Marlon Brando

At 80 years old, Marlon Brando has this physical status:

Marlon Brando Jr. (April 3, 1924 – July 1, 2004) was an American actor and film director with a career spanning 60 years, during which he received the Oscar for Best Actor twice.

He is well-known for his contribution to twentieth-century cinema.

Brando was an ardent supporter for several causes, including the civil rights movement and various Native American movements.

He appeared in the 1940s and 1950s as one of the first actors to perform and Method Acting, which was derived from the Stanislavski system, to mainstream audiences. He earned recognition and an Academy Award nomination for portraying Stanley Kowalski's role in Tennessee Williams' 1951 film version of A Streetcar Named Desire, a role in which he appeared on Broadway.

Terry Malloy in On the Waterfront received more accolades and an Academy Award for his work on the Waterfront, as well as his portrayal of Johnny Strabler, the rebellious motorcycle gang leader in The Wild One.

In Viva Zapata, Brando received an Academy Award for his role Emiliano Zapata. (52); Mark Antony in Joseph L. Mankiewicz's 1953 film adaptation of Shakespeare's Julius Caesar; and the Air Force Major Lloyd Gruver in Sayonara (1957), an adaptation of James Michener's 1954 novel. Brando's career in the 1960s saw a commercial and critical downturn.

Early life and education

Brando was born in Omaha, Nebraska, on April 3, 1924, to Marlon Brando Sr. (1895–1965), a pesticide and chemical feed manufacturer, and Dorothy Julia Pennebaker (1897–1954). Jocelyn (1919–2005) and Frances (1922–1994) were Brando's two older sisters, named Jocelyn (1919-1919–2005) and Frances (1922–1994). His ancestry was mainly German, Dutch, English, and Irish. Johann Wilhelm Brandau, his patrilineal immigrant ancestor, arrived in New York City in the early 1700s from Germany's Palatinate. He is also a descendant of Louis DuBois, a French Huguenot, who arrived in New York around 1660. Myles Joseph Gahan, his maternal grandfather, was an Irish immigrant who served as a medic in the American Civil War. "I have never been so happy in my life," he said in Ireland in 1995. This was the moment I got off the plane. I've never felt at home in a situation like here. "I am seriously considering Irish citizenship." Brando was born a Christian Scientist.

Dodie, his mother, was unusual for her day; she smoked, wore pants, and drove cars. Henry Fonda's acting debut was aided by an actress as well as a theater manager. However, she was an alcoholic and her husband was often asked to be taken home from bars in Chicago by her husband. Brando's autobiography, Songs My Mother Taught Me, expressed sadness in writing about his mother: "She preferred getting drunk to caring for us." Dodie and Brando's father was eventually affiliated with Alcoholics Anonymous. "I was his namesake, but nothing I ever be concerned with him," Brando said of his father. He loved telling me that you couldn't do anything right. He had a habit of reminding me that he would never do something." Brando was sexually assaulted by his teenage governess when he was four years old. Brando became attached to her and was dissatisfied when she left him. Brando was devastated by her death for the remainder of his life. Brando's parents immigrated to Evanston, Illinois, when his father's work brought him to Chicago, but he and his wife died in 1935, when Brando was 11 years old. The three children's mother took them to Santa Ana, California, where they lived with her mother. By 1937, Brando's parents reconciled, and by the next year, Evanston and his family were relocated to a farm in Libertyville, Illinois, a small town north of Chicago. He served as an usher at the town's sole movie theater, The Liberty, from 1939 to 1941.

Brando, who's childhood nickname was "Bud," was a nodulation of his youth. He demonstrated an ability to absorb the mannerisms of children he played with and display them well while remaining in character. Wally Cox, a neighborhood boy, was introduced to him, and the two were his closest friends until Cox's death in 1973. George Englund, a childhood friend, recalls Brando's early appearances on the family farm as a way to discourage his mother from drinking. Jocelyn was the first one to pursue acting, and he wanted to study at the American Academy of Dramatic Arts in New York City. She appeared on Broadway, followed by films and television. Francesca Brando's sister moved from California to New York to study art. Brando had been suspended from Libertyville High School after riding his bike through the corridors for a year in school and was later suspended from the program.

He was sent to Shattuck Military Academy in Minnesota, where his father had been attending before him. Brando excelled at theater and did well in the curriculum. During maneuvers, he was put on probation for being insubordinate to a visiting army colonel. He was house bound to his bed, but he was able to get into town and was apprehended. The faculty voted to exclude him, but the students argued that expulsion was unfair. He was expected back for the following year, but he chose not to return to high school instead. Brando did a summer job arranged by his father for a ditch digger. He tried to enlist in the Army but discovered that a football injury he suffered at Shattuck left him with a trick knee. He was listed IV-F (physically incompetent for military service) and had not been deployed when he was first inducted.

Brando, a famous German filmmaker, moved to New York with his siblings, studying at the American Theatre Wing Professional School, part of the New School's Dramatic Workshop, with influential German director Erwin Piscator. "He was in a school play and loved it," Brando's sister Jocelyn mentioned in a 1988 film "The Wild One." So he decided to go to New York and study acting because it was the only thing he loved doing. That was before he was 18 years old. Brando was "unaccepted" in New York, according to George Englund, who was in A&E Biography episode on Brando because "he was accepted there." He wasn't chastised. It was the first time he heard positive things about himself. He spent his first few months in New York on friends' couches. Roy Somlyo, who later became a four-time Emmy Award-winning Broadway producer, lived with him for a time.

Brando, a lifelong learner and advocate for Stella Adler, from whom he learned the Stanislavski system. To fully understand the character being depicted, the actor was encouraged to investigate both internal and external factors in order to fully comprehend the character. Brando's dazzling insight and sense of realism were evident early on. Adler proceeded to state that she had warned the students to behave like chickens when they were taught Brando and that a nuclear bomb was about to land on them. The bulk of the class clucked and screamed, but Brando sat comfortably and pretended to lay an egg. When Adler asked why he had opted for this way, he replied, "I'm a chicken," he said. "What do I know about bombs?" Despite being widely believed to be a method actor, Brando disagreed. Lee Strasberg's teachings were apparently abhorred by him, according to him.

Brando was the first to take a natural approach to acting on film. Brando will often speak to cameramen and other actors about their weekend, even after the director would announce taking action, according to Dustin Hoffman in his online Masterclass. Once Brando felt he could lead the discussion as naturally as the one. He said in his 2015 film Listen To Me Marlon that actors were like breakfast cereals, implying that they were predictable. Later critics would later claim that this was Brando's difficult, but actors who performed opposite would claim it was simply part of his approach.

