnine
(1955) Yul Brynner
Yul Brynner
(1956) Alec Guinness
Alec Guinness
(1957) David Niven
David Niven
(1958) Charlton Heston
Charlton Heston
(1959) Burt Lancaster
Burt Lancaster
(1960) Maximilian Schell
Maximilian Schell
(1961) Gregory Peck
Gregory Peck
(1962) Sidney Poitier
Sidney Poitier
(1963) Rex Harrison
Rex Harrison
(1964) Lee Marvin
Lee Marvin
(1965) Paul Scofield
Paul Scofield
(1966) Rod Steiger
Rod Steiger
(1967) Cliff Robertson
Cliff Robertson
(1968) John Wayne
John Wayne
(1969) George C. Scott1 (1970) Gene Hackman
Gene Hackman
(1971) Marlon Brando1 (1972) Jack Lemmon
Jack Lemmon
(1973) Art Carney
Art Carney
(1974) Jack Nicholson
Jack Nicholson
(1975)

1976–2000

Peter Finch
Peter Finch
(1976) Richard Dreyfuss
Richard Dreyfuss
(1977) Jon Voight
Jon Voight
(1978) Dustin Hoffman
Dustin Hoffman
(1979) Robert De Niro
Robert De Niro
(1980) Henry Fonda
Henry Fonda
(1981) Ben Kingsley
Ben Kingsley
(1982) Robert Duvall
Robert Duvall
(1983) F. Murray Abraham
F. Murray Abraham
(1984) William Hurt
William Hurt
(1985) Paul Newman
Paul Newman
(1986) Michael Douglas
Michael Douglas
(1987) Dustin Hoffman
Dustin Hoffman
(1988) Daniel Day-Lewis
Daniel Day-Lewis
(1989) Jeremy Irons
Jeremy Irons
(1990) Anthony Hopkins
Anthony Hopkins
(1991) Al Pacino
Al Pacino
(1992) Tom Hanks
Tom Hanks
(1993) Tom Hanks
Tom Hanks
(1994) Nicolas Cage
Nicolas Cage
(1995) Geoffrey Rush
Geoffrey Rush
(1996) Jack Nicholson
Jack Nicholson
(1997) Roberto Benigni
Roberto Benigni
(1998) Kevin Spacey
Kevin Spacey
(1999) Russell Crowe
Russell Crowe
(2000)

2001–present

Denzel Washington
Denzel Washington
(2001) Adrien Brody
Adrien Brody
(2002) Sean Penn
Sean Penn
(2003) Jamie Foxx
Jamie Foxx
(2004) Philip Seymour Hoffman
Philip Seymour Hoffman
(2005) Forest Whitaker
Forest Whitaker
(2006) Daniel Day-Lewis
Daniel Day-Lewis
(2007) Sean Penn
Sean Penn
(2008) Jeff Bridges
Jeff Bridges
(2009) Colin Firth
Colin Firth
(2010) Jean Dujardin
Jean Dujardin
(2011) Daniel Day-Lewis
Daniel Day-Lewis
(2012) Matthew McConaughey
Matthew McConaughey
(2013) Eddie Redmayne
Eddie Redmayne
(2014) Leonardo DiCaprio
Leonardo DiCaprio
(2015) Casey Affleck
Casey Affleck
(2016) Gary Oldman
Gary Oldman
(2017)

