"They told me to take a street car called Desire,
Change the car to a place called the cemetery,
Take another 6 blocks and get off at Paradise Paradise. "
-"A Street Car Named Desire"
Marlon Brando recorded many hours of private recordings during his life, and it was only now that it was first exposed. Almost entirely narrated by Brando, with his private recordings, through the editing team of the pictures, "Ma Long, listen to me" , from the first-person perspective, without any interviews with other characters, stripped of the social intentions. An exclusive audio-visual record of the attempt, an extremely personal documentary.
Regardless of the motive, this documentary gives Brando the opportunity to talk about his ideas to you for 100 minutes. It's like a tunnel through time, running back and forth in countless Hollywood historical images. This is an overly complicated person, even if we know his rebellion, his loneliness, his love affairs, his family history, he is still mysterious and elusive.
It seems impossible to tell about Brando's rich life in a few hours. Nevertheless, this documentary can give you a little bit of an understanding of his real life. Brando was known for being isolated in his later years, but he has played the game of public relations for a long time. This can be seen in many interview clips. There is a segment of his interview with the show in 1955. At that time, Brando had just won the first Oscar for "The Wharf".
Those who deny Brando evaluate his life like a certain movie-saying that it has a grand opening, a confusing middle part, and a disappointing ending, and should be unanimously denied. That is what the orthodox world thinks of Brando—just treat it as the revenge of the mediocre against the genius.
He needs to disguise his true self and put on a "mask" that is easy for his parents to accept
Brando's artistic history largely conforms to Freud's doctrine. An unfortunate childhood, a broken family, and an inner personality conflict that cannot be eliminated by extreme sensitivity, he showed strong hostility towards his father as an adult, claiming that "Although I have the same name as him, there is nothing I have done that makes him happy or even I've been interested. He always tells me that I can't do anything well. He is used to telling me that I will accomplish nothing."
This is the source of inspiration for the most exciting performances of the 1950s, although it is neither sunny nor happy. Rage is the inner devil who will forever devour Brando, and the catharsis of drama characters is an effective way to eliminate this demon.
He is the new type of "primitive": a romantic bastard with a fragile nature.
His performance is very concrete: extremely explicit, tentative, and cautious. This kind of performance made us empathize with him and experience his shrinking when encountering any small setbacks. As spectators, we will develop a desire to protect: we understand how lonely he will be behind such a decision.
In the early 1950s, the characters played by Brando were multi-eyed and lawless, acting only by spirit. He played the roles of many gang bosses and criminals. The reason why he is against society is because he thinks society is like a pool of mud; the reason why he can become the idol of young people is also because he is strong enough to refuse to go to this mud.
His appearance gives people a feeling of danger but excitement. However, his unique attraction may be just a kind of conceit, that kind of stubborn child's conceit.
He doesn't need to use his brain deliberately to appear irritable and pretentious. He never follows the rules and is omnipotent. He is indifferent to social status, work or personal reputation. Because if people care too much about their own image, they will reduce their charm and shape.
When he was leaning against the wall, frowning, and grinning in "A Streetcar Named Desire", the eye-catching white T-shirt outlines his body-the perfect figure of ancient Roman sculpture.
Thirty years later, this body has grown to three hundred pounds and has truly become a heavyweight. Marlon Brando leaned on the dilapidated sofa and watched TV. On the screen, he was a beautiful beast. His little girlfriend was surprised. Looking at him in the movie and in front of him, he bit open a bottle of beer and mumbled: "I am so damn handsome now than I was."
"Suddenly, more girls are interested in me. I am very courageous and smart. For many young girls, it is difficult and very exciting for me to master."
Brando called himself a lazy person, and he was especially famous for his unwillingness to recite his lines. He ridiculed himself and said: "If a film company is willing to pay me the same salary, one option is to sweep the floor, and the other is to act, then I would prefer to sweep the floor. I don't want to win applause, I just want to be myself. Can I feel my existence only in the applause of the audience?"