Personal life

Brando was known for his tumultuous personal life and his large number of spouses and children. He was the father of at least 11 children, three of whom were adopted. "Homosexuality is so in fashion, it no longer makes headlines," he told a French journalist in 1976. I, too, have had homosexual encounters as a large number of men, and I am not ashamed. I've never paid attention to what people think about me. However, if someone else is convinced that Jack Nicholson and I are lovers, will they keep doing so. I find it amusing."

Brando said in Songs My Mother Teach Me That They attended Marilyn Monroe's birthday party that she played piano, unnoticed by anyone else, that they had an affair and had a constant friendship for many years, and that they received a phone call from her several days before she died. In his autobiography, he referred to many other romances, but did not mention his marriages, his husbands, or his children.

In the early 1950s, Reiko Sato, a nisei actress and dancer, met him. Though their friendship faded, they remained friends for the remainder of Sato's life, with her splitting her time between Los Angeles and Tetiaroa in her later years. Dorothy Kilgallen wrote that they were an item in 1954. Ariane 'Pat' Quinn was also dated by the brando, who dated her.

After seeing her in High Noon, Brando became smitten with Mexican actress Katy Jurado. They met when Brando was filming Viva Zapata! Mexico is located in Mexico. Brando told Joseph L. Mankiewicz that he was attracted to "her enigmatic eyes, black as hell, pointing at you like fiery arrows." Their first date (1960), a Brando film, began an extended affair that spanned many years and peaked at the time they met together on One-Eyed Jacks (1960), a film directed by Brando.

In 1954, Brando and Rita Moreno started a love affair, which culminated in marriage. Moreno later revealed in her memoir that after she became pregnant by Brando, he arranged for an abortion. Moreno attempted suicide after the abortion was botched and Brando fell in love with Tarita Teriipaia, but Brando attempted suicide by overdosing on Brando's sleeping pills. Moreno expressed his love interest in the film The Night of the Following Day, years since they broke up.

Josanne Mariani, a 19-year-old French actress who appeared in 1954, was briefly engaged by Brando to her 19-year-old French actress Josanne Mariani, who he briefly met in 1954. Brando and his other sister, Anna Kashfi, was pregnant and they ended up marrying her instead.

Anna Kashfi, a 1957 model, married Brando. Kashfi was born in Calcutta and moved to Wales from India in 1947. William O'Callaghan, a Welsh steel worker of Irish descent, and his Welsh mother Phoebe are the daughter of a Welsh steel worker of Irish descent, and his Welsh wife Phoebe. Kashfi, on the other hand, claimed that she was half Indian and that O'Callaghan was her stepfather. She said that her biological father was Indian and that she was the result of a "unregistered relationship" between her parents. Christian Brando, Brando's son, was born on May 11, 1958; they divorced in 1959.

Brando married Movita Castaneda, a Mexican-American actress, in 1960, but the marriage was annulled in 1968 after it was discovered that her previous marriage was still active. Castaneda appeared in the first Mutiny film in 1935, many 27 years before the 1962 remake starring Brando as Fletcher Christian. They had two children together: Miko Castaneda Brando (born 1961) and Rebecca Brando (born 1966).

On August 10, 1962, French actress Tarita Teriipaia, who portrayed Brando's love interest in Mutiny on the Bounty, became his third wife. She was 20 years old and 18 years younger than Brando, who was reportedly delighted by her naveté. Brando became fluent in the language and gave numerous interviews in French because Teriipaia was a native French speaker. Simon Teihotu Brando (born 1963) and Tarita Cheyenne Brando (1970-1955) were married together in Teriipaia. Maimiti Brando (born 1977) and niece Raiatua Brando (born 1982), both adopted Teriipaia's daughter, Maimiti Brando (born 1977) and niece Raiatua Brando (born 1982). In July 1972, Brando and Teriipaia divorced.

The daughter of actress Cynthia Lynn claimed that Brando had a short-lived affair with her mother, who appeared with Brando in Bedtime Story, and that the incident culminated in her birth in 1964. He had a tense, long-term friendship with actress Jill Banner from the late 1960s to early 1980s.

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), and Timothy Gahan Brando (born January 6, 1994). Petra Brando-Corval (born 1972), the daughter of his assistant Caroline Barrett and novelist James Clavell's uncle, was also adopted by the brando.

Brando's close friendship with Wally Cox was the subject of rumors. "I think if Wally had been a woman, I would have married him and we'd have lived happily ever after." Two of Cox's wives, on the other hand, denied the suggestion that the marriage was more than platonic.

Tuki Brando, Brando's grandson (born 1990), son of Cheyenne Brando, is a fashion model. Prudence Brando and Shane Brando, children of Miko C. Brando, Rebecca Brando's children, and three children of Teihotu Brando are among others among others' many grandchildren.

Stephen Blackehart has been rumored to be Brando's son, but Blackehart denies this assertion.

Quincy Jones and Jennifer Lee reported that Brando had a sexual relationship with comedian and Superman III actor Richard Pryor. Rain Pryor, the daughter of Pryor's father, later denied the allegation.

Brando's public outbursts and antics earned him a reputation as a "bad guy." "Brando was rock and roll before anyone knew what rock and roll was," Los Angeles' magazine says. His performance on the Bounty (1962) appeared to have boosted his image as a tough actor. He was blamed for a change in director and a runaway budget, but he denied responsibility for either. Brando broke paparazzo Ron Galella's jaw on June 12, 1973. After a taping of The Dick Cavett Show in New York City, Galella had followed Brando, who was joined by talk show host Dick Cavett. He received an infected hand as a result of a $40,000 out-of-court settlement and sustained an infected hand. Galella wore a football helmet the next time he photographed Brando at a gala benefing the American Indian Development Association in 1974.

Brando's life was influenced by Mutiny's film on the Bounty, as he fell in love with Tahiti and its people. Bernard Judge, an award-winning young Los Angeles architect, was hired to design his house and natural village there without despoiling the area. An environmental laboratory for sea birds and turtles was established, and for many years, student groups visited. Many of the buildings, including his resort, were destroyed by the 1983 hurricane. The Brando Resort, a hotel that used Brando's name, opened in 2014. Brando was a prominent ham radio operator, with call marks KE6PZH and FO5GJ (the latter from his island). He was identified as Martin Brandeaux in FCC (FCC) documents in order to protect his personal information.