1 refused award that year

v t e

BAFTA Award for Best Actor in a Leading Role

1952–1967

Ralph Richardson
Ralph Richardson
British, Marlon Brando
Marlon Brando
Foreign (1952) John Gielgud
John Gielgud
British, Marlon Brando
Marlon Brando
Foreign (1953) Kenneth More
Kenneth More
British, Marlon Brando
Marlon Brando
Foreign (1954) Laurence Olivier
Laurence Olivier
British, Ernest Borgnine
Ernest Borgnine
Foreign (1955) Peter Finch
Peter Finch
British, François Périer
François Périer
Foreign (1956) Alec Guinness
Alec Guinness
British, Henry Fonda
Henry Fonda
Foreign (1957) Trevor Howard
Trevor Howard
British, Sidney Poitier
Sidney Poitier
Foreign (1958) Peter Sellers
Peter Sellers
British, Jack Lemmon
Jack Lemmon
Foreign (1959) Peter Finch
Peter Finch
British, Jack Lemmon
Jack Lemmon
Foreign (1960) Peter Finch
Peter Finch
British, Paul Newman
Paul Newman
Foreign (1961) Peter O'Toole
Peter O'Toole
British, Burt Lancaster
Burt Lancaster
Foreign (1962) Dirk Bogarde
Dirk Bogarde
British, Marcello Mastroianni
Marcello Mastroianni
Foreign (1963) Richard Attenborough
Richard Attenborough
British, Marcello Mastroianni
Marcello Mastroianni
Foreign (1964) Dirk Bogarde
Dirk Bogarde
British, Lee Marvin
Lee Marvin
Foreign (1965) Richard Burton
Richard Burton
British, Rod Steiger
Rod Steiger
Foreign (1966) Paul Scofield
Paul Scofield
British, Rod Steiger
Rod Steiger
Foreign (1967)

1968–present

Spencer Tracy
Spencer Tracy
(1968) Dustin Hoffman
Dustin Hoffman
(1969) Robert Redford
Robert Redford
(1970) Peter Finch
Peter Finch
(1971) Gene Hackman
Gene Hackman
(1972) Walter Matthau
Walter Matthau
(1973) Jack Nicholson
Jack Nicholson
(1974) Al Pacino
Al Pacino
(1975) Jack Nicholson
Jack Nicholson
(1976) Peter Finch
Peter Finch
(1977) Richard Dreyfuss
Richard Dreyfuss
(1978) Jack Lemmon
Jack Lemmon
(1979) John Hurt
John Hurt
(1980) Burt Lancaster
Burt Lancaster
(1981) Ben Kingsley
Ben Kingsley
(1982) Michael Caine
Michael Caine
/ Dustin Hoffman
Dustin Hoffman
(1983) Haing S. Ngor
Haing S. Ngor
(1984) William Hurt
William Hurt
(1985) Bob Hoskins
Bob Hoskins
(1986) Sean Connery
Sean Connery
(1987) John Cleese
John Cleese
(1988) Daniel Day-Lewis
Daniel Day-Lewis
(1989) Philippe Noiret
Philippe Noiret
(1990) Anthony Hopkins
Anthony Hopkins
(1991) Robert Downey Jr.
Robert Downey Jr.
(1992) Anthony Hopkins
Anthony Hopkins
(1993) Hugh Grant
Hugh Grant
(1994) Nigel Hawthorne (1995) Geoffrey Rush
Geoffrey Rush
(1996) Robert Carlyle
Robert Carlyle
(1997) Roberto Benigni
Roberto Benigni
(1998) Kevin Spacey
Kevin Spacey
(1999) Jamie Bell
Jamie Bell
(2000) Russell Crowe
Russell Crowe
(2001) Daniel Day-Lewis
Daniel Day-Lewis
(2002) Bill Murray
Bill Murray
(2003) Jamie Foxx
Jamie Foxx
(2004) Philip Seymour Hoffman
Philip Seymour Hoffman
(2005) Forest Whitaker
Forest Whitaker
(2006) Daniel Day-Lewis
Daniel Day-Lewis
(2007) Mickey Rourke
Mickey Rourke
(2008) Colin Firth
Colin Firth
(2009) Colin Firth
Colin Firth
(2010) Jean Dujardin
Jean Dujardin
(2011) Daniel Day-Lewis
Daniel Day-Lewis
(2012) Chiwetel Ejiofor
Chiwetel Ejiofor
(2013) Eddie Redmayne
Eddie Redmayne
(2014) Leonardo DiCaprio
Leonardo DiCaprio
(2015) Casey Affleck
Casey Affleck
(2016) Gary Oldman
Gary Oldman
(2017)

