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Continue January 24, 2006, 12:46 p.m. cacaballbutt A new biography of MARLON BRANDO is expected to cause friction - reportedly features a photo of the screen star engaging in oral sex with another man. BRANDO UNSIPPED by DARWIN PORTER exposes the WATERFRONT actor as a lothario prize, romping his way through Hollywood with the biggest names, both male and female. Sensational volume says: From ROCK HUDSON to VIVIEN LEIGH, from BETTE DAVIS to CARY GRANT, Brando slept around, even managing to seduce the two first ladies of America. Publishing group Blood Moon insists that the stunning image of Brando and the male lover may come as a surprise, but it is treated as delicious. A spokeswoman for DANFORTH PRINCE tells the New York Daily News: We ran it on a tasteful two-inch by one and three-quarters of an inch on page 404. EDIT - FOUND THE PICTURE! Follow the latest daily buzz with buzzFeed Daily Newsletter! American actor, film director and activist (1924- 2004) Marlon Brando Brando Jr. (1924-04-03)April 3, 1924Omaha, Nebraska, USA Died July 1, 2004 (2004-07-01) (age 80)Los Angeles, California, USA NationalityAmericanOccupationActor, director, activistYears active1944 - 2004 Julia Caesar Wild on the promenade Of the Godfather Last Tango in Paris Apocalypse Now wife (s) Anna Kashfi (m. 1957; div. 1959) Movita Castaneda (m. 1960; annul. 1968) Tarita Teriipaia (m. 1962; div. 1972) Partner (s) Jill Banner (1968-1982) Maria Cristina Ruiz (1988-2001) Children11; Christian and CheyenneSenionature Marlon Brando Jr. (April 3, 1924-July 1, 2004) was an American actor and filmmaker whose career spanned 60 years, during which time he twice won an Oscar for Best Actor. He is well regarded for his cultural influence on a 20th century film. Brando was also an activist for many reasons, notably the civil rights movement and various Native American movements. Having studied with Stella Adler in the 1940s, he is considered one of the first actors to bring the Stanislavsky system of acting and the method of action derived from the Stanislavsky system to the main audience. He originally received acclaim and an Academy Award nomination for his role as Stanley Kowalski in the film adaptation of Tennessee Williams' play Street Car Named Desire, a role he successfully played on Broadway. He received additional praise and an Academy Award for his role as Terry Malloy in On the Waterfront, as well as for his role as the rebellious leader of the motorcycle gang Johnny Strabler in Wild and a lasting image in popular culture. Brando received an Academy Award nomination for his role as Emiliano Sapata in Viva sapata! (1952); Mark Antony in Joseph L. Mankiewicz's 1953 film Caesar; and Air Force Major Lloyd Gruver in Sayonar (1957), an adaptation of James Michener's 1954 novel. In the 1960s, Brando's career began with a commercial and critical downturn. He starred and starred in the cult western One-Eyed Jacks, a critical and commercial flop, after which he made a series of notable box office failures, starting with the mutiny on the Bounty (1962). After ten years of bewilderment, he agreed to do a screen test as Vito Corleone in Francis Ford Coppola's Godfather (1972). He won the role and subsequently won his second Oscar performance in a performance critics consider one of his greatest. He relinquished the award because of The Mistreatment and mistreatment of Native Americans by Hollywood. The Godfather was one of the most commercially successful films of all time, and along with his Oscar-nominated performance in The Last Tango in Paris, Brando has established himself among the best box office stars. After a hiatus in the early 1970s, Brando tended to be content to be a highly paid character actor in supporting roles such as Superman (1978), as Colonel Kurtz in Apocalypse Now (1979), and in Formula One (1980), before taking a nine-year break from the film. According to the Guinness Book of Records, Brando paid a record $3.7 million ($16 million in inflation-adjusted dollars) and 11.75% of gross profit in 13 days of working on Superman. Brando was rated by the American Film Institute as the fourth-largest male movie star, whose screen debuts took place in or before 1950. He was one of six actors named in 1999 by Time magazine in the list of the 100 most important people of the century. On the list, Time also named Brando the Actor of the Century. Brando's early life was born on April 3, 1924, in Omaha, Nebraska, in Marlon Brando (1895-1965), a producer of pesticides and chemical feeds, and Dorothy Julia Pennebaker (1897-1954). Brando had two older sisters named Jocelyn Brando (1919-2005) and Frances (1922-1994). His ancestors were German, Dutch, Englishman and Irish. His patriarchal ancestor of immigrants, Johann Wilhelm Brandau, arrived in New York in the early 1700s from Palatinate in Germany. He is also a descendant of Louis Dubois, a French Huguenot who arrived in New York around 1660. Brando was brought up by a Christian scholar. His mother, known as Dodi, was unconventional for her time; she smoked, wore trousers and drove cars. An actress and theatre administrator, she helped Henry Fonda begin his acting career. However, she was an alcoholic and often had to be taken home from her husband's Chicago bars. In her autobiography Songs My Mother Taught Me, Brando expressed sadness, writing of his mother: What she drank was that she preferred to get drunk taking care of us. Dodi and Father Brando joined the Alcoholics Anonymous. Brando harbored much more animosity towards his father, stating: I was his namesake, but nothing that I ever pleased or even interested him. He liked to tell me there was nothing I could do right. He had a habit of telling me that I would never go anywhere around 1930, Brando's parents moved to Evanston, Illinois, when his father's work took him to Chicago, but broke up in 1935 when Brando was 11. His mother took her three children to Santa Ana, California, where they lived with their mother. By 1937, Brando's parents had reconciled, and by the following year they had left Evanston and moved together to a farm in Libertyville, Illinois, a small town north of Chicago. From 1939 to 1941, he worked as a bailiff in the city's only cinema Svoboda. Brando, whose childhood nickname was Bud, was a by-law from his youth. He developed the ability to absorb the manners of the children he played with and show them dramatically by staying in character. He was introduced to neighborhood boy Wally Cox and the two were closest friends until Cox's death in 1973. In 2007 TCM Bayopik, Brando: A documentary, childhood friend George Englund remembers Brando in the beginning acting as an imitation of cows and horses on the family farm as a way to distract his mother from drinking. His sister Jocelyn was the first to start an acting career, from where he was going to study at the American Academy of Dramatic Art in New York. She appeared on Broadway, then movies and television. Sister Brando Francis left college in California to study art in New York. Brando was detained a year at school and later expelled from Libertyville High School for riding a motorcycle through the hallways. He was sent to the Shattuck Military Academy in Minnesota, where his father studied before him. Brando excelled in the theater and excelled at school. In the last year (1943), he was put on probation for being an insubordinated army colonel during maneuvers. He was chained to his room, but crept into town and was caught. The Faculty voted to exclude him, although he was supported by students who considered the expulsion too harsh. He was invited back the following year, but instead decided to drop out of school. Brando worked as a digger as a summer job by his father. He tried to enlist in the army, but his physical induction showed that the football injury he received in Shattuck left him with a knee trick. It was classified 4-F and not introduced. New York and the incumbent Brando decided to follow their sisters to New York, studying at the Professional School of the American Theatre Wing, part of the drama workshop of the New School, with the influential German director Erwin Piscatore. In the 1988 documentary Marlon Brando: Wild, Brando's sister Jocelyn recalled: He played at school and enjoyed So he decided to go to New York and study acting, because that was the only thing he liked. That was when he was 18. In an episode of ASE's biography 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 had heard good things about himself. He spent the first few months in New York, sleeping on friends' couches. For a time he lived with Roy Somelio, who later became a four-time Emmy Award winner on Broadway. Brando was an avid student and supporter of Stella Adler, from whom he learned the methods of the Stanislavsky system. This method prompted the actor to explore both the internal and external aspects to fully realize the character portrayed. Brando's remarkable understanding and sense of realism were evident early on. Adler said that while training Brando, she 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 quietly and pretended to lay the egg. Asked by Adler why he decided to react in this way, he said, I'm a chicken - what do I know about bombs? He claimed to have hated Lee Strasberg's teachings: After I had some success, Lee Strasberg tried to take credit for teaching me how to act. He never taught me anything. He would have taken responsibility for the sun and moon if he had believed he had gone out of it. He was an ambitious, selfish man who exploited people who attended the acting 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 acting studio on Saturday mornings because Elia Kazan was teaching, and there were usually a lot of good girls, but Strasberg never taught me acting. Stella (Adler) did, and then Kazan. Brando was the first to bring a natural approach to cinema. According to Dustin Hoffman in his online masterclass, Brando often spoke to camera people and other actors about their weekends even after the director called it an action. Once Brando felt that he could deliver the dialogue as naturally as this conversation he would start a dialogue. In his 2015 documentary Listen to Me Marlon, he said the actors looked like breakfast cereal, which meant they were predictable. Critics later say it was Brando's hard, but actors who worked opposite would say it's just all part of his technique. Career Early career: 1944-1951 24-year-old Marlon Brando on the set of a Broadway production of a tram called Desire, 1948 Brando used his Stanislavsky System skills for his first roles in Seyville, New York, on Long Island. Brando established a pattern of unsustainable, unsustainable, The behavior in several shows he was in. His behavior was he kicked out of the cast of the production of New School in Saiville, but he was soon discovered in a local production to play there. Then, in 1944, he did it on Broadway in the bittersweet drama I Remember Mom Playing Madi's Son Christians. Lunts wanted Brando to play the role of Alfred Lunt's son in O Mistress Mine, and Lunt even coached him to audition, but Brando's reading during the audition was so desultory that they couldn't hire him. New York dramatic critics voted for his role as an excruciating veteran in the truckline Cafe, though the play was a commercial failure. In 1946, he appeared on Broadway as a young hero in the political drama The Flag Was Born, refusing to accept a salary above the level of acting capital. In the same year, Brando played the role of Marchbanks with Katherine Cornell in the revival of Candida, one of her signature roles. Cornell also cast him as the Messenger in her production of Gene Anuil's Antigone that same year. He was also offered the opportunity to portray one of the main characters in the Broadway premiere of Eugene O'Neill's play Ice Came, but he turned down the role after falling asleep, trying to read a massive script and uttering a play ineptly written and poorly constructed. In 1945, Agent Brando recommended that he star in the film Eagle Has Two Heads with Tallulah Bankhead, produced by Jack Wilson. Bankhead turned down the role