New! 35. VIVA ZAPATA (1952) ****“A monkey in silk is still a monkey.” We got to see this tonight on the big screen during the Elia Kazan tribute at Harvard Film Archive. Very cool. Ok, I was initially rather put off by Brando’s faux-Mexican ethnic makeup, then I remembered it was 1952 Hollywood. Not to mention one of Brando’s first films! Kazan’s directing was great, and of course Marlon was in fine form, as usual, as the illiterate, enraged agrarian freedom fighter with a heart of gold, a fake mustache and a white stallion. Ample humor in the film as well. See it.
New! 34. THE BRAVE (1997) *
One of Brando’s last films, and Johnny Depp’s one and only directorial debut (he also stars in it). Why was this never released in the U.S.? Why did we have to buy it on eBay and import it from Korea? Because it’s t-e-r-r-i-b-l-e. I mean really, really bad. (No offense, Johnny, I still love you.) But it was overly cheesy, boring, and a lame script (which Depp co-wrote alongside his brother). The only redeeming feature is our man Brando, of course, who embraces his old man soliloquies with the cool disregard of an overweight legend. He only agreed to be in this film as a favor to Depp, and was only in it about 10 minutes. Oh, what a masterpiece the two of them could have made! Le sigh.
33. DESIRÉE (1954) ***
Another early Brando film! My boyfriend got bored after ten minutes and
left the room. “Brando was still taking himself really seriously as an
actor back then,” he commented. I knew what he meant, but disagreed that
it was a tiring awesomeness. Brando had just played Julius Caesar. He
was at the top of his game. Now in this film he plays Napoleon…a
wonderful performance, I think, if not tortured and dramatic. Obviously
the star has been born, even though the female lead tries valiantly to
keep up. A little hokey at times, but traditionally stellar stage-like
performance by our man. And he was my age at the time this was made. Oy!32. A DRY WHITE SEASON (1989) ***
Good film. Brando has a brief but brilliant performance as an anti-apartheid human rights lawyer who tries in vein to prosecute the government Special Forces for their murder of a Black South African and his son. Knowing that racial and ethnic persecution was the cause for which Brando was always on the forefront of fighting, it’s no surprise he handled this role with passion, albeit physically sluggish (he’s hiding in a robe again). Bonus: Kiefer Sutherland’s dad does a very good job as the star of the film.
31. THE FRESHMAN (1990) **
Ok, kind of a dumb movie, but I gotta say, Brando was in top form all the way through. Playing himself as the original Godfather, he nails it even better this time. “Is that a promise? Everything I say, by definition, is a promise.” I really gotta hand it to him. Too bad the plot was so farcical. The Freshman is basically a cheesy ’80s movie made in ’90 with the random inclusion of a screen legend. As well as Matthew Broderick, my childhood crush. Marlon is said to have trashed this movie to no end when it first came out, saying he hated every minute of making it — then the production company made him apologize on record and admit he hadn’t yet seen the film and he was sure it was pretty good. I bet he got paid in cash again.
30. THE SCORE (2001) ***
Man, Marlon is FAT in this one. So fat that, aside from the opening scene where he appears in a suit, we only see him in bathrobes throughout the film. Good flick, though, if you’re into the heist genre. Stellar performances by De Niro and Norton, some great improvised scenes by Brando (all his scenes were improvised, actually) and funny director commentary by Frank Oz on the bonus track about how Marlon disliked him. Not my favorite MB movie, but definitely represents a valiant effort on the part of our aging ambivalent hero to actually, um, act.
29. THE FORMULA (1980) *
This was the era during which Marlon Brando insisted on being paid in cash, daily, in an attaché case outside his trailer “because I can.” It was the film in which Brando refused to memorize any of his lines because he didn’t feel like it, instead wearing a fake hearing aid throughout the movie into which someone would feed him his lines. But don’t blink, or you’ll miss his whole performance. If you can call it a performance. Brando was only appeared twice — earlier on, for about five minutes, and at the end for maybe eight…and the middle part of the movie left me completely lost in terms of plot, suspense or character development. You would THINK Brando would have walked in and saved a boring movie from its boring fate. But no! George C. Scott was the only slightly redeeming actor in this film, while Brando mumbled his way incomprehensibly through 2% of the dumb flick for what? Several attaché cases full of cash. I guess you can’t blame him.