v t e

Cannes Film Festival Best Actor Award

1946-1975

Ray Milland
Ray Milland
(1946) Edward G. Robinson
Edward G. Robinson
(1949) Michael Redgrave
Michael Redgrave
(1951) Marlon Brando
Marlon Brando
(1952) Charles Vanel
Charles Vanel
(1953) Spencer Tracy/cast of Bolshaya Semya (1955) John Kitzmiller
John Kitzmiller
(1957) Paul Newman
Paul Newman
(1958) Bradford Dillman/Dean Stockwell/ Orson Welles
Orson Welles
(1959) Anthony Perkins
Anthony Perkins
(1961) Dean Stockwell/Jason Robards/Ralph Richardson/ Murray Melvin
Murray Melvin
(1962) Richard Harris
Richard Harris
(1963) Antal Páger/ Saro Urzì
Saro Urzì
(1964) Terence Stamp
Terence Stamp
(1965) Per Oscarsson
Per Oscarsson
(1966) Oded Kotler
Oded Kotler
(1967) Jean-Louis Trintignant
Jean-Louis Trintignant
(1969) Marcello Mastroianni
Marcello Mastroianni
(1970) Riccardo Cucciolla
Riccardo Cucciolla
(1971) Jean Yanne (1972) Giancarlo Giannini
Giancarlo Giannini
(1973) Jack Nicholson
Jack Nicholson
(1974) Vittorio Gassman
Vittorio Gassman
(1975)

1976-2000

José Luis Gómez
José Luis Gómez
(1976) Fernando Rey
Fernando Rey
(1977) Jon Voight
Jon Voight
(1978) Jack Lemmon
Jack Lemmon
(1979) Michel Piccoli
Michel Piccoli
(1980) Ugo Tognazzi
Ugo Tognazzi
(1981) Jack Lemmon
Jack Lemmon
(1982) Gian Maria Volontè
Gian Maria Volontè
(1983) Alfredo Landa/ Francisco Rabal
Francisco Rabal
(1984) William Hurt
William Hurt
(1985) Michel Blanc/ Bob Hoskins
Bob Hoskins
(1986) Marcello Mastroianni
Marcello Mastroianni
(1987) Forest Whitaker
Forest Whitaker
(1988) James Spader
James Spader
(1989) Gérard Depardieu
Gérard Depardieu
(1990) John Turturro
John Turturro
(1991) Tim Robbins
Tim Robbins
(1992) David Thewlis
David Thewlis
(1993) Ge You (1994) Jonathan Pryce
Jonathan Pryce
(1995) Pascal Duquenne/ Daniel Auteuil
Daniel Auteuil
(1996) Sean Penn
Sean Penn
(1997) Peter Mullan
Peter Mullan
(1998) Emmanuel Schotte (1999) Tony Leung Chiu-wai
Tony Leung Chiu-wai
(2000)

2001-present

Benoît Magimel
Benoît Magimel
(2001) Olivier Gourmet
Olivier Gourmet
(2002) Muzaffer Ozdemir/Emin Toprak (2003) Yūya Yagira (2004) Tommy Lee Jones
Tommy Lee Jones
(2005) Jamel Debbouze/Samy Naceri/Roschdy Zem/Sami Bouajila/Bernard Blancan (2006) Konstantin Lavronenko (2007) Benicio del Toro
Benicio del Toro
(2008) Christoph Waltz
Christoph Waltz
(2009) Javier Bardem/ Elio Germano
Elio Germano
(2010) Jean Dujardin
Jean Dujardin
(2011) Mads Mikkelsen
Mads Mikkelsen
(2012) Bruce Dern
Bruce Dern
(2013) Timothy Spall
Timothy Spall
(2014) Vincent Lindon
Vincent Lindon
(2015) Shahab Hosseini
Shahab Hosseini
(2016) Joaquin Phoenix
Joaquin Phoenix
(2017)

