Why is Brando considered such a great actor?
I really don't get it.
He's always playing the same character, and it looks like it's probably some permanent part of himself.
Any ideas?
I really don't get it.
He's always playing the same character, and it looks like it's probably some permanent part of himself.
Any ideas?
Same character? Waterfront, Godfather, Apocalypse Now... totally different characters. And a part of himself? Every good actor brings a part of themselves to a character, that's hardly a bad thing.
http://www.imdb.com/mymovies/list?l=7917401/ - Vote Historyshare
Hi,
Thanks for responding!
I just watched "Last Tango in Paris" a few days ago. Throughout the whole of the movie I kept expecting Brando to jump up and start yelling "Hey Stella!" It wasn't just that there was a similarity in the characters and plots of this movie and "Streetcar named Desire", that mix of remorseful tenderness with abuse... it was also he, himself, the actor as a person.
He seems incapable of delivering anything other than the extremes of that dipole. In "Apocalypse Now" his presence is so disappointing. He just murmurs on, and the only emotion he hints at (not even conveying it), is again that two-poled extreme.
Watching him, I'm constantly aware that he is someone acting, not someone actually experiencing what he is acting, nor someone engaged in an effort to convey, arouse emotions within the viewer. I get the feeling it's more pose than essence.
So all this leaves me wondering why Brando has gained such a great name for himself.
Thanks!
Petros
[deleted]
1 - I wonder what YOU are capable of delivering.
2 - It seems you haven't opened your eyes, as yet
3 - This leaves me wondering why you haven't gained such a great name for yourself
4 - For such a narcissistic attitude, let's hope you are still young & hopefully have still time to change
5 - You are just jealous.
[deleted]
last tango he brought the most of himself in that role .partly because he was going with the image of what the director was trying to paint.I think this particular directors work methods had influence over brando in this one.Its why brando got more technical he later on admitted that.He revealed way too much and he closed up.
Nowadays most actors stick to just playing themselves which kind of tacky.So in a way i can agree with the OP but. When you look at brando's works where he steps into the characters more.It makes up for the times where he comes off as playing himself .Even in his weaker moments brando was way above average so he still gets great respect .I think it just comes down to respect nowadays playing yourself is common its not consider great today.Back then because he was the first he earned that title of great actor .His timing also played a factor as well
"You are the imagination of yourself"-bill hicks
I think Brando is a good actor and even has some exceptional moments in film. However, I believe some (if not most?) people overpraise him, maybe because we already have an almost mythology about him. It's like before we watch one of his performances, we already have a ton of preconceived, pre-received information or pre-evaluations about how to judge and respond to his work.
"He's always playing the same character." I don't think you actually mean literally "always." I understand where you're coming from. On a slightly similar note, I hate it how the auteur theory can, as a perhaps unintended side effect, promote unending boring rehash within a director's oeuvre. Maybe similar to how it has been in fashion in the academe to regard directors' auteurism, some people have an exceptional regard towards "it looks like it's probably some permanent part of himself." Of course, we also have to consider factors like directors' and casting directors' choices.
Pauline Kael worships Brando in http://www.criterion.com/current/posts/834-last-tango-in-paris, and E. Ann Kaplan provides a different perspective (maybe not a contradictory one) in http://www.ejumpcut.org/archive/onlinessays/JC04folder/LastTango.html.
Thanks, moiestatz,
for your thoughtful comments. I'll study up on the references you gave, and I'm sure I'll be coming back with questions or feedback.
It's not that I care so much about Brando, himself (as I said, I found his presence in the few movies I've seen with him to be monodimensional and his acting more like shallow posturing); I guess what irks me is the cult around his name. It makes me keep wondering, is there something profound there that I'm not getting? Must I cultivate myself more as an individual, open myself more to some other dimension of being that so far I've perhaps kept undeveloped, in order to appreciate this genius of stardom?
Thanks,
Petros
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I've been studying the critique by E. Ann Kaplan published here:
http://www.ejumpcut.org/archive/onlinessays/JC04folder/LastTango.html
Thank you so very much for suggesting it! It has helped me put into words many things that I've perceived and felt intuitively about Brando (AND Bertolucci). She has an excellent point of view rooted in the context of the times the movie was made (I grew up in that era).