28. THE FUGITIVE KIND (1957) ***
I get this little sense of glee every time I discover another Brando film from the 50s that I haven’t seen. That sense was on the money with this Tennessee Williams adaptation, where Marlon is a formerly wild loner nightclub guitarist who sails through town and picks up a bunch of ladies he shouldn’t, all with a poet’s suave intensity, a model’s apathy and an ill-fitting snakeskin jacket. Admittedly, Brando doesn’t really shine in this flick, compared to his female costars. His character’s sensuality is supposed to smolder its way into Leading Lady #1′s heart, but “Brando never really convinces as the force of nature come to rock her world,” says reel.com. But the film is shot beautifully, opens with an endless wide shot of Marlon classically monologuing his way through the first 10 minutes, and, I don’t know, there was something about this film I just really liked. Which was probably Marlon Brando, smoldering nonetheless, at 35.
27. DON JUAN DE MARCO (1995) *
Aside from the fact that the production of this film sparked a
friendship between Johnny Depp and Marlon Brando to indelibly color
Depp’s approach to acting, the only good thing about it was the scene in
Brando’s psychiatry office where the camera pans over to an ACTUAL
photo of Marlon with his ACTUAL father, circa the early 60s. Other than
that tiny moment of zen, the script, concept, etc., was utter booty. The
entire time I kept asking myself what amazing piece of art could have
been made if they’d just left Depp and Brando in a room together with a
couple of cameras. I guess the answer is The Brave (1997), which I will watch soon.26. THE ISLAND OF DR. MOREAU (1996) **
Marlon Brando is SO WEIRD. Never has he been more explicitly weird than in The Island of Dr. Moreau. Well, maybe not. But he embraces this role of the isolated, out-of-his mind control freak hiding on an island (notice the glaring similarities to his actual life?) and takes the role a step further with the inclusion of white face powder, red lipstick, midgets, and half-human, half-animal children. A rather gruesome Darwinist commentary, but it’s always nice to see our Marlon slipping further and further from sanity.
25. THE MISSOURI BREAKS (1976) ***
Interesting Western, staring Marlon as the fabulous cross-dressing, highly eccentric Irish hitman — which is reason enough to see the film. Surprisingly good acting by the whole cast, although I agree with reelfilm.com that, “…As effective as Nicholson is, this is Brando’s show from start to finish — despite the fact that he’s actually not on screen all that much. The actor, sporting an Irish accent and a series of increasingly bizarre hats, delivers a hypnotically broad performance that often feels as though it’d be more at home in a completely different movie — yet there’s no denying that Brando’s off-kilter presence keeps The Missouri Breaks afloat during some of the more dull sequences.”
24. APOCALYPSE NOW (1979) ****
The
cool thing about this movie is it came out during my lifetime. Granted,
I wasn’t exactly old enough to watch it, and in truth, even at 29 I
don’t feel old enough to watch it, and that’s probably why I didn’t. The
movie was playing while I was in the room, but the only part I actively
watched was the ending 25% (which was 100% Brando). Was his performance
amazing? Duh. The man is a complete genius. But I couldn’t help but
wonder how the heck he got so fat immediately after the production.
Brando, my friend, you were doing so well! Alas, you were an errand boy,
sent by grocery clerks to collect a bill. And instead of getting the
bill you just ate all the groceries. Pity.23. THE APPALOOSA (1966) **
“I’ve
done a lot of killing — killed a lot of men and sinned with a lot of
women — but the men I killed needed killing and the women wanted sinning
and, well, I never was one much to argue.” Aside from the opening few
lines, I didn’t think there was much else about this film worth
watching. One-Eyed Jacks is a better Brando western. This one had some
decent Marlon monologues, but don’t all of them? He really nails that
Mexican accent, though — and the Durango scorpion that nearly kills him
was exactly the same as the Durango scorpion that nearly killed my
mother in 1989. True story.22. THE NIGHTCOMERS (1972) *
OMG.