"On the one hand, being a celebrity prompted Marlon to take his revenge on a world that had so deeply wounded him," biographer Peter Manso says in a A&E Biography episode on Brando. On the other hand, he looted it because he knew it was false and ephemeral." "Many, many people who collaborated with him and came to work with him with the best intentions, went away in despair, saying he is a spoiled child," David Thomson describes. It must be done his way or he goes home with a lengthy story about how he was wronged, accused, and I think that fits with the psychological pattern that shows he was a wronged boy.

Brando appeared in Ben Hecht's Zionist play A Flag is Born in 1946. In the 1960 presidential race, he attended several fundraisers for John F. Kennedy. He and fellow celebrities Harry Belafonte, James Garner, Charlton Heston, Burt Lancaster, and Sidney Poitier were among those involved in the March on Washington in August 1963. Brando, as well as Paul Newman, participated in the Freedom Rides. In the 1964 United States presidential election, Brando endorsed Lyndon B. Johnson.

Brando attended Helsinki, Finland, at a UNICEF charity party held at the Helsinki City Theatre in autumn 1967. In thirteen countries, the gala was televised. Brando's tour was based on the famine he had seen in Bihar, India, and he showed the film to the public and invited guests. He advocated for children's rights and development assistance in developing countries.

Brando made one of the finest pledges to advance King's career following his assassination of Martin Luther King Jr. in 1968. He announced shortly after King's death that he was bowing out of the lead role of a major film (The Arrangement) (1969), which was about to begin production in order to dedicate himself to the civil rights movement. On the late-night ABC-TV talk show Joey Bishop Show, Brando said, "I felt I'd better go find out where it is; what it is to be black in this world; what this rage is all about." "I'll never forget the night that Reverend King was fired," actor and co-star Martin Sheen says, "I'll never forget the night when I turned on the news and Marlon was strolling through Harlem with Mayor Lindsay." And if there were snipers and a lot of protests, he stayed walking and talking to those communities with Mayor Lindsay. It was one of the most remarkable acts of courage I've ever seen, and it involved a lot and did a lot."

Brando appeared before the California Assembly in favor of a fair housing policy and personally joined picket lines in demonstrations of discrimination in housing construction in 1963.

He was also an anti-apartheid protester. In 1964, he advocated for a boycott of his films in South Africa to keep them from being seen to a largely male audience. He was part of a 1975 resistance demonstration against American investment in South Africa and Nelson Mandela's release. Brando appeared in the 1989 film A Dry White Season, based on André Brink's book of the same name.

In April 1996, Brando made a similar comment on Larry King Live: 'All is not equal.'

Source

Career

Brando's Stanislavski System capabilities were used in his first summer stock positions in Sayville, New York, on Long Island. In the few shows he had been in, Brando had a pattern of erratic, insubordinate conduct. He was refused out of the cast of the New School's production in Sayville due to his conduct, but he was soon discovered in a locally produced play. In 1944, then made it to Broadway in the bittersweet drama I Remember Mama, starring Mady Christians' son. Brando wanted Brando to play Alfred Lunt's son in O Mistress Mine, and Lunt even coached him for the audition, but Brando refused to even read his lines at the audition and was not hired. Despite the fact that the play was a commercial disaster, New York Drama Critics named him "Most Promising Young Actor" for his role as an anglophone soldier in Truckline Café. He appeared on Broadway in 1946 as the young hero in the political drama A Flag is Born, refusing to pay salaries above the Actors' Equity rate. Brando appeared in Marchbanks alongside Katharine Cornell in her production's revival of Candida, one of her signature roles, in the same year. In Jean Anouilh's Antigone production that same year, Cornell also cast him as the Messenger. He was also given the opportunity to act one of Eugene O'Neill's The Iceman Cometh's principal characters, but he had to cancel after falling asleep while reading the huge script and pronouncing the play "ineptly written and poorly constructed."

In 1945, Brando's agent suggested that he appear in The Eagle Has Two Heads, a British film directed by Jack Wilson. Blanche Dubois, a character in A Streetcar Named Desire, which Williams had written for her, had been turned down by Bankhead, who had to tour the play from 1946-1947. Despite Brando's disdain (which most Broadway veterans reported) for method acting, bankhead accepted him and hired him, even though he failed to hire him. The two brothers clashed heavily during the pre-Broadway tour, with Bankhead reminding Brando of his mother's age, and also having a drinking problem. Wilson was generally supportive of Brando's behavior, but he hit his limit when Brando mumbled through a dress rehearsal shortly before the opening of the November 28, 1946. Wilson said, "I don't care what your grandmother did." "It't care what your grandmother did" and "I'm going to do" "and the Method stuff, I'm curious." Brando, who in turn, boosted his voice and performed with a lot of conviction and zeal. A cast member recalled, "It was marvel." "Everybody hugged him and kissed him." He came on stage and said, 'They don't think you can act unless you can yell,'" he said to me.

Critics were not all generous, but critics were not as generous as others. Brando was "still developing his image," according to a report in the opening, but "at present, it fails to impress." "Brando looked like a sedan in midtown Manhattan looking for a parking space," one Boston critic said of Brando's prolonged death scene. At subsequent tour stops, he received higher accolades, but what his coworkers recalled was only occasional hints of the talent he would later showcase. "He was certainly magnificent" at a few times in 1962, Bankhead confided to an interviewer. "He was a great young actor when he wanted to be," the writer said on stage, but "most of the time I couldn't even hear him on stage."

Brando demonstrated his passion for the role by displaying some bizarre onstage demeanors. "She tried everything in the world to ruin it for her," Bankhead's stage manager said. "He nearly drove her mad: scratching his crotch, picking his nose, doing nothing." They arrived in Boston after many weeks on the road, by which time Bankhead was prepared to dismiss him. This was one of his greatest blessings of his career, as it enabled him to appear in Tennessee Williams' 1947 play A Streetcar Named Desire, directed by Elia Kazan. Moreover, Bankhead herself, who had been denying Williams' invitation to appear in Blanche's letter, sent Brando this ringing—albeit acid-tongued—endorsement:

According to Pierpont, John Garfield was the first choice for the position, but "didn't make impossible demands." It was Kazan's decision to abandon the much less experienced (and perhaps too young for the job) Brando. Williams confided to his agent Audrey Wood that "It had not occurred to me before" what an excellent value would accrued by casting a young actor in this role. In that sense, it humanizes Stanley's character in that it becomes more about violence and callousness of youth rather than a vicious old man.... Brando's book was by far the best I've ever heard. Brando based his portrayal of Kowalski on the boxer Rocky Graziano, who had attended a local gymnasium. Graziano didn't know who Brando was, but he went to the theatre with tickets given by the young man. "The curtain went up and on the stage is the son of a bitch from the gym, and he's playing me," he said.