I'll return with more.
Thanks!
Petros
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You're very welcome.
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Thank you, I studied the piece by E. Ann Kaplan and it really resounded within me.
I gave some time for the materials to ferment and I remembered that I had read some statements by Maria Schneider that really confirm all of those feelings of repulsion that Brando (and Bertolucci) instinctually stir up in me.
Her personal testimonies are here:
http://www.imdb.com/name/nm0773932/bio
Anyone with even a gram of sensitivity can feel it; she experienced the misogynist, cynical "brilliance" of Brando first hand. And of Bertolucci, of course, as the invisible enabler behind the scenes.
Thanks again,
Petros
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The OP complains that in "Last Tango in Paris" probably Brando's finest performance after A Streetcar Named desire, my opinion only of course. But the two are very far apart.
If you've done any research whatsoever you would have found that Brando didn't like the character in Streetcar, which most people probably thought Brando was really like, he wasn't. He was an odd man. A bit eccentric is an understatement. I've read many biographies on the man. But as far as acting went he was born with a talent that he didn't ask for. And in the end, even by 1973 with the release of Tango he had given up on acting bringing an excitement to his life, un-like in the 50's where you see Brando very happy and chipper to accept his Best Actor Oscar for On the Waterfront (1954) and he kept railing in the nominations thereafter until the 60's occurred. That's the change in Marlon Brando, turning down Lawrence of Arabia to do flop after flop. Though one good performances came out of the 60's, Burn in 1969 was very impressive. As the 70's rolled on his outstanding performance in The Nightcomers brought him back to the public eye as America's Greatest Living actor arguably. This got him possibly his most famous role, The Godfather which was released in 1972 to critical acclaim and rave for his chameleon performance as Don Corleone in which he won his second Oscar, this time declined due to the way the industry was treating native Americans. His next film The Last Tango in Paris is as natural with a camera rolling, 25 people in the room and a Director shouting directions in French as it gets. Brando is perfect in this film. When I watch Tango I forget it's a movie and that’s the point. I could have thrown in the film for another reason to analyze on Brando's acting process and if he has one at all and get immersed in his brilliance as an actor.
This is your life and it's ending one minute at a time. - Fight Club
Thanks for your thoughts.
But what do you make of Maria Schneider's complaints expressed here ?
http://www.imdb.com/name/nm0773932/bio
The way that she was abused and robbed of her dignity as a woman by both Brando and Bertolucci, must have some meaning, some degree of relevance to all of us.
Petros
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She didn't walk off the set and out of the movie. If what happened to her was so bad she would have. Complaining after the fact, when things haven't worked out for you as well as you hoped, is incredibly easy to do.
People make choices. She chose to accept the treatment.
Stop feeling sorry for her.
She was 19 and a newbie, working with two IDOLS, revered by both the industry and the public. This movie ruined her life. But who cares, right?
shareShe was 19 and a newbie
Do not worry about these insults that people seem to be giving you on this board... Perhaps you have not seen enough movies of Brando... This could be a major reason...
shareThanks for your note, Raoul.
I think I've seen enough of his famous and some of his not so famous movies, including Apocalypse Now, The Island of Dr. Moreau, The Godfather (I fell asleep), Last Tango in Paris, Streetcar Named Desire... is there some other movie where his supposed great skills and qualities shine through that I should watch?
Thanks,
Petros
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Nope, he is one of the more awe inspiring actors of our time. Wood Allen, now there's a guy who always portrays the same character........a neurotic Jewish New Yorker who is a Pediphile on and off the screen.
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Thank you for your thoughts.
It seems you did not take into consideration what I wrote above, so I'll just reproduce part a previous comment of mine here:
"...what do you make of Maria Schneider's complaints expressed here ?
http://www.imdb.com/name/nm0773932/bio
The way that she was abused and robbed of her dignity as a woman by both Brando and Bertolucci, must have some meaning, some degree of relevance to all of us."