of Blanche Dubois in a tram called Desire, which Williams wrote for her to tour the play in the 1946-1947 season. Bankhead acknowledged Brando's potential despite her disdain (which most Broadway veterans share) for the method of action, and agreed to hire him even though he auditioned badly. The two clashed significantly during a pre-Broadway tour, with Bankhead reminding Brando of her 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 muttered through the dress rehearsal shortly before the opening on November 28, 1946. I don't care what your grandmother did, Wilson exclaimed, and that method of things I want to know what you're going to do! (quote needed) Brando, in turn, raised his voice and acted with great strength and passion. It was wonderful, the actor recalled. Everyone hugged him and kissed him. He came ambling backstage and told me: They don't think you can act if you can't scream. Critics, however, were not so kind. A review of Brando's performance in the opening estimated that Brando was still building his character, but is not currently impressive. One Boston critic remarked about brando's protracted death scene: Brando looked like a car in the city center. Search for a parking space. He received the best reviews on subsequent tour stops, but what his colleagues recalled were only rare signs of talent he later demonstrated. There were a few times when he was really gorgeous, 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 stage. Brando showed apathy towards the production, demonstrating shocking manners on stage. He tried everything in the world to ruin it for her, the Bankhead stage manager claimed. He almost drove her crazy: scratching her crotch, picking out her nose, doing something. After a few weeks on the road, they reached Boston, by which time Bankhead was ready to fire him. It proved to be one of the greatest blessings of his career, as it freed him to play the role of Stanley Kowalski in Tennessee Williams' 1947 play Street Car Named Desire, directed by Elia Kazan. Bankhead recommended him to Williams for the role of Stanley, thinking he was perfect for the role. Kazan decided to step back from the much less experienced (and technically too young for the role) Brando. In a letter dated August 29, 1947, Williams confessed to his agent Audrey Wood: I didn't come to the time before the casting of a very young actor in this part. It humanizes Stanley's character in that he becomes the cruelty and indifference of youth, not a vicious old man... The new meaning came from reading Brando, which was by far the best reading I've ever heard. Brando based his image of Kowalski on boxer Rocky Graziano, whom he attended 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 came up, and on stage that son of a bitch from the gym, and he plays with me. In 1947, Brando conducted a screen test for an early Warner Brothers script for the novel Rebel Without a Cause (1944), which had nothing to do with the film, which was eventually produced in 1955. The screen test is included as an additional in the 2006 DVD release A Streetcar Named Desire. Brando's 1950 first screen role was the veteran's bitter paralysis in Men (1950). He spent a month in bed at Birmingham Army Hospital in Van Nuys to prepare for the role. The New York Times reviewer Bosley Crowther wrote that Brando as Ken is so vividly real, dynamic and sensitive that his illusion is completed and noted: Out of the stiff and frozen silence he can pounce into the passionate fury with the tears and flailing madness of the tight cable suddenly In Brando's own words, perhaps it was because of this movie that his draft status was changed from 4-F to 1-A. He underwent knee trick surgery, and it was no longer physically debilitating enough to incur an exemption from the draft. When Brando reported to the induction center, he answered the questionnaire by saying that his race was human, his color was from white to beige, and he told an army doctor that he was psychoneurotic. When the draft counsel referred him to a psychiatrist, Brando explained that he had been expelled from the military school and had serious problems with the authorities. Coincidentally, the psychiatrist knew Brando's friend's doctor. Brando avoided military service during the Korean War. Despite the objections of several directors with whom he worked, Brando felt that it helped to bring realism and spontaneity to his performances. He felt that otherwise he seemed to be reading the writer's speech. In the television documentary Making Superman: A Movie, Brando explained, If you don't know what those words are, but you have a general idea of what it is, then you look at the cue card, and it gives you a sense of the viewer, I hope the person is really looking for what he's going to say, what he doesn't know what to say. However, some thought that Brando used the cards because of laziness or inability to remember his lines. Appearing on the Godfather stage, Brando was asked why he wanted to print his lines. He replied: Because I can read them this way. Rise to fame: 1951-1954 Brando brought to the screens his work as Stanley Kowalski in Tennessee William's The Tramway called Desire (1951). The role is considered one of Brando's greatest. 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 for Best Actor. Brando as Emiliano Sapata in the trailer for the 1952 film Viva sapata! He's also been nominated for next year's Viva zapata! (1952), a fictional story about the life of Mexican revolutionary Emiliano Sapata. It told about his peasant upbringing, his claim to power in the early 20th century and death. The film is directed by Elia Kazan and starred Anthony quinn. In Marlon Brando's Biopic: Wild, Sam Shaw says: Secretly, before the beginning of the picture, he went to Mexico in the very city where he lived and was born, and it was there that he studied the speech behavior of people, their behavior, movement. Most critics focused on the actor, not the film, and Time and Newsweek published rave reviews. Years later, in his autobiography, Brando remarked: Tony quinn, whom I admired professionally and loved personally, played brother, but it was very cold for me when we shot this picture. During our scenes together, I felt bitterness towards me, and if I offered to drink after work, he either turned me down or was sullen and said little. It wasn't until years later that I found out why. (quote necessary) Brando said that in order to create on-screen tension between the two, Gadg (Kazan) said to quinn, who took on the role of Stanley Kowalski on Broadway after Brando finished, that Brando was impressed with his work. Having achieved the desired effect, Kazan never told him that she had misled him. It wasn't until many years later, after comparing the notes, that Brando and quinn realized the deception. Brando's next film, Julius Caesar (1953), received very favorable reviews. Brando played Marc Anthony. While most recognized Brando's talent, some critics felt Brando's muttering and other features betrayed the lack of acting fundamentals, and when his casting was announced, many remained dubious about his prospects for success. Directed by Joseph L. Mankiewicz and starring British stage actor John Gielgud, Brando delivered an impressive performance, especially during Antonia's noted Friends, Romans, Compatriots ... Speech. Gielgud was so impressed that he offered Brando a full season at the Hammersmith Theatre, an offer he rejected. In his biography about the actor, Stefan Kanfer writes: Marlon's autobiography devotes one line to his work on this film: Among all those British professionals, for me to go to the movies and play Marc Anthony was asinine - another example of his stubborn self-denigration, and utterly wrong. Canfer adds that after the screening of the film director John Huston commented: Christ! It was like opening the oven door - the heat would dry off the screen. I don't know any other actor who could do that. During the filming of Julius Caesar, Brando learned that Elia Kazan had cooperated with congressional investigators, calling a string of underminings to the House Committee on Anti-American Activities (HUAC). According to all his words, Brando was upset with his mentor's decision, but he worked with him again at On The Waterfront. None of us is perfect, he later wrote in his memoir, and I think Gaj did harm others, but mostly to himself. In 1953, Brando also starred in The Wild One, riding his own Triumph Thunderbird 6T motorcycle. The film was criticized for its perceived gratuitous violence at the time, with Time stating: The effect of the film does not shed light on public concerns, but to shoot adrenaline through the veins of the moviegoer. (quote needed) Brando allegedly did not see face to face with Hungarian director Laszlo Benedek and did not get on Costar Lee Marvin. For Brando expressed bewilderment, the film inspired a teen uprising and made him a role model for the nascent rock 'n' roll generation and future stars such as James Dean and Elvis Presley. Since the release of the film, sales of leather jackets and blue jeans have skyrocketed. Reflecting on the film in his autobiography, Brando concluded that he didn't aged very well, but said: More than most of the parts I played in the movie or on stage, I'm associated with Johnny, and because of that, I find that I played it as more sensitive and sympathetic than the script provided. There's a line in the picture where he growls: No one tells me what to do. That's exactly how I've felt all my life. Later that year, Brando starred in Lee Falk's The Weapon of George Bernard Shaw and the Man in Boston. Falk proudly told People that Brando turned down an offer of $10,000 a week on Broadway, in favor of working in his production in Boston for less than $500 a week. On the waterfront in 1954, Brando starred in the crime drama On the Waterfront about union violence and maritime corruption. The film is directed by Elia Kazan and written by Budd Schulberg; The film also stars Carl Malden, Lee Cobb, Rod Steiger and, in his debut film, Eva Marie Saint. When Brando initially offered the role, he was still stung by Kazan's testimony at HUAC, and Terry Malloy's part almost passed to Frank Sinatra. According to biographer Stefan Kanfer, the director believed that Sinatra, who grew up in Hoboken (where the film was filmed), would work as Malloy, but in the end producer Sam Spiegel courted Brando for the role, signing him for $100,000. Kazan didn't protest because he later admitted, I always didn't prefer Brando to anyone. Brando with Eva Marie Saint in the trailer for On the Waterfront (1954). Brando won an Oscar for his role as Irish-American stevedor Terry Malloy in On the Waterfront. His performance, spurred by his relationship with Eva Marie Saint and the leadership of Kazan, was praised as a tour de force. For a scene in which Terry laments his flaws, saying I could be a contender, he convinced Kazan that the script of the scene was unrealistic. Schulberg's script forced Brando to shoot the entire scene, and his character was held at gunpoint by his brother Charlie, played by Rod Steiger. Brando insisted on softly repelling the gun, saying that Terry would never believe that his brother would pull the trigger and doubting that he could continue his speech for fear of a gun on him. Kazan allowed Brando to improvise, and later expressed deep admiration for Brando's instinctive understanding, saying that what was extraordinary in his performance, I feel, is the contrast of the hard guy front and the extreme delicacy and gentle cast of his behavior. What a different actor when Brother draws a gun to make him do something disgraceful, put his hand on the gun and push it away with the softness of affection? Who else could have read Oh, Charlie! in the tone of reproach, which is so loved and so melancholy and offers a stunning depth of pain? ... If there's a better human performance in the history of cinema in America, I don't know what it is. After the release of On the Waterfront received rave reviews from critics and was commercially successful, earning about $4.2 million at the box office in the North American box office in 