The authoritative film critic Pauline Kyle once stated: " As the protagonist, Brando in the early 1950s had no code to perform, only instinct ."
Interestingly, Marlon Brando's style is the most imitated by American actors. Including Robert De Niro, Al Pacino, as well as the old play bone Jack Nicholson, Nicolas Cage, and even later Brad Pitt and Leonardo DiCaprio. They draw violent power from him, draw spiritual beliefs, draw precious self-confidence in front of the camera, and stand in front of everyone in their own way, a great sense of radiant presence.
Brando gained a reputation as a "bad boy" because of his irritable mood and eccentric behavior in public. During the filming of "The Mutiny", he was accused of causing director changes and budget overruns. After this, no film company dared to invite him to participate in the big production, until 10 years later, Coppola insisted on Paramount that he starred in "The Godfather." Not only did he agree to a salary of 250,000 yuan (about a fraction of his previous salary), he even agreed to accept an audition that was almost insulting to an actor of his level. At this time, he seemed to need to challenge the authority again to prove that their view of "Brando" was wrong.
Coppola was worried that Brando was not old enough to play the role, but as soon as he saw the image of the chief of the crime family that appeared before him, he was completely hit. Brando wrote in his autobiography: "I have never played an Italian before, and I never thought I could successfully play this role."
For many fans of the Godfather, only the following lines of Brando and the way he said the lines should win 10,000 Oscars for Best Actor:
"The dish of revenge waits until it's cool and tastes sweeter."
"Let me make a condition that you can't refuse"
"Never hate your enemy, it will affect your judgment."
"A man who doesn't spend much time with his family will never become a real man."
We can't imagine, except for Brando, who can perform this Italian godfather, the symbol of Sicily, the benevolent and cruel father. Brando is very careless, not exaggerating evil and violence at all. He has the majesty, homely, and loving. We can even see his old age and weakness. He is like a king of a dark kingdom. We Seeing him being pulled down from the throne of power, he only felt tragic, but he didn't feel disillusioned.
But money and reputation cannot buy happiness. He kept getting married and divorced and gave birth to a lot of gloomy children. His wife is always arguing, his mistress is always committing suicide, his children are in endless trouble, and family members reveal the tragedy of the inherited vices. Brando couldn't forgive his father for not giving his father's love, but when it was his turn to be a father, his destiny had a reincarnation.
Brando’s daughter Sean said: “I started to hate my father because he ignored me when I was a kid.”
On May 16, 1990, the biggest tragedy in Brando's life occurred: Son Christian killed his daughter Sean's boyfriend Dagdrolle. People still don’t know what happened: according to the Brando family, it was a fight; according to the defense lawyer, it was an accident; according to Shane, “my father arranged everything.” Later, Sean committed suicide. Brando did not attend the funeral of his daughter.
Someone asked Marlon Brando if he felt responsible for the mess. He said: "When a seagull flies over 2,000 people, who knows where the feathers it drops will fall on?"
However, can Brando really treat heavy sins as frivolous feathers? He seems to have been cursed, as he said in the "Last Tango in Paris" line: " You have been lonely, you can't escape the feeling of loneliness, until you die. "-Vaguely is the portrayal of his life.
Tomorrow and tomorrow
Tiptoe day by day
Until the last second
All our yesterday
But it illuminates the dead end for the fools
Finally returned to the dust
Go out
Short candlelight
Life is just a walking shadow
A botched actress who gesticulates on the stage makes his debut for a moment
Quietly retreat in silence
It's a story told by a fool
Full of noise and commotion
Meaning but nothing
That old era is truly far away from us. Today we miss him, not only in the memory of the passing of a life, but also in the memory of an old era. Those old movies that cannot make us forget and make us sad and weep in the replays, and those old stars, grand and grand, radiant and extremely luxurious, will follow Marlon Brando. Leaving and gradually dying, the ashes disappeared.
Life is a rehearsal, life is an impromptu performance. Brando said that he would install a special microphone in the coffin, and when he woke up underground one day, he would say, "Do it in a different way."
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