What is your sense of all this?
Thanks,
Petros
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People don't want to comment because she tended to ridiculously overreact to what happened. She acts like she was raped. She wasn't. She acts like she was literally forced to act in this film and do the things she did. She wasn't.
In reality she is merely embarrassed by the sexual content in the movie, and thus justifies it with an overreaction to the way she was treated by Marlon Brando (who did want to write the script on her ass... just as he wanted it pasted everywhere else) and the director who is certainly not a misogynist!
And this is coming from me, a feminist (although one that isn't ''PC'' in the classic feminist debate-sense).
Formerly KingAngantyr
Hello,
Thanks for your comment. I take it that you read Maria Schneider's complaints about Brando and the director about "Last Tango".
But how can you make the assertions that she "overreacted"? If a woman says she was treated badly by two powerful and world-famous men, at what point do we say she has a valid point, and where do we draw the line and say it's just "overreacting"?
Thanks,
Petros
_________
''But how can you make the assertions that she "overreacted"? If a woman says she was treated badly by two powerful and world-famous men, at what point do we say she has a valid point, and where do we draw the line and say it's just "overreacting"?''
I technically did give my reason. The fact is that she could have actually stopped it, but didn't; this isn't to say that I agree with what Brando or Bertolucci did, either. But I do believe the main reason she acts the way she did was because the media acted as if the film was pornography.
Her point was valid but overstated as if they did actually completely violate her, which they certainly did not.
Formerly KingAngantyr
When a woman says she was manipulated, treated badly, and feels violated by two powerful and world-famous men who has the right to say she "over reacted"?
Please read Maria Schneider's account of the circumstances, here:
http://www.imdb.com/name/nm0773932/bio
Watch that movie, Last Tango, observe and study the actress. Does she seem like a schemer, a sly manipulator? A liar? No, in fact that is the very reason that Maria Schneider was so desirable to Brandon and to Director Bertolucci, and subsequently to the world-wide viewers and audiences of her movies: that she was an innocent person who actually didn't even have the "sophistication" to hide that innocence when acting; she played her own self in the characters that she portrayed in those early movies.
Her telling of the story is true; anyone who has ever been sexually violated or has had their personal trust betrayed will read her story and immediately know it is true.
There's something about Marlon Brandon's brand of male-chauvinism that is specially warped. And I think that the great many numbers of men who admire him admire him specifically for that; they intuitively grasp this element of his personality and are happy and relieved to know that a man like that can be celebrated by a wide public - in a sense, worshiping Brando becomes one more excuse to NOT confront and uproot the sexist deviation, the male-chauvinist tendencies within us and the patriarchal "need" to dominate, to objectify, to humiliate.
Thanks,
Petros
___________
''Watch that movie, Last Tango, observe and study the actress. Does she seem like a schemer, a sly manipulator? A liar?''
Except that I never accused her of being any of those things. Overreaction is not the same as scheming, slyly manipulator or lying.
I do not agree with what Marlon Brando or Bertolucci did, but the fact that they are treated as rapists is beyond ridiculous. She could have just stopped in then and there and talked to the police, but she didn't. There lies the rub.
And all that stuff about Marlon Brando's sexism doesn't apply to me. You might have '' male-chauvinist tendencies... and the patriarchal "need" to dominate, to objectify, to humiliate'' but I don't. I don't like that she was objectified in the film, I just think that she exaggeration the issue and gave reasons why twice.
I stand by the belief that she was more just embarrassed by how sexual teh scene played out, as there are inconsistencies in the story. Note a quote by Esther Anderson:
''I was with Maria when she saw the film for the first time,' says Esther. 'She was absolutely shocked. She had no idea what they were going to do with her. She ran from the cinema screaming and I had to run after her into the street and comfort her. That film ruined her life.''
So, according to that, she was fine before actually seeing the film.
Then we have:
''When I read Last Tango In Paris, I didn't see anything that worried me. I was 20. I didn't want to be a star, much less a scandalous actress - simply to be in cinema. Later, I realized I'd been completely manipulated by Bertolucci and Brando.''