Brando conducted a screen test for an early Warner Brothers script for the film Rebel Without a Cause (1944), which had no relationship to the one that was eventually released in 1955. In the 2006 DVD version of A Streetcar Named Desire, the screen test is included as an extra.

In The Men (1950), Brando's first film role was as a bitter plegic veteran. To prepare for the position, he spent a month in bed at the Birmingham Army Hospital in Van Nuys. "Brando as Ken is so vividly real, vibrant, and sensitive that his illusion is complete," the New York Times reviewer said, "he can lash into a tense rage with the breaking of a taut cable suddenly cut into a ferocious rage."

It may have been because of this film that his draft status was changed from 4-F to 1-A, according to Brando's own account. He had surgery on his trick knee, but it was no longer physically debilitating enough to warrant exclusion from the draft. When Brando came to the induction center, he answered a questionnaire by claiming his ethnicity was "human," his hue was "Seasonal-oyster white to beige," and he told an Army doctor that he was psychoneurotic. Brando recalled being banned from military service and had serious issues with authority when the board referred him to a psychiatrist. Coincidentally, the psychiatrist knew a Brando doctor friend. During the Korean War, Brando avoided military service.

Brando began using cue cards rather than memorizing his lines early in his career. Despite the objections of several of the film producers with whom he collaborated, Brando believes that this helped bring realism and spontaneity to his performances. He felt that if he were reciting a writer's words, he'd be reciting a writer's essay. Brando said in the TV series The Making of Superman: The Movie: Brando explains:

However, some believed Brando used the cards out of laziness or inability to recall his lines. Brando was asked why he wanted his lines to be printed out on the Godfather set earlier this year." "I can read them that way," he replied.

In Tennessee William's A Streetcar Named Desire (1951), Brando brought his performance as Stanley Kowalski to the screen. The role is considered one of Brando's best. It was his first Academy Award nomination in the Best Actor category.

He was also nominated for Viva Zapata next year. Emiliano Zapata, a Mexican revolutionary, was a fictionalized account of his life (1952). The film chronicled Zapata's humble roots, his ascension to office in the early 20th century, and his death. Elia Kazan and co-starred Anthony Quinn in the film. Sam Shaw's book Marlon Brando: The Wild One says, "secretly, before the picture was published, he traveled to Mexico, where Zapata lived and was born in, and it was there that he studied people's speech, habits, and mobility." With Time and Newsweek releasing rave reviews, the majority of critics stayed on the actor rather than the film.

Brando remarked in his autobiography: "Tony Quinn, whom I admired professionally and adored personally, was my brother, but he was extremely cold to me when we took the picture." I felt a sense of boredom toward me, and if I suggested a drink after work, he either turned me down or else said little. "I didn't know why until a few years later." Brando explained that to bring on-screen tension between the two companies, "Gadg" (Kazan) had told Quinn — who had taken over the role of Stanley Kowalski on Broadway after Brando had finished — that Brando had been unimpressed with his performance. Kazan never told Quinn that he had deceived him after achieving the desired result. Brando and Quinn's deception was only years ago, after comparing notes.

Julius Caesar (1953), Brando's next film, received high praise. Mark Antony was portrayed by Brando. Although most acknowledged Brando's talent, some commentators felt that Brando's "mumbling" and other idiosyncrasies reflected a lack of acting fundamentals and that, when his casting was announced, many people were skeptical about his chances of success. During Joseph L. Mankiewicz's directed "Friends, Romans, countrymen," Brando gave an impressive appearance, especially during Antony's titled "Friends, Romans, countrymen" address. Gield was so impressed that he offered Brando a full season at the Hammersmith Theatre, an offer he turned down. "Marlon's autobiography devotes one line to his film work,' Stefan Kanfer writes about him: "For me to step onto a movie set and play Mark Anthony was asinine"—yet another sign of his continuing self-determination that is wholly inaccurate." Kanfer continues that after a screening of the film, director John Huston says, "Christ!" It was like a furnace door opening—the heat came off the screen. I don't know of another actor who might do that." Brando discovered Elia Kazan collaborated with congressional investigators during the filming of Julius Caesar, naming a whole bunch of "subversives" to the House Committee on Un-American Activities (HUAC). Brando was furious by his mentor's decision, but he worked with him again in On The Waterfront. "No one of us is perfect," he wrote later in his book, "and I suspect that Gadg has caused injury to some people, but mostly to himself."

Brando appeared in The Wild One in 1953, riding his own Triumph Thunderbird 6T motorcycle. The importers of Triumph were ambivalent about the case, with rowdy motorcycle gangs taking over a small town. At the time, the film was mocked for its apparent gratuitous violence, but Time later announced, "The goal of the film is not to shed light on the national epidemic, but to pump adrenaline through the moviegoer's veins." Brando was reportedly not on eye with Hungarian director László Benedek and did not engage with costar Lee Marvin.

To Brando's surprise, the film inspired teenage rebellion and made him a role model to the nascent rock-and-roll generation and future stars such as James Dean and Elvis Presley. Following the movie's release, leather jackets and motorcycles became incredibly popular. Brando said in his autobiography that it had not aged well, but that the following lines had not.

Brando co-starred with fellow Studio actor William Redfield in a summer stock production of George Bernard Shaw's Arms and the Man later this year.

Brando appeared in On the Waterfront, a crime drama film about union violence and mistreatment among longshoremen in 1954. Elia Kazan directed and written by Budd Schulberg; it also starred Karl Malden, Lee J. Cobb, Rod Steiger, and Eva Marie Saint, who appeared in her film debut, Eva Marie Saint. Brando was initially offered the role, but the part of Terry Malloy was almost taken to Frank Sinatra, despite being stung by Kazan's testimony to HUAC. Sinatra, who grew up in Hoboken (where the film was shot), would appear as Malloy, according to biographer Stefan Kanfer, but producer Sam Spiegel wooed Brando to the role, signing him for $100,000. "Kazan did not protest because he later admitted, 'I always preferred Brando to anyone."