v t e

David di Donatello
David di Donatello
Award for Best Foreign Actor

Laurence Olivier
Laurence Olivier
(1957) Marlon Brando
Marlon Brando
/ Charles Laughton
Charles Laughton
(1958) Jean Gabin
Jean Gabin
(1959) Cary Grant
Cary Grant
(1960) Charlton Heston
Charlton Heston
(1961) Anthony Perkins
Anthony Perkins
/ Spencer Tracy
Spencer Tracy
(1962) Gregory Peck
Gregory Peck
(1963) Fredric March
Fredric March
/ Peter O'Toole
Peter O'Toole
(1964) Rex Harrison
Rex Harrison
(1965) Richard Burton
Richard Burton
(1966) Richard Burton
Richard Burton
/ Peter O'Toole
Peter O'Toole
(1967) Warren Beatty
Warren Beatty
/ Spencer Tracy
Spencer Tracy
(1968) Rod Steiger
Rod Steiger
(1969) Dustin Hoffman
Dustin Hoffman
/ Peter O'Toole
Peter O'Toole
(1970) Ryan O'Neal
Ryan O'Neal
(1971) Chaim Topol
Chaim Topol
(1972) Yves Montand
Yves Montand
/ Laurence Olivier
Laurence Olivier
(1973) Al Pacino
Al Pacino
/ Robert Redford
Robert Redford
(1974) Burt Lancaster
Burt Lancaster
/ Jack Lemmon
Jack Lemmon
/ Walter Matthau
Walter Matthau
(1975) Jack Nicholson
Jack Nicholson
/ Philippe Noiret
Philippe Noiret
(1976) Dustin Hoffman
Dustin Hoffman
/ Sylvester Stallone
Sylvester Stallone
(1977) Richard Dreyfuss
Richard Dreyfuss
(1978) Richard Gere
Richard Gere
/ Michel Serrault
Michel Serrault
(1979) Dustin Hoffman
Dustin Hoffman
/ Jack Lemmon
Jack Lemmon
(1980) Burt Lancaster
Burt Lancaster
(1981) Klaus Maria Brandauer
Klaus Maria Brandauer
(1982) Paul Newman
Paul Newman
(1983) Woody Allen
Woody Allen
(1984) Tom Hulce
Tom Hulce
(1985) William Hurt
William Hurt
(1986) Dexter Gordon
Dexter Gordon
(1987) Michael Douglas
Michael Douglas
(1988) Dustin Hoffman
Dustin Hoffman
(1989) Philippe Noiret
Philippe Noiret
(1990) Jeremy Irons
Jeremy Irons
(1991) John Turturro
John Turturro
(1992) Daniel Auteuil
Daniel Auteuil
(1993) Anthony Hopkins
Anthony Hopkins
(1994) John Travolta
John Travolta
(1995) Harvey Keitel
Harvey Keitel
(1996)

v t e

Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or Movie

Anthony Quayle
Anthony Quayle
(1975) Ed Flanders
Ed Flanders
(1976) Burgess Meredith
Burgess Meredith
(1977) Howard Da Silva
Howard Da Silva
(1978) Marlon Brando
Marlon Brando
(1979) George Grizzard
George Grizzard
(1980) David Warner (1981) Laurence Olivier
Laurence Olivier
(1982) Richard Kiley
Richard Kiley
(1983) Art Carney
Art Carney
(1984) Karl Malden
Karl Malden
(1985) John Malkovich
John Malkovich
(1986) Dabney Coleman
Dabney Coleman
(1987) John Shea
John Shea
(1988) Derek Jacobi
Derek Jacobi
(1989) Vincent Gardenia
Vincent Gardenia
(1990) James Earl Jones
James Earl Jones
(1991) Hume Cronyn
Hume Cronyn
(1992) Beau Bridges
Beau Bridges
(1993) Michael A. Goorjian (1994) Donald Sutherland
Donald Sutherland
(1995) Tom Hulce
Tom Hulce
(1996) Beau Bridges
Beau Bridges
(1997) George C. Scott
George C. Scott
(1998) Peter O'Toole
Peter O'Toole
(1999) Hank Azaria
Hank Azaria
(2000) Brian Cox (2001) Michael Moriarty (2002) Ben Gazzara
Ben Gazzara
(2003) Jeffrey Wright
Jeffrey Wright
(2004) Paul Newman
Paul Newman
(2005) Jeremy Irons
Jeremy Irons
(2006) Thomas Haden Church
Thomas Haden Church
(2007) Tom Wilkinson
Tom Wilkinson
(2008) Ken Howard
Ken Howard
(2009) David Strathairn
David Strathairn
(2010) Guy Pearce
Guy Pearce
(2011) Tom Berenger
Tom Berenger
(2012) James Cromwell
James Cromwell
(2013) Martin Freeman
Martin Freeman
(2014) Bill Murray
Bill Murray
(2015) Sterling K. Brown
Sterling K. Brown
(2016) Alexander Skarsgård
Alexander Skarsgård
(2017)