1954. In his Review of July 29, 1954, The New York Times critic A. H. Weiler praised the film, calling it an extraordinarily powerful, exciting and creative use of the screen by gifted professionals. Film critic Roger Ebert praised the film, saying that Brando and Kazan forever changed their actions in American films and added it to their list of Great Films. In his autobiography, Brando was generally dismissive of his performance: The day Gaj showed me the full picture, I was so depressed by my performance that I got up and left the cinema... I thought I was a huge failure. After Brando won an Academy Award for Best Actor, the statue was stolen. Much later he appeared at the London auction house, who contacted the actor and informed him of his whereabouts. (quote necessary) Cash successes and directorial debut: 1954-1959 Following On the Waterfront, Brando remained the main box office draw, but critics increasingly felt that his performances were half-hearted, lacking intensity and purposefulness in his previous work, especially in his work with Kazan. He played Napoleon in the 1954 film Desiree. According to co-star Gene Simmons, Brando's contract forced him to star in the film. He put little effort into the role, claiming he didn't like the script, and then dismissed the entire film as superficial and bleak. Brando was particularly contemptuous of director Henry Koster. Brando and Simmons were once again paired in the film adaptation of the musical Guys and Dolls (1955). Guys and dolls will be Brando's first and last musical role. Time found the painting false in its senses, noting that Brando sings in a distant tenor that sometimes tends to be flat. Appearing in an interview with Edward Murrow's Man to Man in early 1955, he admitted that he was having trouble with a voice he called pretty awful. In the 1965 documentary Meet Marlon Brando, he revealed that the final product heard in the film was the result of countless singing takes cut into one, and then joked: I couldn't get into a note with a baseball bat; some notes I missed the extraordinary field ... They stitched my words together on one song so tight that when I mouthed in front of the camera, I almost choked. between Brando and Frank Sinatra's costar were also frosty, with Stephen Kanfer observing: Two men were diametric opposites: Marlon required several takes; Frank repeated himself. After their first meeting Sinatra was reportedly mocked: Don't let me have that actors studio shit. Brando later joked: Frank is one of those guys, when he dies, he goes to heaven and give God a hard time to make him bald. Frank Sinatra called Brando the most overrated actor in the world and called him a bormbla. The film was commercial, though not critically successful, costing $5.5 million to make and box office $13 million (quote is needed) Brando played Sakini, a Japanese translator for the U.S. Army in postwar Japan, in Tea House on the August Moon (1956). Pauline Cale wasn't particularly impressed with the film, but noted: Marlon Brando starved himself to play elf translator Sakini, and he looks as if he's enjoying a trick-talk with a mad accent, grinning boyishly, leaning forward, and doing intricate foot movements. He's innocuously ingenious (and he's certainly missed when he's off-screen), although the fairies, roguish role doesn't allow him to do what he's great, and it's possible that he's less effective in it than the smaller actor might have been. In Sayonar (1957) he appeared as a U.S. Air Force officer. Newsweek found the film a dull story about meeting twain, but it is nonetheless a box office success. According to the actor's biography of Stefan Kanfer, Brando's manager Jay Kanter signed a lucrative contract with ten percent of the gross, moving to Brando, which put him in the category of millionaires. The film was controversial because of open discussion of interracial marriage, but proved a great success, earning 10 Oscar nominations, with Brando nominated for Best Actor. The film won four Academy Awards. Teahouse and Sayonara were the first in a string of films Brando will seek to make over the next decade that contained socially significant messages, and he formed a partnership with Paramount to create his own production company called Pennebaker, his stated goal for developing films that contained social value that would improve the world. The name was a tribute to his mother, who died in 1954. By all accounts, Brando was devastated by her death, with biographer Peter Manso telling the biography of ASE: She was someone who could give him approval like no other could, and, after his mother died, it seems that Marlon ceases to care. Brando appointed his father to run the Pennebaker. In the same special ASE, George Englund claims that Brando gave his father a job because it gave Marlon a chance to shoot him, humiliate him and reduce him. In 1958, Brando appeared in The Young Lions, dyeing his hair blonde and suggesting the emphasis on the role, which he later acknowledged, was not convincing. The film is based on the novel by Irwin Shaw, and Brando's portrayal of Christian Dittla's character was controversial for its time. He later wrote: The original script closely followed a book in which Shaw painted all Germans as evil caricatures, especially Christian ones, whom he portrayed as a symbol of all the bad things about Nazism; he was vile, nasty, vicious, cliched evil... I thought that history should demonstrate that there are no inherently bad people in the world, but they can be easily misled. Shaw and Brando even appeared together for a television interview with CBS correspondent David Schoenbrun and, during a bombastic exchange, Shaw stated that, like most actors, Brando was unable to play flat out the villainy; Brando replied: No one creates a character except the actor. I play the role; Now it exists. He is my creation. Young Lions also shows Brando's only appearance in the film with friend and rival Montgomery Clift (although they don't share the scene together). Brando closed the decade by appearing in The Fugitive View (1960) opposite Anna Magnani. The film was based on another Tennessee Williams play, but hardly the success of Streetcar Named Desire was, with the Los Angeles Times labeling Williams persona psychologically ill or just plain ugly and The New Yorker calling it corny melodrama. One-eyed jacks and mutiny on the Bounty Marlon Brando with Pina Pelliser in a photo advertisement for one-eyed jacks (1961). In 1961, Brando made his director debut in the western One-Eyed Jacks. The film was originally directed by Stanley Kubrick, but he was fired at the beginning of the production. Paramount then made Brando director. Brando portrays the main character Rio, and Carl Malden plays his partner Daddy Longworth. The supporting cast features Katie Jurado, Ben Johnson, and Slim Pickens. Brando's penchant for multiple re-editing and character exploration as an actor shifted to his directing, however, and the film soon passed the budget; Paramount expected the film to take three months, but filming stretched to six, and the cost doubled to more than six million dollars. Brando's inexperience as editor also delayed postproduction, and Paramount eventually took control of the film. Brando later wrote, Paramount said he didn't like my version of the story; Everyone lied to me except Carl Malden. The studio cut the film into pieces and made it a liar, too. By then I was tired of the whole project, and I left it. One-eyed jacks were poorly considered by critics. While the film did a solid business, it ran so over budget that it lost money. Scenes of Brando and Pina Pelliser in the film One-Eyed Jacks (1961). Brando's disgust with the film industry was reportedly simmering Onstage for his next film, the Metro-Goldwyn-Mayer remake of The Rebellion at the Bounty, which was filmed in Tahiti. The actor was accused of deliberately sabotaging almost all aspects of the production. On June 16, 1962, The Saturday Evening Post published an article by Bill Davidson with the headline Six Million Dollars in the Sewer: Marlon Brando Rebellion. Mutiny director Lewis Milestone argued that executives deserve what they get when they give the ham actor, a petulant child, complete control over the expensive picture. The mutiny at the Bounty almost flipped over MGM and while the project was indeed hampered by delays other than Brando's behavior, the charges would dog the actor for years as studios began to fear Brando's complex reputation. Critics have also begun to take note of his fluctuating weight. Falling in box office: 1963-1971 Distracted by personal life and disappointing his career, Brando began to view acting as a means for a financial end. Critics protested when he began taking roles in films many perceived as below his talent, or criticized him for failing to live up to better roles. Previously only signing short- term deals with film studios, in 1961 Brando uncharacteristically signed a five-picture contract with Universal Studios that would haunt him until the end of the decade. Ugly American (1963) was the first of these films. Based on a 1958 novel of the same name that Pennebaker was an option, the film, 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 work. All of Brando's other universal films during this period, including Bedtime Story (1964), Appaloosa (1966), Countess of Hong Kong (1967) and The Night of the Other (1969), were also critical and commercial failures. The Countess, in particular, was a disappointment for Brando, who was looking forward to working with one of his characters, director Charlie Chaplin. The experience was miserable; Brando was horrified by Chaplin's didactic leadership style and his authoritarian approach. Brando also appeared in Morituri's 1965 spy thriller; that also failed to attract an audience. Brando acknowledged his professional decline, writing later: Some of the films I made in the sixties were successful; some of them weren't. Some, like the night of the next day, I did just for the money; others like candy, I made because a friend asked me and I do not want to deny it ... In some ways I think of my middle age as Fuck You Years. Candy was especially terrible for many; A 1968 sex farce film directed by Christian Marquand and based on the 1958 novel terry South, the film satirizes pornographic stories through the adventures of its naive heroine, Candy, played by Eva Aulin. Usually like the nadir of Brando's career. The Washington Post noted: Brando's indulging himself for a dozen years has cost him and his public his talents. In the March 1966 issue of The Atlantic, Pauline Cale wrote that in his rebellious days Brando was antisocial because he knew society was crap; he was a hero to the youth because he was strong enough not to take the shit, but now Brando and others like him became buffoons, shamelessly, pathetically mocking his public reputation. In an earlier review of Appaloosa in 1966, Kael wrote that the actor was a trap in another movie dog... Not for the first time, Mr. Brando gives us a heavy cap, adenoidally openmouthed caricature of a slurred, sturdy loner. Although he feigned indifference, Brando suffered from critical mauling, admitting in the 2015 film Listen to Me Marlon, They Can Hit You Every Day and You Have No Opportunity to Fight Back. I was very persuasive in my posture of indifference, but I was very sensitive and it hurt a lot . This quote needs to be quoted Brando portrayed a repressed gay army officer in Reflections in the Golden Eye, directed by John Huston and costarring Elizabeth Taylor. The role proved to be one of the most famous in many years, when Stanley Crouch marveled: Brando's main achievement was to portray the silent but stoic gloom of those who are sprayed by circumstances. The film as a whole received mixed reviews. Another notable film was Chase (1966), which paired the actor with Arthur Penn, Robert Duvall, Jane Fonda and Robert Redford. The film is dedicated to the themes of racism, sexual revolution, corruption in small towns and vigilance. The film received mostly positive reviews. Brando quoted Bern! (1969) as his personal favorite of the films he made by writing in his