So, in other words, later on she realized that she'd been completely manipulated. The wording strongly implies that she was talking about after the film had been released. Also note her use of ''scandalous'' actress - this to me implies that she was upset that she had become part of the scandal (which should never have happened) surrounding the picture. This is reinforced by:
''I felt very sad because I was treated like a sex symbol, I wanted to be recognized as an actress, and the whole scandal and aftermath of the film turned me a little crazy and I had a breakdown.''
In other words, she blamed the sexual content for her not getting much roles and clearly stated that it was the scandal after the film was released that caused her distress. I find this more likely than the butter scene, which she actually could have balked out of at the time. Over time she seemed to have distorted her distress at the scandal into one whilst filming the scene.
Her comment here pretty much shows how much she overreacted:
''I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. "Marlon Brando said to me: 'Maria, don't worry, it's just a movie,' but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. "I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bernardo Bertolucci. After the scene, Marlon didn't console me or apologise. Thankfully, there was just one take''
She said it herself, ''I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script'', because they couldn't have forced her to do the scene and they didn't. She agreed at the time to do it. She should have taken responsibility for her own actions rather than blaming others, but instead she chose to overreact to something that could be deemed as chauvinistic, despite agreeing to do it in the first place.
Although I do not think she was acting manipulative or outright lying (I think her overreacting was more due to almost-subconscious justification for her own part in that butter scene) , this comment adds and unfortunate political agenda to this issue:
''I've not really forgiven him [Bernardo Bertolucci] for the way he treated me and although we met in Tokyo 17 years ago [in 1990], I ignored him. Plus, he and Marlon made a fortune from the movie and I made about £2,500. And Bertolucci was a Communist, too!''
That said, I think it is also a little possible that she is partly joking about the whole thing anyway, hence:
''I like to see friends and go to the market and cook. But I never use butter to cook any more. Only olive oil.''
And the fact that, judging by the things she says, Marlon Brando is either a depraved villain or a kind, paternal figure who was her ''best experience about making the film''.
Formerly KingAngantyr
I think I would rather respond in an oblique way, I hope you don't mind.
Obviously the comment above is written by a very intelligent person. So in that spirit, instead of escalating the argumentation, I would suggest to the author, ContinentalOp / Formerly KingAngantyr, to perhaps try the following:
Take what you wrote above and discuss it with a woman who has either had personal experience with violation of sexual trust herself, or with a woman who has experience in doing support work for sexual abuse survivors.
Maybe Maria Schneider should have talked with a woman who has actually been raped and violated in the real world before making her outlandish statements comparing a ridiculously overplayed and not particularly shocking scene in a film she took part in with something as life shattering as actual forced penetration by the sexual organs of a uninvited sexual partner. She may be hurt about a scene but in the end that was what it was, play acting no matter how embarrassing and it is a massive insult to compare it to actual rape.
Just saying.
"The game's afoot!"
Well, said, Pharaoh. Because you have expressed my thoughts on the question posed, I need not answer. The fact is that LTIP was a film. Schneider agreed to film that scene, which was make believe, she was not a victim of rape nor should just things be compared to rape. She overreacts in doing so.
Formerly KingAngantyr
And who are we to judge the degree to which a person feels violated? If our starting point is not respect for a woman who explains that she feels violated by two powerful men, then all the rest about "degrees of penetration" are just stuff ranging from sophistry to callous male chauvinism.
The degree of genital penetration is NEVER the criterion by which one's sense of violation or humiliation is measured.
There seems to be a pattern emerging in this dialogue, and the objections raised here and the ridicule aimed at Maria Scheider's published feelings of abuse seem to confirm what I wrote about Marlon Brando and his fans.
Petros
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"Director regrets shocking actress in 'Last Tango' butter scene
May 18, 2013,
Moviemaker Bernardo Bertolucci will forever regret not making peace with his "Last Tango In Paris" leading lady Maria Schneider over the film's infamous butter scene before she died two years ago.