v t e

Golden Globe Award for Best Actor – Motion Picture Drama

Paul Lukas
Paul Lukas
(1943) Alexander Knox
Alexander Knox
(1944) Ray Milland
Ray Milland
(1945) Gregory Peck
Gregory Peck
(1946) Ronald Colman
Ronald Colman
(1947) Laurence Olivier
Laurence Olivier
(1948) Broderick Crawford
Broderick Crawford
(1949) José Ferrer
José Ferrer
(1950) Fredric March
Fredric March
(1951) Gary Cooper
Gary Cooper
(1952) Spencer Tracy
Spencer Tracy
(1953) Marlon Brando
Marlon Brando
(1954) Ernest Borgnine
Ernest Borgnine
(1955) Kirk Douglas
Kirk Douglas
(1956) Alec Guinness
Alec Guinness
(1957) David Niven
David Niven
(1958) Anthony Franciosa
Anthony Franciosa
(1959) Burt Lancaster
Burt Lancaster
(1960) Maximilian Schell
Maximilian Schell
(1961) Gregory Peck
Gregory Peck
(1962) Sidney Poitier
Sidney Poitier
(1963) Peter O'Toole
Peter O'Toole
(1964) Omar Sharif
Omar Sharif
(1965) Paul Scofield
Paul Scofield
(1966) Rod Steiger
Rod Steiger
(1967) Peter O'Toole
Peter O'Toole
(1968) John Wayne
John Wayne
(1969) George C. Scott
George C. Scott
(1970) Gene Hackman
Gene Hackman
(1971) Marlon Brando
Marlon Brando
(1972) Al Pacino
Al Pacino
(1973) Jack Nicholson
Jack Nicholson
(1974) Jack Nicholson
Jack Nicholson
(1975) Peter Finch
Peter Finch
(1976) Richard Burton
Richard Burton
(1977) Jon Voight
Jon Voight
(1978) Dustin Hoffman
Dustin Hoffman
(1979) Robert De Niro
Robert De Niro
(1980) Henry Fonda
Henry Fonda
(1981) Ben Kingsley
Ben Kingsley
(1982) Robert Duvall
Robert Duvall
/ Tom Courtenay
Tom Courtenay
(1983) F. Murray Abraham
F. Murray Abraham
(1984) Jon Voight
Jon Voight
(1985) Bob Hoskins
Bob Hoskins
(1986) Michael Douglas
Michael Douglas
(1987) Dustin Hoffman
Dustin Hoffman
(1988) Tom Cruise
Tom Cruise
(1989) Jeremy Irons
Jeremy Irons
(1990) Nick Nolte
Nick Nolte
(1991) Al Pacino
Al Pacino
(1992) Tom Hanks
Tom Hanks
(1993) Tom Hanks
Tom Hanks
(1994) Nicolas Cage
Nicolas Cage
(1995) Geoffrey Rush
Geoffrey Rush
(1996) Peter Fonda
Peter Fonda
(1997) Jim Carrey
Jim Carrey
(1998) Denzel Washington
Denzel Washington
(1999) Tom Hanks
Tom Hanks
(2000) Russell Crowe
Russell Crowe
(2001) Jack Nicholson
Jack Nicholson
(2002) Sean Penn
Sean Penn
(2003) Leonardo DiCaprio
Leonardo DiCaprio
(2004) Philip Seymour Hoffman
Philip Seymour Hoffman
(2005) Forest Whitaker
Forest Whitaker
(2006) Daniel Day-Lewis
Daniel Day-Lewis
(2007) Mickey Rourke
Mickey Rourke
(2008) Jeff Bridges
Jeff Bridges
(2009) Colin Firth
Colin Firth
(2010) George Clooney
George Clooney
(2011) Daniel Day-Lewis
Daniel Day-Lewis
(2012) Matthew McConaughey
Matthew McConaughey
(2013) Eddie Redmayne
Eddie Redmayne
(2014) Leonardo DiCaprio
Leonardo DiCaprio
(2015) Casey Affleck
Casey Affleck
(2016) Gary Oldman
Gary Oldman
(2017)