In On the Waterfront, Brando received the Oscar for his role as Irish-American stevedor Terry Malloy. His success, boosted by his friendship with Eva Marie Saint and Kazan's direction, was described as a tour de force. I could have been a candidate for the scene in which Terry laments his failures, but he assured Kazan that the scripted scene was unrealistic. Brando appeared in the entire scene with his character being held at gunpoint by his brother Charlie, played by Rod Steiger, in Schulberg's script. Brando kept insisting on gently urging that Terry Terry will never believe that his brother would pull the trigger and doubt that he would continue speaking out against a pistol, fearing of a gun. Kazan let Brando improve, but later expressed profound admiration for Brando's intuition, saying, "It's instinctive perception was awesome."

On the Waterfront received lauding reviews from critics and became a commercial success, grossing $4.2 million in rentals at the North American box office in 1954. In his review of the film on July 29, 1954, The New York Times critic A. H. Weiler praised it, saying it was "an uncommonly strong, exciting, and imaginative use of the screen by gifted professionals." Roger Ebert, a film critic, praised the film, saying that Brando and Kazan changed acting in American films forever and added it to his "Great Movies" list. Brando's autobiography was dismissive of his work: "I was so distraught by my results that I got up and left the screening room on the day Gadg showed me the complete picture." "I thought I was a huge failure." The statue was robbed after Brando was named Best Actor by the Academy. It appeared at a London auction house, which contacted the actor and alerted him of its whereabouts.

Following On the Waterfront, Brando remained a top box office draw, but critics increasingly believed his performances were half-hearted, lacking the energy and dedication found in his earlier careers, particularly in his work with Kazan. In the 1954 film Désirée, he portrayed Napoleon. Brando's employment, according to co-star Jean Simmons, prompted him to act in the film. He put little effort into the role, saying he didn't like the script and then dismissed the entire film as "superficial and dismal." Henry Koster, the director, was particularly mocked by Brando.

In the film version of the musical Guys and Dolls (1955), Brando and Simmons were reunited together again. Brando's first and last musical role will be Guys and Dolls. Time found the picture "false to the original in its feeling," remarking that Brando "sings in a faraway tenor that sometimes tends to be flat." In an early 1955 appearance in Edward Murrow's Person to Person interview, he confessed to having trouble with his singing voice, which he described as "pretty bad." In the 1965 film Meet Marlon Brando, he revealed that the final product heard in the film was a result of countless singing takes being cut into one, and later joked, "I couldn't hit a note with a baseball bat; some notes I missed by remarkable margins." They stitched my words together on one song so tightly that I almost asphyxiated myself as I mouthed it on camera. Both Brando and Costar Frank Sinatra were frosty, with Stefan Kanfer observing: "The two guys were diametrically opposites: Marlon demanded multiple takes; Frank detested repeating himself." "Don't give me any of the Actors Studio shit," Sinatra scoffed at on their first meeting. "Frank is the kind of guy, he's going to heaven, and give God a difficult time for making him bald," Brando said later. Brando was dubbed "the world's most overrated actor," by Frank Sinatra, who also referred to him as "mumbles." The film was commercially but not highly profitable, costing $5.5 million to produce and grossing $13 million.

In The Teahouse of the August Moon (1956), Brando played Sakini, a Japanese interpreter for the US Army in postwar Japan. Pauline Kael was not impressed by the film, but noted that "Marlon Brando stepped up his role to play Sakini," a sarcastic accent, grinning boyishly, bending forward, and doing difficult movements with his legs. He's harmlessly genial (and he's certainly missed when he's offscreen), but the fey, roguish role doesn't encourage him to do what he's good at, and it's likely he's less effective in it than a lesser actor would have been). He appeared as a United States Air Force officer in Sayonara (1957). Newsweek called the film a "dull tale of the twain's meeting," but it was nonetheless a box-office hit. According to Stefan Kanter's biography of the actor, Brando's boss Jay Kanter negotiated a lucrative deal that put him in the millionaire category. The film was controversial due to openly discussing interracial marriage, but it was still a huge success, garnering ten Academy Award nominations, with Brando nominated for Best Actor. The film went on to win four Academy Awards. Brando wanted to make a film with socially relevant messages in the first decade. Teahouse and Sayonara were the first in a series of films to launch in the United States. Brando also started a relationship with Paramount to create Pennebaker, with the stated aim to produce films with "social value that would benefit the world." The name was given in honor of his mother, who died in 1954. Brando was devastated by her death, according to A&E's Biography, "She was the one who could give him permission like no one else could." "After his mother died, it seems that Marlon has stopped caring." Brando appointed his father to run Pennebaker. George Englund claims that Brando gave his father the job because "it gave Marlon a chance to fire him, demonize him, and diminish him."

Brando appeared in The Young Lions in 1958, dyeing his hair blonde and adopting a German accent for the role, which he later admitted was not convincing. The film is based on Irwin Shaw's book, and Brando's portrayal of the character Christian Diestl was controversial at its time. "The original script closely followed the book, including Christian, who was painted as a symbol of all that was wrong about Nazism, and Shaw even portrayed all Germans as villainous caricatures, especially Christian, who was portrayed as a symbol of all evil that was anti-Nazia; he was mean, cruel, a myth of evil." I felt the story should have shown that there are no such thing as 'poor' people in the world, but they can also be deceived." Shaw and Brando even joined together for a televised interview with CBS reporter David Schoenbrun, and Shaw accused Brando, like most actors, of being unable to deliver flat-out villainy; Brando denied this by saying "No one creates a character but an actor." I play the role; now he exists. He is my creation." Brando's only appearance in a film with colleague and rival Montgomery Clift was also included in the Young Lions (although no scenes were shared). Brando rounded out the decade by appearing in The Fugitive Kind (1960) opposite Anna Magnani. The film was based on another Tennessee Williams film, but it was not the success A Streetcar Named Desire had been, with the Los Angeles Times naming Williams' personae as "physically ill or just plain ugly" and The New Yorker referring to it as a "cornpone melodrama."

Brando made his directorial debut in the western One-Eyed Jacks in 1961. Stanley Kubrick's original script was directed, but he was fired early in the shoot. Brando was later promoted to director by Rio is the lead role, and Karl Malden plays his partner "Dad" Longworth. Katy Jurado, Ben Johnson, and Slim Pickens appear in the supporting cast. Brando's penchant for multiple retakes and character exploration as an actor led to his film's cancellation; the film went over budget by six months, but the total cost increased to more than six million dollars. Brando's inexperience as an editor pushed postproduction, and Paramount eventually took responsibility of the film. "Paramount said it didn't like my version of the tale," Brando wrote later; I'd have everyone lie except Karl Malden. The film was ripped to pieces and made him a liar, too. By that time, I was dissatisfied with the entire scheme and had walked away from it." Critics gave One-Eyed Jacks mixed praise.