autobiography: I think I made some of the best acting I've ever done in this picture, but few have come to see it. In his memoirs, Brando devoted a complete chapter to the film, stating that director Gillo Pontecorvo was the best director he had ever worked with alongside Kazan and Bernardo Bertolucci. Brando also detailed his encounters with Pontecorvo on set and how we nearly killed each other. Loosely based on events in the history of Guadeloupe, the film received a hostile reception from critics. In 1971, Michael Winner starred in the British horror film The Nightcomers with Stephanie Beacham, Torah Heard, Harry Andrews and Anna Palk. It's a prequel to The Turn of the Screw, which later became the 1961 film Innocent. Brando's performance earned him a BAFTA nomination for Best Actor, but the film was bombed at the box office. The Godfather and the last tango in Paris Brando as a guest on the Dick Cavett show in 1973, after the success of The Godfather. In the 1970s, Brando was considered non-bank. Critics were becoming more and more to his work and and did not appear in the box office hit with Young Lions in 1958, last year he was ranked as one of the top ten box office stars and the year of his last Oscar nomination, for Sayonara. Brando's performance as Vito Corleone, Don in The Godfather (1972), Francis Ford Coppola's adaptation of Mario Puzo's 1969 bestseller was a turning point in his career, returning him to the top ten and winning a second Oscar role. Paramount's chief producer Robert Evans, who gave Puzo an advance to write The Godfather, so Paramount would own the rights to the film, hired Coppola after many major directors abandoned the film. Evans wanted an Italian-American director who could give the film cultural authenticity. Coppola is also cheap. Evans was aware of the fact that Paramount's last mafia film, Brotherhood (1968), was a box office bombshell, and he believed that this was partly due to the fact that the director, Martin Ritt, and the star, Kirk Douglas, were Jewish and the film lacked genuine Italian taste. The studio originally planned that the film would be a low-budget production, shot in our time without any major actors, but the phenomenal success of the novel gave Evans the influence to turn the Godfather into a prestigious picture. Coppola developed a list of actors for all the roles, and his list of potential Dons included Oscar-winning Italian-American Ernest Borgnin, Italian-American Frank de Cova (best known for his role as the main wild eagle in the television sitcom F-Troop), John Marley (best Oscar winner for the 1970 film The Love Story) , Italian-American Richard Conte (who was cast as the deadly rival of Don Corleone Don Emilio Barzini), and Italian film producer Carlo Barzini. Coppola admitted in a 1975 interview: We finally decided we had to lure the best actor in the world. It was so easy. This boiled down to Laurence Olivier or Marlon Brando, who are the greatest actors in the world . A holographic copy of Coppola's cast list shows Brando's name highlighted. Evans told Coppola that he thought of Brando for this part two years ago, and Puzo represented Brando in the piece when he wrote the novel and actually wrote him about the piece, so Coppola and Evans narrowed it down to Brando. (Ironically, Olivier will compete with Brando for the Best Actor Oscar for his role in Sleuth. Albert S. Ruddy, who was commissioned by Paramount to make the film, agreed with Brando's choice. However, Paramount studio executives were against brando's casting because of his reputation for hardship and his long string of box office failures. Brando also had one-eyed Jacks running against him, a troubled production lost money for Paramount when it was released in 1961. Paramount Pictures president Stanley Jaffe told an exasperated Coppola, As long as I'm the president of this studio, Marlon Brando won't be in this picture, and I'm not going to let you discuss it anymore. Jaffe eventually set three conditions for Brando's casting: that he would have to take a fee well below what he usually received; he must agree to accept financial responsibility for any delays in the production of his cost of conduct; and he had to present the test on the screen. Coppola convinced Brando in a videotaped make-up test in which Brando made his own make-up (he used cotton balls to simulate the puffed cheeks of the character). Coppola feared that Brando might be too young to play Don, but was electrified by the actor's characterization as the head of a criminal family. Despite this, he had to fight with the studio to throw a temperamental actor. Brando himself doubted himself, stating in his autobiography: I had never played Italian before, and I did not think that I could do it successfully. In the end, Charles Bludorn, president of Paramount Parent Gulf-Western, was won to allow Brando to have the role; when he saw the screen test, he asked in amazement, What are we watching? Who is this old sea guinea? Brando was signed for a low fee of $50,000, but in his contract, he received a percentage of gross on a sliding scale: 1% of gross for every $10 million for the $10 million threshold, up to 5% if the painting exceeded $60 million. That $100,000 cost him $11 million, Evans claimed. In a 1994 interview on the Academy of Achievement website, Coppola insisted: The Godfather was a very underrated film when we made it. They were very unhappy with that. They don't like actors. They didn't like the way I shot. I've always been on the verge of being fired. When word of it came to Brando, he threatened to walk away from the picture, writing in his memoir: I firmly believe that filmmakers have the right to independence and freedom to realize their vision, although Francis left the characteristics in our hands and we had to figure out what to do. In a 2010 television interview with Larry King, Al Pacino also talked about how Brando's support helped him retain the role of Michael Corleone in the film, even though Coppola wanted to fire him. Brando was at his best during filming, fueled by a cast that included Pacino, Robert Duvall, James Caan, and Diane Keaton. In Vanity Fair's article The Godfather Mark Seale writes: With the actors, as in the film, Brando served as the head of the family. He broke the ice by roasting the group with a glass of wine When we were young, Brando was like a godfather says Robert Duvall. I met Dustin Hoffman at Cromwell's pharmacy, and if we mentioned his name once, we mentioned it 25 times a day. Caan adds, The first day we met Brando, everyone was scared. Brando's speech was enthusiastically criticized by critics. I thought it would be interesting to play a gangster, maybe for the first time in a movie that wasn't like those bad guys Edward G. Robinson played, but who is a kind of hero, a man to be respected, Brando recalled in his autobiography. Also, because he had so much power and unquestioning power, I thought it would be an interesting contrast to play him as a gentle man, unlike Al Capone, who beat people with baseball bats. Duval later marveled at the biography of ASE: He minimized the feeling of beginning. In other words, he is, like, a deemphasized word of action. He'd go in front of the camera like he used to. Cut! It was all the same. In fact, there was no beginning. I learned a lot by watching that. Brando won an Academy Award for Best Actor, but turned it down to become the second actor to drop out of the award for Best Actor (after George Scott for Patton). He boycotted the awards ceremony, instead sending American Indigenous rights activist Sahin Littlefater, who appeared in a full Apache outfit, to find out Brando's reasons, which were based on his objection to the portrayal of Native Americans by Hollywood and television. The actor followed the Godfather with Bernardo Bertolucci's Last Tango in Paris opposite Maria Schneider, but Brando's highly acclaimed performance threatened to be overshadowed by the noise about the film's sexual content. Brando recently portrays an American widower named Paul, who begins an anonymous sexual relationship with a young, engaged Parisian woman named Jinn. As in previous films, Brando refused to memorize his lines for many scenes; Instead, he wrote his lines on cue cards and placed them around the set for easy links, leaving Bertolucci with the challenge of keeping them out of the frame. The film features several intense, graphic scenes involving Brando, including Paul anally raping Gina using oil as a lubricant, which it was alleged was not consensual, and the anger of the sex, an emotionally charged final confrontation with the corpse of his dead wife. The controversial film was a hit, however, and Brando hit the top ten box office stars last time. His gross deal involving him earned him $3 million. Voting members of the Academy of Motion Picture Arts and Sciences are again nominated by Brando for Best Actor, his seventh nomination. Although Brando won the 1973 New York Film Critics Circle Awards, he did not at the ceremony and did not send a representative to pick up the award if he won. Critic Pauline Cale, in a New Yorker review, writes: Breakthrough film has Come. Bertolucci and Brando have changed the face of the art form. Brando admitted in his autobiography, To this day, I can't say what the last tango was about in Paris, adding that the film required me to do a lot of emotional armwrestling with myself, and when it was finished, I decided that I was never going to destroy myself emotionally again to make a movie. In 1973, Brando was devastated by the death of his childhood best friend Wally Cox. Brando slept in Cox's pajamas and snatched his ashes from his widow. She was going to sue for their return, but eventually said, I think Marlon needs ashes more than I do. The film also reunited the actor with director Arthur Penn. As biographer Stefan Kanfer describes, Penn found it difficult to control Brando, who seemed intent on crossing the top with his border bully-turned-contract killer Robert E. Lee Clayton: Marlon made him a psychopath. Absent for the first hour of the film, Clayton enters on horseback, dangling upside down, caparisoned in white buckskin, Littlefeather style. He speaks with an Irish accent for no apparent reason. Over the next hour, also for no apparent reason, Clayton takes on the intonation of a British top-class twit and an elderly border woman, complete with a granny dress and matching hood. Penn, who believed in letting actors do their thing, indulged Marlon all the way. Critics were unkind, with The Observer calling Brando's performance one of the most extravagant displays of grandeur since Sarah Bernhardt, while The Sun complained: Marlon Brando, at fifty-two, has the careless belly of a sixty-two-year-old, the gray hair of a seventy-two-year-old, and a lack of discipline for an elderly 12-year-old. However, Kanfer noted: Although his later work was met with disapproval, a re-examination shows that often, in the middle of the pedestrian scene itself, there would be a sudden, luminary phenomenon, an outburst of old Marlon that showed how capable he remained. In 1978, Brando recounted an English version of Raonic, a French-Belgian documentary directed by Jean-Pierre Dutile and Luis Carlos Saldanha, which focused on the lives of Raonic Metuktir and the survival of indigenous Indian tribes in northern central Brazil. Brando played Superman's father Jor-El in the 1978 film Superman. He agreed to this role only if he was guaranteed that he would be paid a large sum for a small portion, that he would not have to read the script in advance, and that his lines would appear somewhere off camera. In the documentary, with the words of a 2001 DVD release about Superman, He was paid $3.7 million for two weeks of work. Brando also filmed scenes for the film sequel, Superman II, II, after the producers refused to pay him the same percentage he received for the first film, he refused to allow them to use the footage. I asked for my usual percentage, he recalled in his memoirs, but they refused, just like me. However, after Brando's death, the footage was re-engineered in the 2006 cut film, Superman II: Richard Donner Cut and the 