v t e

National Society of Film Critics Award for Best Actor

Michael Caine
Michael Caine
(1966) Rod Steiger
Rod Steiger
(1967) Per Oscarsson
Per Oscarsson
(1968) Jon Voight
Jon Voight
(1969) George C. Scott
George C. Scott
(1970) Peter Finch
Peter Finch
(1971) Al Pacino
Al Pacino
(1972) Marlon Brando
Marlon Brando
(1973) Jack Nicholson
Jack Nicholson
(1974) Jack Nicholson
Jack Nicholson
(1975) Robert De Niro
Robert De Niro
(1976) Art Carney
Art Carney
(1977) Gary Busey
Gary Busey
(1978) Dustin Hoffman
Dustin Hoffman
(1979) Peter O'Toole
Peter O'Toole
(1980) Burt Lancaster
Burt Lancaster
(1981) Dustin Hoffman
Dustin Hoffman
(1982) Gérard Depardieu
Gérard Depardieu
(1983) Steve Martin
Steve Martin
(1984) Jack Nicholson
Jack Nicholson
(1985) Bob Hoskins
Bob Hoskins
(1986) Steve Martin
Steve Martin
(1987) Michael Keaton
Michael Keaton
(1988) Daniel Day-Lewis
Daniel Day-Lewis
(1989) Jeremy Irons
Jeremy Irons
(1990) River Phoenix
River Phoenix
(1991) Stephen Rea
Stephen Rea
(1992) David Thewlis
David Thewlis
(1993) Paul Newman
Paul Newman
(1994) Nicolas Cage
Nicolas Cage
(1995) Eddie Murphy
Eddie Murphy
(1996) Robert Duvall
Robert Duvall
(1997) Nick Nolte
Nick Nolte
(1998) Russell Crowe
Russell Crowe
(1999) Javier Bardem
Javier Bardem
(2000) Gene Hackman
Gene Hackman
(2001) Adrien Brody
Adrien Brody
(2002) Bill Murray
Bill Murray
(2003) Jamie Foxx
Jamie Foxx
(2004) Philip Seymour Hoffman
Philip Seymour Hoffman
(2005) Forest Whitaker
Forest Whitaker
(2006) Daniel Day-Lewis
Daniel Day-Lewis
(2007) Sean Penn
Sean Penn
(2008) Jeremy Renner
Jeremy Renner
(2009) Jesse Eisenberg
Jesse Eisenberg
(2010) Brad Pitt
Brad Pitt
(2011) Daniel Day-Lewis
Daniel Day-Lewis
(2012) Oscar Isaac
Oscar Isaac
(2013) Timothy Spall
Timothy Spall
(2014) Michael B. Jordan
Michael B. Jordan
(2015) Casey Affleck
Casey Affleck
(2016) Daniel Kaluuya
Daniel Kaluuya
(2017)