According to reports, Brando's resentment with film industry boiled over on the set of his next film, Metro-Goldwyn-Mayer's revival of Mutiny on the Bounty, which was shot in Tahiti. The actor was accused of deliberately sabotaging virtually every part of the film. The Saturday Evening Post published an article by Bill Davidson entitled "Six million dollars down the drain: the mutiny of Marlon Brando" on June 16, 1962. Lewis Milestone, a Mutiny executive, said the employees "deserve what they get when they give a ham actor, a furious child, complete control over an expensive film." Mutiny on the Bounty nearly killed MGM, and although the project had been delayed due to issues beyond Brando's conduct, the allegations against him would have linger for years as studios started to be concerned about Brando's tarnishment. Critics also began noticing his fluctuating weight.

Brando began to see acting as a means to a financial end after being dissatisfied with his personal life and becoming disillusioned with his work. Critics protested after he began to appear in films that were deemed out of his talent, or for failing to perform in the right roles. In 1961, Brando uncharacteristically signed a five-picture contract with Universal Studios that would haunt him for the remainder of the decade. Previously only signing short-term films. The first of these films, The Ugly American (1963), was the first of these films. The film, which was based on Pennebaker's 1958 novel of the same name, was received with a positive reception, but it died at the box office. For his work, Brando was nominated for a Golden Globe. Both of Brando's other Universal films during this period, including Bedtime Story (1964), The Appaloosa (1966), A Countess from Hong Kong (1967), and The Night of the Following Day (1969), were both critical and commercial flops. Countess, in particular, was a disappointment for Brando, who had aspired to working with director Charlie Chaplin, one of his heroes. The whole experience was disappointing; Brando was enraged by Chaplin's didactic style and his authoritarian approach; Brando appeared in the spy thriller Morituri in 1965; it also failed to attract an audience.

"Some of the films I made during the sixties were well-received, while others weren't." I made some of the following days solely for the money; others, like Candy, asked me to and I didn't want to turn him down... In some ways, I think of my middle age as the "Fuck You Years" years. Candy was particularly disturbing for many people; the film, directed by Christian Marquand and based on Terry Southern's 1958 novel, mocks pornographic tales through the life of its naive heroine, Candy, played by Ewa Aulin. It is generally regarded as Brando's career's lowest point. "Brando's self-indulgence over a decade is costing him and his community his jobs," the Washington Post wrote. Pauline Kael wrote in the Atlantic's March 1966 issue that Brando "was antisocial because he knew society was garbage; he was a hero to youth because he was able to avoid taking the crap," but now Brando and those like him had become "buffoons," implying they were "buffoons, pathetically mocking their public reputations. Kael wrote in an earlier analysis of The Appaloosa that the actor was "trapped in another dog of a film." Not for the first time, Mr. Brando gives us a hefty, adamant caricature of the inarticulate, stalwart loner." Despite his feigned indifference, Brando was affected by the critical mauling in 2015's film Listen to Me Marlon, "They can strike you every day and you have no way of fighting back." I was really convincing in my indifference display, but I was also sensitive and it hurt a lot."

In Reflections in a Golden Eye, directed by John Huston and co-starring Elizabeth Taylor, Brando depicted a repressed gay army soldier. "Brando's greatest success was to portray the taciturn but stoic gloom of those pulverized by circumstances," Stanley Crouch marvelled. Overall, the film received mixed feedback. The Chase (1966), another notable film, starred Arthur Penn, Jane Fonda, Robert Redford, and Robert Duvall. The film discusses racial, sexual revolution, small-town exploitation, and vigilantism. The film was mostly positive.

Brando cited Burn!

"I think I did some of the best acting I've ever done in that film," the filmmaker wrote in his autobiography "I think I did some of the best acting I've ever seen in that film." In his memoir, Brando dedicated a whole chapter to the film, arguing that Gillo Pontecorvo, the filmmaker, was the finest director he had ever worked with next to Kazan and Bernardo Bertolucci. On the set and how "we almost killed each other," Brando elaborated on his rivalries with Pontecorvo. The film, which was loosely based on events in Guadeloupe's history, received a hostile reception from critics. Michael Winner directed him in the British horror film The Nightcomers (1971), with Stephanie Beacham, Thora Hird, Harry Andrews, and Anna Palk. It's a prequel to The Turn of the Screw (1961), and it was previously known as The Innocents (1961). Brando's performance earned him a nomination for a Best Actor BAFTA, but the film was bombed at the box office, earning him a trophy.

Brando was once considered "unbankable" during the 1970s. Critics were growing dismissive of his work, and he hadn't appeared in a box office since The Young Lions in 1958, the year he had been named as one of the Top Ten Box Office Stars and the year of his final Academy Award nomination for Sayonara. Vito Corleone, the "Don" in Francis Ford Coppola's interpretation of Mario Puzo's 1969 best-selling book of the same name, was a career turning point, winning him his second Best Actor award and placing him in the Top Ten.

Robert Evans, the film's chief, had promised Puzo a chance to write The Godfather so Paramount would own the film rights, hired Coppola after several major directors had turned down the film. Evans wanted an Italian-American film maker who would give the film a cultural authenticity. Coppola also came cheap. Evans was aware that The Brotherhood (1968), Evans knew that this was partly due to the fact that the film's last Mafia film, The Brotherhood (1968), was a box office bomb, and that, apart from the fact that the director, Martin Ritt, and the actress, Kirk Douglas, were Jewish, and that it lacked an authentic Italian flavor. The studio intended the film to be a low-budget production set in modern times without major actors, but Evans was given the opportunity to turn The Godfather into a prestige picture due to the book's incredible success.

Coppola had assembled a list of actors for all roles, including Oscar-winning Italian-American Ernest Borgnine (best known for portraying Chief Wild Eagle on Paramount's television sitcom F-Troop), John Marley (a Best Supporting Oscar nominee for Don Corleone's 1970 hit film Love Story, Don Corleone's deadly rival Don Emilio Barzini), and Italian film producer Carlo Ponti. "We finally decided we had to lure the best actor in the country," Coppola said in a 1975 interview. It was so straightforward. That came down to Laurence Olivier or Marlon Brando, two of the world's best actors. Brando's name appears underlined in Coppola's holographic version.