2006 free sequel Superman Returns, which both used and unused archival footage of him as Jor-El from the first two Superman films was remastered for a scene in the fortress of loneliness, and Brando's voice-over was used throughout the film. In 1979, he made a rare television appearance in the mini-series Roots: The Next Generation, portraying George Lincoln Rockwell; he won an Emmy Award for Best Supporting Actor in a Miniseries or Film for his work. Brando starred as Colonel Walter Kurtz in Francis Ford Coppola's Vietnamese epic Apocalypse Now (1979). He plays a highly decorated U.S. Army Special Forces officer who goes renegade, runs his own operation based in Cambodia and fears the U.S. military as much as the Vietnamese. Brando was paid $1 million a week for three weeks of work. The film attracted attention with its long and hectic production as Eleanor Coppola's documentary Hearts of Darkness: Apocalypse Documents director: Brando appeared on the set of Overweight, Martin Sheen suffered a heart attack, and severe weather destroyed several expensive sets. The film was also postponed several times, while Coppola edited millions of feet of footage. In the documentary, Coppola recounts how surprised he was when overweight Brando appeared on his stage and, feeling desperate, decided to portray Kurtz, who appears exhausted in the original story, as a man who 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 thought I would, if it was 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 didn't read the book, Heart of Darkness, as the director asked him, and the couple spent days researching Kurz's story and character, to the great financial benefit of the actor, according to producer Fred Roos: The clock ticked on this deal he had, and we had to finish it in three weeks, or we'd go in this very expensive reissue... Both Francis and Marlon will talk about character and whole days will go. And that's at Marlon's urging, and yet he's getting paid for it. After the release, Apocalypse Now received critical acclaim, as did Brando's. His whisper Kurz Horror! Horror!, has become especially famous. Known. Ebert, writing in the Chicago Sun-Times, defended the film's controversial denouement, saying that the ending, with Brando's fuzzy, brooding monologues and final violence, feels far more satisfying than any ordinary ending possible. Brando received a fee of $2 million plus 10% of gross theater rentals and 10% of TV sales rights, earning him about $9 million. However, he returned in 1989 in a dry white season, based on Andre Brink's 1979 anti-apartheid novel. Brando agreed to make the film free, but quarreled with director Euzhan Palcy over how the film was edited; he even made a rare appearance on television in an interview with Connie Chang to express his disapproval. In his memoirs he claimed that Palsy had cut the picture so badly, I thought the inherent drama of this conflict was vague at best. Brando received praise for his work, earning an Academy Award nomination for Best Supporting Actor and winning the Best Actor award at the Tokyo Film Festival. Brando received rave reviews for his role as Vito Corleone as Carmine Sabatini in The Freshman of the 1990s. In his initial review, Roger Ebert wrote: There have been many films where stars have repeated the triumphs of their parts, but has any star ever done it more triumphantly than Marlon Brando does in a freshman? Variety also praised Brando's performance as Sabatini and noted, Marlon Brando's sublime comedy takes the freshman from comedy to screwball into a bizarre niche in the history of cinema. Brando also starred alongside his friend Johnny Depp in the box office hit Don Juan DeMarco (1995) and Depp's controversial film Brave (1997), which was never released in the United States. More recent appearances, such as his appearance in Christopher Columbus: Discovery (1992) (for which he was nominated for Raspberry as Worst Supporting Actor), Dr. Moreau's Island (in which he won Worst Supporting Actor for Raspberry) (1996), and his barely recognizable appearance in Free Money (1998), led to some of the worst reviews of his career. Dr. Moreau's Island screenwriter Ron Hutchinson later said in his memoir, Clinging to the Iceberg: Writing for Life on Stage and in Hollywood (2017), that Brando sabotaged the film's production by feuding and refusing to cooperate with his colleagues and film crew. Unlike its immediate predecessors, Brando's last completed film, The Score (2001), was generally positive. In the film, in which he portrays the fence, he starred with Robert De Niro. After Brando's death, fan-tang came out. Brando conceived an affair with the director Cammelom in 1979, but was released only in 2005. In recent years and Brando's death, his troubled family life and his obesity have attracted more attention than his late acting career. He gained a lot of weight in the 1970s and in the early to mid-1990s he weighed more than 300 pounds (140 kg) and suffered from type 2 diabetes. He had a history of weight swings throughout his career that, by and large, he explained his years of stress-related overeating followed by a compensatory diet. He has also earned a reputation for being difficult on set, often unwilling or unable to remember his lines and less interested in taking direction than in dealing with a director with odd demands. He also dabbled in some innovations in the last years of his life. In June 2002 to November 2004, he had several patents issued in his name from the U.S. Patent and Trademark Office, all of which were related to the drummer's tension method. (For example, see U.S. Patent 6,812,392 and its equivalents). In 2004, Brando recorded voice tracks for Mrs. Sour's character in the unreleased animated film Big Bug Man. It was his last role and his only role as a female character. A longtime close friend of entertainer Michael Jackson, he regularly visits his Neverland Ranch, vacationing there for weeks. Brando also participated in the singer's two-day solo career on the 30th anniversary of concert celebrations in 2001, and starred in his 13-minute music video, You Rock My World, the same year. The actor's son, Miko, was Jackson's bodyguard and assistant for several years, and was a friend of the singer. The last time my father left the house to go anywhere to spend any time, it was with Michael Jackson, Miko said. He loved it ... He had a 24-hour chef, 24-hour security guard, 24-hour care, a 24-hour kitchen, a 24-hour maid. Just carte blanche. Michael was instrumental in helping my father during the last few years of his life. For that, I will always be indebted to him. Dad had difficulty breathing in recent days and he was on oxygen most of the time. He loved the outdoors, so Michael invited him to Neverland. Dad could name all the trees there and the flowers, but being on oxygen was hard for him to get around and see them all, it's such a great place. So Michael got dad a golf cart with a portable oxygen tank so he could walk and enjoy Neverland. They just ride-Michael Jackson, Marlon Brando, with an oxygen tank in a golf cart. In April 2001, Brando was hospitalized with pneumonia. In 2004, Brando signed a contract with Tunisian director Ridha Behi and began pre-production work on a project called Brando and Brando. A week before his death, he was working on a script awaiting a start date in July-August 2004. Production was suspended in July 2004 following the death of Behi stated that he would continue the film as a homage to Brando, with the new title of Citizen Brando. On July 1, 2004, Brando died of respiratory failure from pulmonary fibrosis with congestive heart failure at Ucla Medical Center. The cause of death was initially withheld and his lawyer citing confidentiality concerns. He also suffered from diabetes and liver cancer. Shortly before his death and despite the need for an oxygen mask to breathe, he recorded his voice to appear in The Godfather: The Game, once again as Don Vito Corleone. However, Brando recorded only one line because of his health, and the simulator was hired to finish his lines. Some lines from his character were directly removed from the film. Carl Malden-Brando, co-starring in three films, a tram called Desire, on the waterfront, and one-eyed jacks (the latter of which is the only film directed by Brando) - spoke in a documentary accompanying a DVD tram called The Desire for a Phone Call he received from Brando shortly before Brando's death. A frustrated Brando told Malden that he kept falling. Malden wanted to come, but Brando dissuaded him, saying there was no point. Three weeks later, Brando was dead. Shortly before his death, he apparently refused to allow oxygen tubes 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 placed along with the ashes of his good friend Wally Cox and another longtime friend, Sam Gilman. They were then scattered partly in Tahiti and partly in Death Valley. In 2007, Brando's 165-minute biopic was released for Turner Classic Movies, Brando: The Documentary, produced by Mike Medava (executor of Brando's will). Anna Kashfi's personal life in 1959 Movita Castaneda in Paradise Isle (1937) Brando was known for her turbulent personal life and a large number of partners and children. He was the father of at least 11 children, three of whom were adopted. In 1976, he told a French journalist, Homosexuality is so in fashion that it no longer makes news. Like a large number of men, I too have had a homosexual experience, and I am not ashamed. I've never paid much attention to what people think of me. But if there's someone who's convinced that Jack Nicholson and I are lovers, they can keep doing it. I find it amusing. In Songs My Mother taught me, Brando wrote that he met Marilyn Monroe at a party where she played the piano, unnoticed by anyone else there, that they had been having an affair and maintained an intermittent relationship for many years, and that he had received a phone call from her a few days before her death. He also claimed many other novels, although he did not discuss his marriages, his wife, or his children in his autobiography. He met the actress and Reiko Sato's in The 1950s; in 1954, Dorothy Kilgallen reported that they were the subject. Although their relationship cooled, they remained friends for the rest of Sato's life, with her dividing her time between Los Angeles and Tetiaroa in her later years. Brando was stunned by Mexican actress Cathy Jurado after meeting her at noon. They met when Brando was filming Viva sapata! Mexico. Brando told Joseph L. Mankiewicz that he was attracted to her mysterious eyes, black as hell, pointing to you like fiery arrows. However, their first date was the beginning of a long-running romance that lasted many years and peaked when they worked together on One-Eyed Jacks (1960), a film directed by Brando. Brando met actress Rita Moreno in 1954, and they began a love affair. Moreno later revealed in her memoirs that when she became pregnant with Brando, he arranged for an abortion. After the abortion was unsuccessful, she tried to commit suicide by overdosing on Brando's sleeping pills. Years after they broke up, Moreno played his love for the movie The Next Night. Brando married actress Anna Kashfi in 1957. Kashfi was born in Kolkata and moved to Wales from India in 1947. She was reportedly the daughter of Welsh steelworker of Irish descent William O'Callaghan, who was superintendent of Indian railways. However, in her book, Brando's Breakfast, she claimed that she was indeed half Indian and that the press wrongly thought her stepfather, O'Callaghan, was her biological father. She said her biological father was Indian and that she was the result of an unregistered union between her parents. On May 11, 1958, Brando and Kashfi had a son, Christian Brando; they divorced in 1959. In 1960, Brando married Moit Castaneda, a Mexican-American actress; the marriage was annulled in 1968 after it was revealed that her previous marriage was still active. Castaneda appeared in the first mutiny in the film Bounty in 1935, about 27 years before the 1962 remake with Brando as Fletcher Christian. They had two children: Miko Castaneda Brando (born 1961) and Rebecca Brando (born 1966). French actress Tarita Teripaya, who played Brando's love interest in the Bounty mutiny, became his third wife on August 10, 1962. She was 20 years old and 18 years younger than Brando, who was reportedly delighted with her naivety. Since Teripaya was a native French speaker, Brando was fluent in the language and gave numerous interviews in French. Teripaya became the mother of his two children, Simone Teihotu Brando (born 1963) and Tarita Cheyenne Brando (born 1970). Brando also adopted Teraidayi's daughter, Maimiti Brando (born 1977) and niece Rayatua Brando (born 1982). Brando and Teripaya divorced in July 1972. Brando's daughter, actress Cynthia Lynn, said brando Brando there was a short-lived affair with her mother, who appeared with Brando in Bedtime Story, and that this affair led to her birth in 1964. Throughout the late 1960s and early 1980s, he had a tumultuous, long-term relationship with actress Jill Banner. 