The director and the movie's star Marlon Brando came up with the idea to use butter during a graphic sex scene over breakfast and Bertolucci chose not to tell a shocked Schneider about their plans.
In a new Playboy magazine interview with contributor James Franco, he reveals, "Marlon and I decided over breakfast one morning to use butter in their sodomy scene, which wasn't in the script. I decided not to tell her - it was asking for too much discussion.
"You can see how humiliated she is in that scene. It was somewhat... strong. She was very upset with both of us afterward.
More: Say what? The week in quotes
"She died two years ago and I wanted to apologize. It was a great performance, and I know you need to use any method possible to get a good shot, but maybe it was bad manners. Actors naturally feel deeply about their characters, because they're bringing life to something that's black and white, and I believe actors are writers in their films, in a way. But that film shocked Maria her entire life."
http://movies.msn.com/movies/article.aspx?news=808465
You know something; I love how the feminists cherry-pick certain quotes or information only to forward their argument (that all men are beasts). I mean, it was not just Maria but even Brando felt violated, but nobody mentions that in this entire thread!
"Much like Schneider, Brando "felt raped and manipulated" by the film,[6] telling Bertolucci, "I was completely and utterly violated by you. I will never make another film like that."[3] Brando refused to speak to Bertolucci for fifteen years after wrapping production.[9] Bertolucci also shot a scene which shows Brando's genitals, but later explained, "I had so identified myself with Brando that I cut it out of shame for myself. To show him naked would have been like showing me naked."[3]"
http://en.wikipedia.org/wiki/Last_Tango_in_Paris#Post-production
There was acting before Brando, and there was acting after Brando. His method acting raised the bar for all future generation of actors. One need only review his work from the 50's in comparison to some of the best acting of the 40''s to note the difference.
To me, essential Brando is......
The Godfather
On the Waterfront
A Streetcar Named Desire
Last Tango in Paris
Reflections in a Golden Eye
"the best that you can do is fall in love"
Wow, where do we go from here?
Seems like two different discussions: questions on the scale of Brando's greatness, and questions on the negligence of human dignity in cinema.
As far as Brando's greatness goes, I am in total agreement with Moon_. He was short and sweet, to the point!
On the Waterfront and Last Tango are legends in cinema. I Do have a problem with some of his later work, particularly Apocalypse Now, which seems to be full of mannerisms. But in the overall body of "The Brando Portfolio", he's about as good as it gets.
Now, relating to a sense of human dignity in cinema, it's a little more difficult, it's a slippery slope! Why? Because it means none other than trying to define what makes the difference between "good" cinema and "great" cinema!
Yes, good cinema has as it's backbone a good story. And I would venture to say that that was what the very first reviewer was hinting at for why they had a hard time with Last Tango: it was a film full of "slice of life" moments. We've got an example of another Italian director who liked "slice-of-life " moments in cinema, Fellini! So, yes, the beginning-middle-end scenario is comfortable for many audiences. And people can get uncomfortable with a story that voyages into some self-inebrating-heap of a director's personal vision.
But what makes cinema great? Surprise! Risk! (you, the reader, surely will have more to add to the list, so I won't elaborate further). But, but, but, it must serve the story , otherwise, narcissistic crap!
Now, on the flip-side, when two professional actors get together to play a "hot" moment, almost without fail, they agree upon what their limits are "BEFOREHAND"! AND THERE'S THE RUB!
Now, you decide: was the risk of surprise by Brando ( and non-verbally communicated with Bertolucci "before" the shooting of the scene) worth the compromise of human dignity imposed upon the actress?
I used to not get him either, but that was when I was young and an inexperienced movie watcher. I liked 'in-ya-face' acting like Leonardo Dicaprio's, where every emotion was done to the extreme. I didn't really understand the dynamics of real acting like Brando. To appreciate it you've gotta understand the craft of acting, and learn to notice subtle touches in emotions, which presents itself in behaviour. And understand how easy it is to ruin a movie with bad acting, and how difficult it is to act genuinely in a movie. When you start to appreciate it, you will marvel at Brando's acting, and how he transforms into a new soul when he acts.
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