Evans told Coppola that he had been thinking about Brando for two years ago, and that Puzo had imagined Brando in the role when he wrote the book and had actually written to him about the role, so Coppola and Evans narrowed it down to Brando. Olivier will be competing for the Best Actor Award for his role in Sleuth, and Brando will face him in Sleuth.) (British Film Critics Circle Awards, 1972) He bested Brando. Albert S. Ruddy, who was hired by Paramount to film the film, was in agreement with Brando's pick. However, Paramount studio executives were opposed to casting Brando due to his fame for failure and his long line of box office flops. He was also a One-Eyed Jack, a struggling business that lost money for Paraphrasedoutput when it was first introduced in 1961. "As long as I'm president of this company, Marlon Brando will not be in this photograph, and I will no longer allow you to talk about it," Paramount Pictures President Stanley Jaffe told an enraged Coppola.

Jaffe eventually agreed to three terms for the casting of Brando: that he'd have to pay a much lower fee than he normally did; he'd have to assume financial responsibility for any production delays; and he'd have to submit to a screen test. Coppola convinced Brando to perform a videotaped "make-up" test, in which Brando did his own makeup (he used cotton balls to imitate the character's puffed cheeks). Coppola was worried that Brando would be too young to play the Don, but the actor's portrayal as the head of a crime family had prompted him to be dissatisfied. Nonetheless, he had to fight the studio in order to cast the temperamental actor. "I had never played an Italian before, and I didn't think I could do it well." Brando had doubts about himself, stating in his autobiography, "I had never played an Italian before, and I didn't think I could do it well." When Brando was given the opportunity, Charles Bluhdorn, the president of Paramount parent Gulf+Western, was won over to letting Brando play; when he saw the screen test, he asked in awe, "What are we watching?"

Who is this old guinea?"

Brando was charged with a low fee of $50,000, but he was given a percentage of the total income if the photograph reached $60 million. Brando resold his points in the image for $100,000, according to Evans, as he was in dire need of funds. Evans said, "that $100,000 cost him $11 million."

Coppola said in a 1994 interview that can be found on the Academy of Achievement website, "The Godfather was a very unappreciated film when we were making it." They were very dissatisfied with it. They didn't like the actress. They didn't like the way I was shooting it. I was always on the verge of being fired," the former president declared. When word of this broke to Brando, he threatened to walk off the image, writing in his book, "I strongly agree that directors are entitled to liberty and liberty to express their vision," he wrote. But Francis left the characterizations in our hands and we had to decide what to do." Al Pacino also discussed how Brando's help him keep Michael Corleone's role in the movie, despite the fact that Coppola wanted to dismiss him. Pacino also explained in the Larry King interview that although Coppola expressed dissatisfaction with Pacino's early filming, he did not threaten him directly; Coppola herself was under pressure from studio executives who were unsure of Pacino's performance. In the same interview, Pacino praises Coppola for his role. Brando was on his best behaviour during filming, with a cast including Pacino, Robert Duvall, James Caan, and Diane Keaton. "With the actors and the film, Brando served as the head of the family," Mark Seal writes in Vanity Fair's "The Godfather Wars." He cracked the ice by toasting the group with a glass of wine." 'When we were younger, Brando was like the godfather of actors,' Robert Duvall says. I used to work with Dustin Hoffman at Cromwell's Drugstore, and we'd say it 25 times in a day if we mentioned his name once.' "The first day we met Brando was in awe," Caan says.

Critics had lauded Brando's results. "I thought it would be fun to play a gangster, perhaps for the first time in the films, but a man to be respected," Brando recalled in his autobiography. "I thought it would be an interesting comparison to play him as a gentle guy, unlike Al Capone, who beat up people with baseball bats." "He minimized the feeling of beginning," Duvall later revealed in A&E's Biography. In other words, he, as well as the speaker, deemphasized the word action. He'll be out in front of the camera like he did before.

Cut!

It was all the same. There was no such thing at the beginning. I learned a lot from watching that." Brando received the Academy Award for Best Actor for his work, but he turned down the opportunity, becoming the second actor to refuse a Best Actor award after George C. Scott for Patton). He did not attend the award ceremony, so he sent indigenous American rights activist Sacheen Littlefeather (who appeared in full Apache costume) to inform Brando that he was not present. They were due to "the treatment of American Indians by the film industry today," the actress said, as well as recent events at Wounded Knee. At the time of the funeral, the Wounded Knee Occupation of 1973 was taking place. Brando had written a letter for Littlefeather to read, but she explained that this was not possible due to time constraints. Brando said in a written address that he wished his declining Oscar would be seen as "an earnest attempt to narrow focus on an issue that might well determine whether or not this country has the right to remain free and independent on lands that have benefited their life beyond living memory."

The actor starred in Bernardo Bertolucci's 1972 film Last Tango in Paris, but Brando's high-profile role threatened to be overshadowed by a protest over the film's sexual content. Brando portrays Paul, a young American widower who begins an anonymous sexual acquaintance with Jeanne, a teen, betrothed Parisian woman. Brando refused to memorize his lines for several scenes in favour of a more visual way, leaving Bertolucci with the difficult challenge of keeping them out of the picture frame, as with previous films. Several intense, graphic scenes involving Brando include Paul anally raping Jeanne using butter as a lubricant, which was not admissible, according to the film. The actress confirmed that no real sex occurred, but she also stated that she was not told what the scene would include until just before filming began.

Bertolucci also shot a scene that showed Brando's genitals, but "I had so identified myself with Brando that I deleted it out of shame for myself." It would have been like naked to show him naked. In a telephone interview, Schneider revealed that "Marlon" felt assaulted and manipulated by it, and that he was 48. "He was Marlon Brando!" Brando, like Schneider, reported that the sex was simulated. Bertolucci said about Brando that he was "a monster as an actor and a darling as a human being." After the production was completed, Brando refused to speak with Bertolucci for 15 years.

Bertolucci said:

However;

Paul's last fight with his deceased wife's body is also included in the film. The controversial film was a success, but for the first time, Brando made the list of Top Ten Box Office Stars. His gross participation contract earned him $3 million. Brando was nominated for Best Actor by the Academy of Motion Picture Arts & Sciences for his seventh nomination. Despite winning the 1973 New York Film Critics Circle Awards, Brando did not attend the ceremony or ask a representative to pick up the award if he won.