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), Miles 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 writer James Clavell. Brando's close friendship with Wally Cox was the subject of rumors. Brando told the reporter, If Wally was a woman, I'd marry him, and we'd live happily ever after. Cox's two wives, however, rejected the suggestion that love was more than platonic. The grandson of Brando Tuki Brando (born 1990), son of Cheyenne Brando, is a model. His many grandchildren also include Prudence Brando and Shane Brando, children Miko S. Brando, children Rebecca Brando, and three children, Teihotu Brando, and others. Stephen Blackhart was reportedly Brando's son, but Blackhart disputes the allegation. In 2018, the two men allege that Brando had a sexual relationship with superman and Superman III actor Richard Pryor. Pryor's daughter Raine later disputed this claim. Brando's lifestyle has earned a reputation as a bad boy for his public outbursts and antics. According to Los Angeles magazine, Brando was rock 'n' roll before anyone knew that rock 'n' roll. His demeanor during the filming of The Bounty Rebellion (1962) seemed to cement his reputation as a hard-line star. He was accused of changing the director and a runaway budget, although he did not take responsibility. On June 12, 1973, Brando broke The Paparazzi's Ron Galella's jaw. Galella followed Brando, who was accompanied by talk show host Dick Cavett, after recording Dick Cavett's show in New York. He paid $40,000 for an out-of-court settlement and suffered an infected party as a result. Galella was wearing a football helmet the next time he photographed Brando at a gala in favor of the American Indian Development Association in 1974. Filming The Rebellion on the Bounty deeply influenced Brando's life, as he fell in love with Tahiti and his 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 with no despoiling environment. An environmental laboratory for the protection of seabirds and turtles was established, which for many years visited student groups. The 1983 hurricane destroyed many structures, including its resort. The hotel, called Brando, The Brando Resort, opened in 2014. Brando was an active ham radio operator, with KE6P and FO5GJ (the latter from his island). He was listed in the Federal Communications Commission (FCC) records as Martin Brando to preserve his privacy. In an episode of the ASE biography of Brando, biographer Peter Manso commented, On the one hand, as a celebrity, Marlon allowed Marlon to take revenge on the world that had hurt him so deeply, so badly harmed him. On the other hand, he hated it because he knew it was false and ephemeral. In the same program, another biographer, David Thomson, recounts: Many, many people who worked with him, and came to work with him with the best of intentions, went away in despair, saying that he is a spoiled child. It has to be done in his own way, or he walks away with some extensive story about how offended he was offended, he was offended, and I think that fits into the psychological model that he was a wronged child. Brando's politics with James Baldwin at the 1963 Civil Rights March in Washington, D.C., along with Charlton Heston, James Baldwin, Sidney Poitier and Harry Belafonte at the March on Washington in 1963, Brando appeared in Ben Hecht's zionist play The Flag Was Born. He attended some fundraisers for John F. Kennedy during the 1960 presidential election. In August 1963, he participated in the March on Washington with fellow celebrities Harry Belafonte, James Garner, Charlton Heston, Burt Lancaster and Sidney Poitier. Along with Paul Newman, Brando also participated in trips to freedom. After the assassination of Martin Luther King in 1968, Brando made one of the strongest commitments to develop King's work. Shortly after King's death, he announced that he was leaning out of the title role of a major film (Arrangement) (1969), which was about to begin production to devote himself to the civil rights movement. I felt it was better to go find out where he was; that it should be black in this country; What this fury is all about, Brando said on the nightly ABC-TV talk show The Joey Bishop Show. In a biography of an episode of ASE about Brando, actor and co-star Martin Sheen says: I will 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 excitement, and he kept walking around and talking through these neighborhoods with Mayor Lindsey. It was one of the most incredible acts of courage I've ever seen, and it meant a lot and did a lot. Brando's involvement in the civil rights movement began long before King's death. In the early 1960s, he contributed thousands of dollars to both the S.C.L.C. Conference and the Scholarship Fund for the Children of the Killed Leader of the N.A.A.C.P. Medgar Evers. In 1964, Brando was arrested for fishing in a protest against a broken treaty that promised Native Americans the right to fish in Puget Sound. By this time, Brando was already involved in films about human rights: Sayonara, which deals with interracial romance, and The Ugly American, depicting the behavior of American officials abroad and the detrimental effect on foreign nationals. For a while, he also donated money to the Black Panther Party and considered himself a friend of founder Bobby Silas. Brando ended his financial support for the group because of his perception of its growing radicalization, in particular an excerpt from the Panther pamphlet issued by Eldridge Cliver, advocating indiscriminate violence for the revolution. Brando was also a supporter of the American Indian Movement. At the 1973 Academy Awards, Brando refused to accept an Oscar for his role in The Godfather. Sakin Littlefoser represented him at the ceremony. She appeared in a full Apache outfit and stated that because of the mistreatment of Native Americans in the film industry, Brando would not accept the award. This happened at a time when the confrontation in Wounded Knee was continuing. The event attracted the attention of the American and world media. This was considered a major event and a victory of 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 the distinction in housing development in 1963. He was also an anti-apartheid activist. In 1964, he advocated a boycott of his films in South Africa to prevent them from being shown to segregated audiences. In 1975, he participated in a protest against American investment in South Africa and for the release of Nelson Mandela. In 1989, Brando also starred in the film Dry White Season, based on the novel of the same name by Andre Brink. Comments about Jews and Hollywood In an interview with Playboy magazine in January 1979, Brando said, You saw how every race was tortured, but you never saw the picture of the kik, because the Jews were so vigilant for it - and rightly so. They never let it be shown on the screen. The Jews have done so much for the world that I suppose you will get extra disappointment because they don't pay attention to it. Brando made a similar comment on Larry King Live in April 1996, saying: Hollywood is run by Jews; it belongs to the Jews, and they should have a greater sensitivity to the problem of people who suffer. Because they exploited -- we saw -- we saw a and greaseball, we saw a slit, we saw a slit through the eyes of a dangerous Jap, we saw a cunning Filipino, we saw everything, we've never seen a noke. Because they knew perfectly well that it was there that you draw cars around. Larry King, who is a Jew, replied: When you say, when you say something like that, you play straight into, however, anti-Semitic people who say that Jews, Brando interrupted: No, no, because I will be the first to judge Jews honestly and say: Thank God for the Jews . Jay Kanter, an agent, producer and friend of Brando's, defended him in Daily Variety: Marlon spoke to me for hours about his love for the Jewish people, and he is a well-known supporter of Israel. Similarly, Louis Kemp wrote in an article for the Jewish magazine, You may remember him as Dona Vito Corleone, Stanley Kowalski, or the creepy Colonel Walter E. Kurtz in Apocalypse Now, but I remember Marlon Brando as a mensch and personal friend of the Jewish people when they needed it most. The legacy that will be Brando's legacy, whether he likes it or not, is a terrific actor who embodied the 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 postwar era. He is listed by the American Film Institute as the fourth largest male star whose screen debut occurred before or during 1950 (it happened in 1950). He has earned the respect of critics for his memorable performances and charismatic presence on screen. He helped popularize the method of action. He is considered one of the greatest film actors of the 20th century. The Encyclopedia Britannica describes him as the most famous of the method actors, and his slurred, muttering delivery marked his abandonment of classical drama training. His true and passionate performances proved him one of the greatest actors of his generation. He also notes the obvious paradox of his talent: He is considered the most influential actor of his generation, but his open contempt for the acting profession ... often manifested itself in the form of dubious choices and uninskhoved performances. However, it remains a riveting presence on the screen with a huge emotional range and an endless array of compulsive watchable features. Cultural influence He was our angry young man - an offender, a tough, rebellious man who stood at the heart of our shared experience. - Pauline Kael in Madame Tussauds in Brando's wild wax exhibition, albeit with a later 1957/58 Triumph Thunderbird. Marlon Brando is a cultural icon with enduring popularity. His attention to national attention in the 1950s had a profound impact on American culture. According to film critic Pauline Cale, Brando was a reaction against postwar security mania. As the main character, Brando of the early fifties had no code, only his He was a development from a gangster leader and a criminal. Criminal. was antisocial because he knew society was crap; he was a hero to the youth because he was strong enough not to take the shit... Brando was a modern version of the free American ... Brando is still the most exciting American actor on screen. Sociologist Dr Suzanne Macdonald-Walker says: Marlon Brando, sporting a leather jacket, jeans and moody highlights, has become a cultural icon, summing up the road in all its glory. His portrayal of gang leader Johnny Strabler in The Wild One has become a cult image, used both as a symbol of rebellion and a fashion accessory that includes a Perfecto motorcycle jacket, a slanted cap, jeans and sunglasses. Johnny's haircut inspired a craze for lateral burns, followed by James Dean and Elvis Presley, among others. Dean widely copied Brando's acting style, and Presley used Brando's image as a model for his role in Jailhouse Rock. The I Could Be 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 movie history, and the line itself has become part of America's cultural lexicon. An example of the endurance of Brando's popular image Wild One was the release in 2009 of copies of a leather jacket worn by Johnny Strabler's character from Brando. The