v t e

New York Film Critics Circle Award for Best Actor

Charles Laughton
Charles Laughton
(1935) Walter Huston
Walter Huston
(1936) Paul Muni
Paul Muni
(1937) James Cagney
James Cagney
(1938) James Stewart
James Stewart
(1939) Charlie Chaplin
Charlie Chaplin
(1940) Gary Cooper
Gary Cooper
(1941) James Cagney
James Cagney
(1942) Paul Lukas
Paul Lukas
(1943) Barry Fitzgerald
Barry Fitzgerald
(1944) Ray Milland
Ray Milland
(1945) Laurence Olivier
Laurence Olivier
(1946) William Powell
William Powell
(1947) Laurence Olivier
Laurence Olivier
(1948) Broderick Crawford
Broderick Crawford
(1949) Gregory Peck
Gregory Peck
(1950) Arthur Kennedy
Arthur Kennedy
(1951) Ralph Richardson
Ralph Richardson
(1952) Burt Lancaster
Burt Lancaster
(1953) Marlon Brando
Marlon Brando
(1954) Ernest Borgnine
Ernest Borgnine
(1955) Kirk Douglas
Kirk Douglas
(1956) Alec Guinness
Alec Guinness
(1957) David Niven
David Niven
(1958) James Stewart
James Stewart
(1959) Burt Lancaster
Burt Lancaster
(1960) Maximilian Schell
Maximilian Schell
(1961) No award (1962) Albert Finney
Albert Finney
(1963) Rex Harrison
Rex Harrison
(1964) Oskar Werner
Oskar Werner
(1965) Paul Scofield
Paul Scofield
(1966) Rod Steiger
Rod Steiger
(1967) Alan Arkin
Alan Arkin
(1968) Jon Voight
Jon Voight
(1969) George C. Scott
George C. Scott
(1970) Gene Hackman
Gene Hackman
(1971) Laurence Olivier
Laurence Olivier
(1972) Marlon Brando
Marlon Brando
(1973) Jack Nicholson
Jack Nicholson
(1974) Jack Nicholson
Jack Nicholson
(1975) Robert De Niro
Robert De Niro
(1976) John Gielgud
John Gielgud
(1977) Jon Voight
Jon Voight
(1978) Dustin Hoffman
Dustin Hoffman
(1979) Robert De Niro
Robert De Niro
(1980) Burt Lancaster
Burt Lancaster
(1981) Ben Kingsley
Ben Kingsley
(1982) Robert Duvall
Robert Duvall
(1983) Steve Martin
Steve Martin
(1984) Jack Nicholson
Jack Nicholson
(1985) Bob Hoskins
Bob Hoskins
(1986) Jack Nicholson
Jack Nicholson
(1987) Jeremy Irons
Jeremy Irons
(1988) Daniel Day-Lewis
Daniel Day-Lewis
(1989) Robert De Niro
Robert De Niro
(1990) Anthony Hopkins
Anthony Hopkins
(1991) Denzel Washington
Denzel Washington
(1992) David Thewlis
David Thewlis
(1993) Paul Newman
Paul Newman
(1994) Nicolas Cage
Nicolas Cage
(1995) Geoffrey Rush
Geoffrey Rush
(1996) Peter Fonda
Peter Fonda
(1997) Nick Nolte
Nick Nolte
(1998) Richard Farnsworth
Richard Farnsworth
(1999) Tom Hanks
Tom Hanks
(2000) Tom Wilkinson
Tom Wilkinson
(2001) Daniel Day-Lewis
Daniel Day-Lewis
(2002) Bill Murray
Bill Murray
(2003) Paul Giamatti
Paul Giamatti
(2004) Heath Ledger
Heath Ledger
(2005) Forest Whitaker
Forest Whitaker
(2006) Daniel Day-Lewis
Daniel Day-Lewis
(2007) Sean Penn
Sean Penn
(2008) George Clooney
George Clooney
(2009) Colin Firth
Colin Firth
(2010) Brad Pitt
Brad Pitt
(2011) Daniel Day-Lewis
Daniel Day-Lewis
(2012) Robert Redford
Robert Redford
(2013) Timothy Spall
Timothy Spall
(2014) Michael Keaton
Michael Keaton
(2015) Casey Affleck
Casey Affleck
(2016) Timothée Chalamet
Timothée Chalamet
(2017)

v t e

Tokyo International Film Festival
Tokyo International Film Festival
Best Actor

1980s

Zhang Yimou
Zhang Yimou
(1987) Marlon Brando
Marlon Brando
(1989)

1990s

Otar Megvinetukhutsesi (1991) Max von Sydow
Max von Sydow
(1992) Masahiro Motoki (1993) Niu Zhenhua (1994) Zhu Xu (1996) Kōji Yakusho
Kōji Yakusho
(1997) Brad Renfro
Brad Renfro
(1998) Carlos Álvarez-Nóvoa
Carlos Álvarez-Nóvoa
(1999)

2000s

Moussa Maaskri (2000) Andrew Howard (2001) Graham Greene (2002) Teruyuki Kagawa
Teruyuki Kagawa
(2003) Oldzhas Nusupbayev (2004) Kōichi Satō (2005) Roy Dupuis
Roy Dupuis
(2006) Damian Ul (2007) Vincent Cassel
Vincent Cassel
(2008) Christo Christov (2009)

2010s

Wang Qianyuan
Wang Qianyuan
(2010) François Cluzet
François Cluzet
/ Omar Sy
Omar Sy
(2011) Seo Young-joo (2012) Wang Jingchun (2013) Robert Więckiewicz
Robert Więckiewicz
(2014) Roland Møller
Roland Møller
/ Louis Hofmann
Louis Hofmann
(2015) Paolo Ballesteros
Paolo Ballesteros
(2016) Duan Yihong (2017)

Authority control

WorldCat Identities VIAF: 41907301 LCCN: n50043314 ISNI: 0000 0001 2129 7892 GND: 118514377 SELIBR: 237527 SUDOC: 031983324 BNF: cb12309876k (data) MusicBrainz: 2d2429e7-de99-465f-b5e6-3d1431795f91 NLA: 35586940 NDL: 00512205 NKC: jn20000700220 BNE: XX925

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