"The film breakthrough has finally arrived," Pauline Kael wrote in The New Yorker's review. Bertolucci and Brando have changed the appearance of an art form." "I can't tell you what Last Tango in Paris was about today" and "enjored me to do a lot of emotional arm wrestling with myself," Brando wrote in his autobiography, and "when it was finished, I realized that I wasn't going to destroy myself emotionally to make a film."

Brando was devastated by the death of his childhood best friend, Wally Cox, in 1973. Brando slept in Cox's pajamas and extracted his ashes from his widow. She had intended to sue them for their return, but then she said, "I think Marlon needs the ashes more than I do."

Brando appeared in The Missouri Breaks with his pal Jack Nicholson in 1976. The actor was also reunited with director Arthur Penn in the film. Penn had trouble coping with Brando, who appeared to be dead with his border-ruffian-turned-contract killer Robert E. Lee Clayton: "Marlon made him a cross-dressing psychopath," biographer Stefan Kanfer writes. Clayton is missing for the first hour of the film; he's back on horseback, dangling upside down, and Littlefeather-style has been imprisoned in white buckskin. For no apparent reason, he speaks in an Irish accent. Clayton suspects the intonation of a British upper-class twit and an elderly frontier woman over the next hour, as well as a matching bonnet. "Even if actors do their own thing, Marlon defiantly indulged Marlon all the way." Brando's appearance had been "one of the most extravagant showcases of grandedamerie since Sarah Bernhardt," The Sun reported, "Marlon Brando at fifty-two has the sloppy belly of a sixty-two-year-old, the white hair of a seventy-two-year-old, and a lack of discipline of a precocious twelve-year-old." "Even though his late work was met with disapproving, Kanfer said a re-examination reveals that every time, in the middle of the most pedestrian-friendly city, there will be a flash of the old Marlon revealing how strong he was."

Brando narrated the English version of Raoni, a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha, which focuses on Raoni Metuktire's life and questions surrounding the survival of the indigenous Indian tribes of north central Brazil in 1978. In the 1978 film Superman, Brando portrayed Superman's father Jor-El. He committed to the role only on the promise that he would not have to read the script beforehand, and that his lines would not be broadcast somewhere off-camera. It was revealed in a documentary included in the 2001 DVD release of Superman that he was paid $3.7 million for two weeks of work. Brando shot scenes for Superman II, the film's sequel, but after producers refused to pay him the same percentage as he did for the first film, he refused to film them. "I asked for my normal percentage," he wrote in his book, "but they declined, and so did I." The video was recut of Brando's death and included in the 2006 "loose sequel" Superman Returns, which included a scene from the first two Superman films, but Brando's voice-overs were used throughout the film. He appeared in Roots: The Next Generations, portraying George Lincoln Rockwell; he received a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Film in 1979.

Colonel Walter E. Kurtz starred in Francis Ford Coppola's Vietnam epic Apocalypse Now (1979). He is a highly decorated U.S. Army Special Forces officer who goes back to serve, runs his own operation based in Cambodia, and is feared by the US military as much as the Vietnamese. Brando was paid $1 million a week for three weeks of hard work. Eleanor Coppola's documentary Hearts of Darkness: As Eleanor Coppola's documentary Hearts of Darkness: A Filmmaker's Apocalypse documents, Brando appeared overweight, Martin Sheen suffered a heart attack, and severe weather destroyed several expensive sets. Several times after Coppola edited millions of feet of footage, the film's release was also postponed several times. Coppola discusses how he was stunned when an obese Brando turned up for his film and decided to portray Kurtz, who comes across as an adult man who had indulged every facet of himself in the original story. Coppola: "He was already heavy when he was hired and he told me that he'd be fit to get to shape, and I assumed that I would, and I was excited to see that if he were heavy." But he was so fat, he was reluctant to worry about it... He was adamant about how he didn't want to be perceived that way." According to producer Fred Roos, Brando said to Coppola that he did not read the book Heart of Darkness as the producer had expected him to, and the pair spent days investigating Kurtz's story and the actor's psychological value, so the actor's financial gain would come early." And this is at Marlon's behest, but he's still getting paid for it."

Apocalypse Now's success, as well as Brando's, earned critical acclaim from its debut. Kurtz's last words, "the hysteria," his narrator's yelpy.

The horror!

"This has become very popular." Roger Ebert, a Chicago Sun-Times columnist, defended the film's controversial denouement, saying that the movie's ending, "with Brando's fuzzy, brooding monologues, and the last brutality," is "much more satisfying than any conventional ending could be." Brando's fee was $2 million plus 10% of the gross theatrical rental income and 10% of TV sales, potentially earning him $90,000.

Brando announced his resignation from acting after appearing as an oil tycoon in 1980's The Formula, which was poorly received critically by critics. However, he returned in 1989 in A Dry White Season, based on André Brink's 1979 anti-apartheid book. Brando promised to produce the film for free but fell out with director Euzhan Palcy over how the film was edited; in an interview with Connie Chung, he voiced his disapproval. Palcy "had cut the picture so badly that the inherent drama of this war was vague at best," he wrote in his memoir. Brando was lauded for his work, including an Academy Award nomination for Best Supporting Actor and the Best Actor Award at the Tokyo Film Festival.

Brando's caricature of his Vito Corleone role as Carmine Sabatini in 1990's The Freshman received acclaim. "There have been a few films where actors have reprised the triumphs of their roles," Roger Ebert wrote, "but has any actor ever done it more triumphantly than Marlon Brando does in The Freshman." "Marlon Brando's sublime comedy appearance lifts The Freshman from screwball comedy to a curious niche in film history," Variety praised Brando's performance as Sabatini noted. Brando appeared alongside Johnny Depp in Don Juan DeMarco (1995), in which he also shared credits with singer Selena in her first filming appearance and Depp's tense The Brave (1997), which was never released in the United States, was never released in the United States.

Later performances, including his appearance in Christopher Columbus: The Discovery (1992) (for which he was nominated for a Raspberry as "Worst Support Actor"), The Island of Dr. Moreau (1996), resulting in some of his worst reports of his career. Ron Hutchinson, a screenwriter on the Island of Moreau, will later write a book, Clinging to the Iceberg, that Brando sabotaged the film's production by feuding and refusing to collaborate with his coworkers and the film crew.

Brando's last completed film, The Score (2001), was generally well-received, unlike its immediate predecessors. He appeared in the film, in which he depicts a fence, alongside Robert De Niro.

The novel Fan-Tan was released after Brando's death. In 1979, Brando created the book with director Donald Cammell, but it wasn't announced until 2005.

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