jackets were on the market for Triumph, the manufacturer of triumph Thunderbird motorcycles featured in Wild, and were officially licensed by brando Manor. Brando was also considered a male sex symbol. Linda Williams writes: Marlon Brando was the quintessential American male sex symbol of the late fifties and early sixties. Brando was an early lesbian icon who, along with James Dean, influenced Butch's appearance and self-esteem in and after the 1950s. The character of Dio Brando from the popular Japanese manga JoJo's Bizarre Adventure got his name from Brando, as well as the American heavy metal band Dio (group) and its vocalist Ronnie James Dio. Brando was also immortalized in music; in particular, he was mentioned in the lyrics of Bruce Springsteen's It's Hard to Be a Saint in the City, Madonna's Vogue and Slimnot's Eyeless on their self-titled album. Looks at the action In her autobiography Songs My Mother taught me, Brando noted: I always thought that one of the benefits of acting is that it gives actors the opportunity to express feelings that they are usually unable to express in real life. Intense emotions buried inside you can come smoking from the back of your head and I suppose in terms of psychodrama it can be helpful. Looking back, I think my emotional insecurities as a child-disappointment were not allowed to be who I was, wanting love and not being able to get it, realizing that I was irrelevant might have helped me as an actor, at least in a little way. It probably gave me a certain intensity that most people don't have. He also admitted that, having great admiration for the theater, he didn't return to it after its initial success primarily because the work left him drained emotionally: What I remember most about Streetcar Named Desire was the emotional grind of acting in it six nights and two days. Try to imagine what it was like to walk around the stage at 8:30 every night having to scream, scream, cry, break dishes, kick furniture, beat walls and experience the same intense, excruciating emotions night after night, trying to evoke the same emotions in the audience every time I felt. It was exhausting. Brando repeatedly attributed Stella Adler and her understanding of Stanislavsky's acting technique to bringing realism to American cinema, but added that this school of acting served American theater and movies well, but it limited. American theatre has never been able to present Shakespeare or classical drama of any kind satisfactorily. We simply do not have style, attitude to language or cultural location ... You can't mutter in Shakespeare. You can't improvise, and you have to stick strictly to the text. English theatre has a sense of language that we do not recognize ... In the United States, English has become almost a patois. In the 2015 documentary Listen to Me Marlon, Brando shared his thoughts on the death scene, saying, It's a difficult scene to play. You have to make them believe that you are dying... Try to come up with the most intimate moment you've ever had in your life. Brando's favorite actors were Spencer Tracy, John Barrymore, Fredrik March, James Cagney and Paul Mooney. He also expressed admiration for Sean Penn, Jack Nicholson, Johnny Depp and Daniel Day-Lewis. Financial legacy After his death in 2004, Brando left the estate worth $21.6 million, according to Forbes, in 2005, the following year, Brando's estate earned about $9 million. In the same year, Brando was named one of the highest paid deceased celebrities in the world according to the magazine. In December 2019, it was announced that the Rolex GMT Master Ref. 1675 wore Brando in Francis Ford Coppola's epic Apocalypse Now with an expected price tag of up to $1 million. : The Most Important People of the Century. It has also been named one of the top 10 Icons of the Century by Variety magazine. See also the biographical portal Cinema Portal List which appeared in several Best Picture Oscar list of actors with Oscar nominations list of actors with two or more Oscars in the acting categories List of actors with two or more Oscar nominations in the acting categories List of LGBT Oscar winners and nominees Links Notes Citations - b Brando's Latest role: Old Lady. Archive from the original on September 28, 2016. B St.on, Julian. You don't have to take Marlon Brando's name in Vain. Archive July 13, 2016 on Wayback Machine. Vanity Fair, April 20, 2009. Received on December 23, 2017. B. Barnes, Mike. Anna Kashfi, actress and first wife of Marlon Brando, dies at 80 Archive December 24, 2017 on Wayback Machine. The Hollywood Reporter, August 25, 2015. Received on December 23, 2017. Aduol, Mark. Diversity at the Oscars - how far have we come? The Archive february 9, 2018 at Wayback Machine Stadium felixonline.co.uk. February 9, 2018. Received on February 14, 2018. Schulberg, Budd. Marlon Brando: The King who will be human. Hive. Archive from the original on June 23, 2017. Received on August 16, 2017. Dylan Jones (August 14, 2014). Elvis left the building: The Day of the King's Death. The press is overlooked. ISBN 9781468310429. Received on November 12, 2016. Time of 100 people of the century. Archive May 23, 2016 on Wayback Machine. Time, June 14, 1999. Schickel, Richard (June 8, 1998). Actor: Marlon Brando. It's time. Received on May 15, 2019. Dimare 2011, page 580-582. a b c Brando and Lindsey 1994, page 32, 34, 43. Brando. The New Yorker, Volume 81, Issues 43-46, p. 39. - Bly 1994, page 11. Canfer 2008, 5-6. McGowan 2014, page 94. Religion marlon Brando, actor. Archive March 31, 2009, on Wayback machine adherents.com. Received on April 5, 2015. Brando and Lindsey 1994, page 4. Brando and Lindsey 1994, page 227. Brando and Lindsey 1994, page 7. Canfer 2008, page 134. Forrest, Lauren, a look at the Historic Libertyville Archive on July 22, 2015, at Wayback Machine in a drop of ink, May 5, 2015. Received on January 6, 2015. Elder, Robert C. Marlon Brando, 1924-2004: Illinois Youth, Full of Anger, Family Feuds. Archive October 7, 2017 in Wayback Machine Chicago Tribune, July 3, 2004. Marlon Brando, episode of the biography of ASE. Adler and Paris 1999, page 271. Brando and Lindsey 1994, page 83. TheLipTV (July 30, 2015). Marlon Brando in his own words - LISTEN TO ME MARLON. Archive from the original June 9, 2018 - via YouTube. B. Kemp, Louis. My Seder and Brando. Archived on April 2, 2012 in Wayback Machine The Jewish Journal. Welcome. Archived on March 25, 2015, at the David S. Wyman Institute for Holocaust Research. Received on April 5, 2015. Moselle, Leading Lady: Peace and Theatre by Catherine Cornell - Canfer 2008, page 59. Graziano 1955. Warr, Kim. Lost Brando Screen Test for Rebels surfaces - But it's not for the Rebels we know and love. Archive February 3, 2007, at Wayback MachineCinematical, Blogs, Inc., March 28, 2006. Received on April 3, 2008. Powell and Garrett 2013, page 111. 40 things you didn't know about The Godfather: Brando and cue cards. Archive March 3, 2015, at Wayback Machine Time, March 14, 2012. Received on December 31, 2014. Rawlings, Nate. On the anniversary you can't refuse: 40 things you didn't know about the Godfather. It's time. Archive from the original on January 2, 2014. a b Brando, M., Grobel, L., Popczynski, M., Holland, S. (2016). Marlon Brando. Heraclone International. The story box. Pl. - Kanfer 2008, page 112. Marlon Brando. Found the grave. Received on May 25, 2020. Brando and Lindsey 1994, p. 178. Canfer 2008, page 125. Girgus 1998, page 175. Best Box Office Hits of 1954, Variety (January 5, 1955) - Weiler, A.H. Movie Review: On the Waterfront. Archived on September 18, 2015 in Wayback Machine By The New York Times, July 29, 1954. Khayray, Wael. Review: On the Waterfront (1954) Archive March 14, 2014 at Wayback Machine Roger Ebert.com, March 21, 1999. Received on April 5, 2015. Nolan Moore (June 7, 2014). 10 strange stories about Frank Sinatra. Archive from the original dated February 2, 2017. Marlon Brando refuses an Oscar for Best Actor - March 27, 1973. HISTORY.com. Archive from the original dated August 16, 2017. Received on August 16, 2017. Crouch, Stanley. As the DVD adds a new depth to Brando's greatness. Archive August 21, 2011, on Wayback Machine Slate, January 25, 2007. Received on June 10, 2012. Marlon Brando on the rejection of the Oscar for the film The Godfather Dick Cavett Show YouTube and Lebo 2005, p47. Anthony, Elizabeth. The annual list of box office champions of quigley, 1932-1970. Archive April 28, 2016 at Wayback Machine Reel Classics. Received on August 7, 2013. Helmis, Joe. Merciful heavens, is this the end of Don Corleone? New York, August 23, 1971, page 52-53. Received on August 7, 2013. Evans 1994, page 225. Santopietro 2012, page 45. Davis, Noah. Check out the Original Godfather Casting List from Francis Ford Coppola's laptop. Archive May 2, 2013 at Wayback Machine Business Insider, June 11, 2011. Received on August 7, 2013. Pierpont 2008, page 71. Hamilton 2006, 126. Lebo 2005, page 47-48. Grobel 2000, page 22. Print, Mark (February 4, 2009). Godfather Wars. www.vanityfair.com Vanity Fair. Received on January 16, 2019. American Indians mourn the death of Brando-Marlon Brando (1924-2004). MSNBC, July 2, 2004. Received on April 5, 2015. Malkin, Bonnie (December 4, 2016). Last Tango in Paris director offers Maria Schneider oil rape scene not by mutual consent. Keeper. Archive from the original dated December 7, 2016. Brando's $3-Mil Different. January 9, 1974. page 1. Pauline Kael (October 28, 1972). The last tango in Paris. Archive from the original on August 27, 2018. Received on August 27, 2018. James, Karin (September 11, 1994). Act out. The New York Times. Archive from the original on August 27, 2018. Received on August 27, 2018. Bosworth 2001, page 198. Canfer 2008, page 269. b c Canfer 2008, page 270. Ebert, Roger. Apocalypse today. Roger Ebert. New York Sound Track. Different. November 21, 1979. page 37. Asher Walsh, Rebecca (July 2, 2004). Millions for Marlon Brando. Entertainment Weekly. Received on May 30, 2020. Freshman RogerEbert.com, July 27, 1990. Archive February 3, 2017, on Wayback Machine - Review: 'Freshman'. Different. December 31, 1989. Archive from the original January 6, 2017. Received on February 3, 2017. Alberge, Dalia (September 17, 2017). Marlon Brando was my idol, but he turned into a monster. He sabotaged my film. TheGuardian.com. received on November 22, 2019. Schickel, Richard. Legend writes a novel. Time, August 7, 2005. Welkos, Robert W. (September 22, 2004). Behind the scenes of Brando's life. Los Angeles Times. Archive from the original on May 26, 2017. Michael Jackson's friend and Marlon Brando's son on Michael Jackson he knew. Archive October 21, 2013 on the Larrykinglive.blogs.cnn.com; April 5, 2015. Marlon Brando in the hospital. BBC, 13 April 2001; April 5, 2015. Brando was working on the final film. Archive March 8, 2012, at Wayback Machine Ireland Online, March 7, 2004. Received on April 5, 2015. Brando was working on a new script. Archive August 11, 2011 on Wayback Machine Fox News, July 2, 2004. Received on April 5, 2015. Brando's last film is back on track. Bbc News, 25 May 2006. Laporte, Nicole. Helmer is reviving the Brando project. Archive January 11, 2012, at Wayback Machine Variety, May 25, 2006. Marlon Brando dies at 80. CNN.com, July 2, 2004 Archived October 16, 2007, in Wayback Machine - Brando Biography, Institute of New York; April 5, 2015. Sellers 2010. When the wild met soft. 22, 2016, in Wayback Machine Los Angeles Times, October 17, 2004. Porter, Dawn. Wild stuff. Archive June 4, 2010, in Wayback Machine The Times, February 12, 2006. Brooks, Xan. The last word about Brando. Archive November 30, 2007 in Wayback Machine The Guardian, May 22, 2007; Received on April 6, 2008. Stern 2009, page 70. Brando and Stein 1979, page 268. Bosworth 2001, page 190. Brando and Lindsay 1994. Reiko Sato Encyclopedia Denshaw. Archive from the original dated August 28, 2017. Received on August 28, 2017. B Porter, Darwin. Brando Unzipped, p.394 - Kahalan, Suzanne (February 17, 2013). Rita Moreno tells all about her almost fatal affair with Brando in his memoirs. New York Post. Archive from the original on January 28, 2018. James Bacon (October 12, 1957). Marlon Brando Verds Is a Wonderful Indian Actress. Tucson is a citizen. Received July 13, 2020 - through Newspapers.com. Anna Kashfi is suing for Marlon Brando's divorce. Los Angeles Times. March 17, 1959. Received July 13, 2020 - through Newspapers.com. Brandon's marriage annulled- The actress has another mate. Philadelphia Daily News. July 30, 1968. Received July 13, 2020 - through Newspapers.com. - The Movie,1961. Institute Nationale de l'audiovisuel archivepourtous (in French). www.ina.fr. Received on 5 April 2015. Marlon Brando interview en francais a la grande opoc /Alexander lacharme - vid'o dailymotion. dailymotion.com archive from the original dated April 29, 2015. Received on June 14, 2015. Hogan's star Cynthia Lynn dies at 76 Different. March 11, 2014. Received on December 29, 2018. Marlon Brando's documentary is posthumous from beyond the grave: Stevan Riley. January 10, 2016. Received on December 29, 2018. Heller, Matthew. Brando will remain for 2 children. Archive October 28, 2012, in Wayback Machine Daily News, July 10, 2004. Received on September 20, 2012. Canfer 2008, page 310. Sellers 2010, page 109. Robert W. Welkos. An archival copy. Archive from the original on March 17, 2016. Received March 15, 2016.CS1 maint: archived copy as headline (link) - obituary of Movita Castaneda. 18, 2015, on ABC News' Wayback Machine. Received on April 5, 2015. Last Tango on Brando Island. Archive December 5, 2011, in Wayback Machine Maxim.com, July 1, 2004. Received on April 5, 2015. Marlon Brando's love life had an epic cast of women and men. Archive from the original dated March 3, 2017. Oil, Patrick (July 3, 2004). Movie legend Marlon Brando dies. Deseret News. Archive from the original july 13, 2009. Received on April 5, 2015. TromaMovies (September 4, 2015). Lloyd Kaufman and Stephen Blackhart have heart to heart - via YouTube. Richard Pryor's widow confirms that her husband had sex with Marlon Brando. February 7, 2018. Received on February 7, 2018. Richard Pryor's daughter slams his widow as Lower Feeder for Marlon Brando's Sex Claims. PEOPLE.com. Received on February 9, 2018. Croukiola, Jordan. Richard Pryor's daughter rejects the allegation that he had sex with Marlon Brando. Vulture. Received on February 9, 2018. Brando. Los Angeles Journal, Volume 49, No. 9, September 2004. ISSN 1522-9149. Brando was hospitalized after being hit by an operator. The Scranton Times-Tribune. June 15, 1973. Received July 14, 2020 - through Newspapers.com. Brando's beef. In the magazine Akron Lighthouse. October 10, 1989. Received July 14, 2020 - through Newspapers.com. Defort, Irving (9 1976). Camera Camera Danville Register and Bee. Received July 14, 2020 - through Newspapers.com. Brando. Paltino Resorts. Archive from the original dated February 20, 2018. Received on February 12, 2018. Sainton, Julian. Last Tango on Brando Island. Archive August 19, 2013 at Wayback MachineMaxim, November 2010. Canfer 2008, page 271. Amateur license - KE6P'-Brandeaux, Martin. Archive January 16, 2013 at the Federal Communications Commission Wayback Machine: Universal Licensing System. Received on October 29, 2012. Baker, Russell. The capital is occupied by a gentle army. (PDF) No, no, no. 21, 2013, in Wayback Machine, The New York Times, August 28, 1963, page 17. Native Americans and proponents stage fish in protest against the denial of contractual rights on March 2, 1964. historylink.org archive from the original dated August 2, 2017. Archive footage of Marlon Brando with Bobby Seale in Auckland, 1968. The Archive on January 7, 2016 at Wayback Machine Stadium Diva.sfsu.edu. Received: June 10, 2012 Academy. Oscar Marlon Brando Win for Godfather on YouTube Received: August 6, 2013. Robert W. Cook (July 28, 1963). Marlon Brando Pickets on the all-white project. State Journal. Received July 14, 2020 - through Newspapers.com. Cuesick, James. The opponents of apartheid decide that their work is done: the Anti-Apartheid Movement has agreed to disband. James Cusick looks back at his victorious 35-year political struggle - Britain - Izvestia Archive September 25, 2015 in Wayback Machine The Independent, June 27, 1994. Received on April 5, 2015. Hamilton, Ed. Jazz community: Brown, Brando and Mandela. Archive April 7, 2014 at Wayback Machine JazzTimes, February 11, 1990. Received on April 5, 2015. Garner, Jack (September 7, 1989). Back to the big screen. Battle Creek Enquirer. Received July 14, 2020 - through Newspapers.com. Grobel, Lawrence. Playboy Interview: Marlon Brando. (permanent dead connection) Playboy, January 1979, ISSN 0032-1478. Received on April 3, 2008. Marlon Brando on the Jewish influence on U.S. culture in film. Archive July 29, 2010, on Wayback machine Washington-report.org. Received: June 10, 2012 Tugend, Tom. Jewish groups are furious over Brando's attacks. Archive January 26, 2012 at the Jewish Telegraph Agency Wayback Machine, April 1996. Ankeny, Jason. Marlon Brando: Biography of the film. All Movies Guide. Received on August 18, 2011. Films in American History: Encyclopedia' - b Marlon Brando Quotes. Archive August 27, 2011, in Wayback Machine Flixster. Received on August 19, 2009. Ebert 2010, page 218. Marlon Brando in Encyclopedia Britannica and Kael, Pauline. Marlon Brando: American hero. The Atlantic Ocean. Archive from the original on April 18, 2017. Received on February 19, 2017. And b Kael, Pauline. Marlon Brando: American hero. Archive April 18, 2017 Machine The Atlantic. Atlantic. August 19, 2011. McDonald-Walker 2000, page 212. a b Levinson 2011, page 81. Kaufman and Kaufman 2009, page 38. Dumitrache, Alina (November 17, 2009). Triumph represents legends of the Wild One Leather Jacket. author's report. Archive from the original on May 5, 2018. Williams 2008, page 114. Pramajore, Maria (February 1997). Fishing for Girls: Romancing Lesbians in new york movie. College literature. 24 (1): 59–75. Archive from the original on October 14, 2007. Received on February 9, 2007. Elizabeth Kennedy; Madeleine D. Davis (1994). Leather boots, slippers of gold: A history of the lesbian community. New York: Penguin. 212-213. ISBN 0-14-023550-7. Blackman, Inge; Katherine Perry (1990). Skirting question: Lesbian fashion for the 1990s. Feminist review. 0 (34): 67–78. doi:10.2307/1395306. JSTOR 1395306. Halberstam, Judith (1998). A woman's masculinity. Durham, North Carolina: Duke University Press. page 330. ISBN 0-8223-2243-9. Brando and Lindsey 1994, page 126. Brando and Lindsey 1994, page 127-128. Brando and Lindsey 1994, page 203. - Listen to Me Marlon Watch online full film - Documentary Mania, extracted June 17, 2020 - and Silverman, Steven M. Marlon Brando leaves a $21.6 million estate. Archive October 4, 2011, at Wayback Machine People, August 4, 2007. Received on August 19, 2011. Kafka, Peter and Leah Hoffmann. The best dead celebrities. Archive November 4, 2012 in Wayback Machine Forbes, October 27, 2005. Received on August 19, 2011. Settembre, Jeanette (November 27, 2019). The Rolex worn by Marlon Brando may be the most expensive watch ever sold. FOXBusiness. Received on December 2, 2019. AFI in 100 years ... 100 stars. The archive on October 25, 2014 on the afi.com. Received on December 1, 2012. People of the Century: One Century, 100 Remarkable People Archive January 9, 2014, on Wayback Machine. Time, 2015. Received on April 5, 2015. 100 Icon of the Century: Marlon Brando Archive February 1, 2010, at Wayback Machine Variety. Received on August 19, 2011. Adler bibliography, Stella; Paris, Barry (1999). Stella Adler on Ibsen, Strindberg and Chekhov. New York: Alfred A. Knopf. ISBN 0-679-42442-3. Bain, David Howard. Old Railroad: Epic rails, roads and a call to go west. New York: Penguin Books, 2004. ISBN 0-14-303526-6. Bligh, Nelly (1994). Marlon Brando: Bigger than life. New York: Pinnacle Books/Windsor Pub. Corp. ISBN 0-7860-0086-4. Bosworth, Patricia (2001). Marlon Brando. London: Weidenfeld and Nicholson. ISBN 0-297-84284-6. Brando, Anna Kashfi; Stein, E.P. (1979). Brando for breakfast. New York: The Publishers of the Crown. ISBN 0-517-53686-2. Brando, Marlon and Donald Cammell. Fan Tan. New York: Knopf, 2005. ISBN 1-4000-4471-5. Brando, Marlon; Lindsey, Robert (1994). Brando: My mother's songs taught me. New York: Random ISBN 0-679-41013-9. Diarrhoear, Philip K. (2011). Films in American history: Encyclopedia. Santa Barbara, CA: ABC-CLIO. ISBN 1-59884-296-X. Ebert, Roger (2010). Great Movies III. Chicago: University of Chicago Press. ISBN 0-226-18208-8. Englund, George. Like it's never been done before: My friendship with Marlon Brando. New York: Harper Collins Publishers, 2004. ISBN 0-06-078630-2. Robert Evans (1994). The baby stays in the picture. New York: Hyperion. ISBN 978-0-7868-6059-3. Girgus, Sam B. (1998). Hollywood Renaissance: Movie democracy in the era of Ford, Capra and Kazan. New York: Cambridge University Press. ISBN 978-0-521-62552-4. Graziano, Rocky; Barber, Rowland (1955). Someone up there loves me. New York: Simon Schuster. Grobel, Lawrence (2000). Above the line: Talking about movies. New York: Da Capo Press. ISBN 978-0-306-80978-1. Grobel, Lawrence. Talking to Brando. New York, Hyperion, 1990. Cooper Square Press 1999. Rat Press, 2009 Hamilton, Neil A. (2006). The history of eyewitnesses of the 1970s. New York: Facts on the archive. ISBN 978-0-8160-5778-8. The judge, Bernard. Waltz with Brando: Planning Paradise in Tahiti. New York: ORO Editions, 2011.ISBN 978-0-9826226-4-3 Kanfer, Stefan (2008). Someone: The reckless life and wonderful career of Marlon Brando. New York: Knopf. ISBN 978-1-4000-4289-0. Kaufman, Burton I.; Diana Kaufman (2009). From A to I of the Eisenhower era. Lanham, Maryland: Scarecrow Press. ISBN 0-8108-7150-5. Lebo, Harlan (2005). The Godfather's Legacy: The Untold Story of the Classic Godfather Trilogy. New York: Touchstone Press. ISBN 978-0-7432-8777-7. Levinson, Martin H. (2011). Brooklyn Boomer: Growing up in the fifties. Bloomington, Indiana: iUniverse. ISBN 1-4620-1712-6. McDonald-Walker, Suzanne (2000). Bikers: Culture, Politics and Power. Oxford, United Kingdom: Berg Publishers. ISBN 1-85973-356-5. McDonough, Jimmy. Big breasts and square jaws: A biography of Russ Meyer, the king of the sex film. New York: The Crown, 2005. ISBN 978-1- 4000-5044-4. David McGowan (2014). Strange scenes inside the canyon: Laurel Canyon, Secret Operations and the dark heart of the Hippie Dream. SCB Distributors. ISBN 978-1-9093-9413-1. Pendergast, Tom and Sara.St. James Encyclopedia of Popular Culture, Volume 1. Detroit, Michigan: St. James Press, 2000. ISBN 978-1-55862- 405-4. Petkovic, Anthony. Burn, Brando, Soggita!. United Kingdom: Headpress 19: World Without End (1999), page 91-112. Pierpont, Claudia Roth (October 27, 2008). Method man. A New Yorker. Larry Powell; Garrett, Tom (2013). John Avildsen films: Rocky, Karate Kid and other outsiders. Jefferson, North Carolina: McFarland and company. ISBN 978-0-7864-6692-4. Santopietro, Tom (2012). The Godfather Effect: Changing Hollywood, America and Me. New York: Thomas Dunne Books. ISBN 978-1-250-00513-7. Shoell, William. Sundance Kid: Biography Robert Redford. Boulder, Colorado: Taylor Trade Publishing, 2006. ISBN 978-1-58979-297-5. Sellers, Robert (2010). Hollywood Hellraisers: The Wild Life and Fast Times by Marlon Brando, Dennis Hopper, Warren Beatty, and Jack Nicholson. New York: Skyhorse Publishing. ISBN 978-1-61608-035-8. Stern, Keith (2009). queers in history: A comprehensive encyclopedia of historical gays, lesbians and bisexuals. Jackson, Tennessee: BenBella Books. ISBN 1-933771-87-9. Williams, Linda (2008). Screening Sex. Durham, North Carolina: Duke University Press. ISBN 0-8223-4285-5. External Commons links have media related to Marlon Brando. Wikiquotenik has quotes related to: Marlon Brando Official website Marlon Brando in encyclopedia Britannica Marlon Brando on IMDb Marlon Brando on TCM film database Marlon Brando in the Internet Broadway database Vanity Fair: The King Who Will Be the Man Budd Schulberg The New Yorker: Duke in his Domain - Truman Excess After The Success of Marlon Brando Get a grave. Received on June 10, 2013. Extracted from the

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