This was absolutely the strangest, creepiest, twisted film I’ve ever
seen. The director described this as “a small, independent film” which
Marlon proclaimed was “the only film he ever enjoyed making” because he
“hated acting” and only went to acting school “to get laid.” Indeed, the
only good thing about this film (aside from Brando’s usual awesome
performance) is the director’s commentary, where he tells about 500,000
personal Marlon Brando stories. “She has a good nice ass,” Marlon
apparently said about the 19-year-old actress who played the 12-year-old
girl in this film. “I wish I’d noticed it earlier.” “You can’t have
everything, Marlon,” said the director. Quick summary: orphaned rich
kids in rural England are basically raised by their drunk, crude,
violent Irish gardener (Brando) who is having a wildly dirty affair with
the schoolteacher. The kids oversee the affair and then re-enact it…the
plot gets worse and worse…ever seen Marlon Brando shot in the skull
with an arrow? Whoops, gave away the ending. Guess you can’t see it now.21. JULIUS CAESAR (1953) ****
I
figured out tonight why Julius Caesar was hailed as a timeless classic:
not because it’s a famous play, but because Brando plays Marc Antony in
one of the best interpretations of Shakespeare I’ve ever seen. This was
a great stage for his well-executed outbursts. His concentrated focus
overshadows everyone else, even though everyone else is great.
Definitely a Brando must-see. And if you rent from Netflix, be sure to
watch “The rise of two legends” within the DVD’s bonus materials —
includes a great analysis of his skill by some other famous actors and
directors.20. THE CHASE (1966) **
Strange
plot. I think the author of the book wanted to show the absolute worst
of hypocritical small-town Americans in the 60s. Mission accomplished,
but strange and not-so-good movie. Robert Redford would have been great,
had he had more of a role. And had it been directed by someone else.
And had there been other actors. Brando shines, though, mumbling through
the entire film, getting rough in a few scenes, standing up as the
moral authority. This is one of a handful of films in which his sister,
Jocelyn Brando, also appears. See if you can spot her.19. THE GODFATHER (1972) ****
Why
didn’t I watch this until now? Because of all the hype. I almost wish
Brando hadn’t done this film, because then he wouldn’t be eternally
canonized for one lousy role. Except it wasn’t lousy. It was brilliant. I
mean the cotton in his cheeks, the improv’d ending scene in the garden —
brilliant peformance. Classic.18. THE MEN (1950) **
Brando’s
first film! He’s an emotionally torn vet who’s become a paraplegic and
struggles with overcome the physical challenge and getting back with his
girlfriend — and she struggles too. Includes some Brando-esque violent
outbursts, and his odd accent is at its most raw. I don’t know what I’m
talking about. But it’s a good film to watch if you’re a Brando fan.17. ONE-EYED JACKS (1961) ***
Brando
stars in this picture, but it’s also the first and last he ever
directed. Karl Madden (of Streetcar) co-stars. Starts out as sort of a
cheesy, weird Western, but then moves into deeper themes, some of
Brando’s favorites: interracial marriage, revenge, the bad guy gone
good, violence versus reformation, etc. A lot of scenes on horseback. I
also thought the woman who plays his love interest is pretty decent.
It’s looooong, though.16. THE YOUNG LIONS (1958) **
Brando
plays a Nazi officer again in this WWII tale. Felt like it wasn’t
completely complete, though; again, he’s a bad guy gone almost-good, and
his freakout scene at the end doesn’t bring the plot to any fulfilling
climax. Dean Martin is pretty good in this though, as is Montgomery
Clift. Not my favorite Brando film, but I do enjoy watching him be
European.15. THE NIGHT OF THE FOLLOWING DAY (1968) *
“If
you’re gonna get freaky, don’t get freaky with her, man!” It was neat
to watch Brando be a hipster in this film, but ugh! Don’t watch it. It’s
dark, and only gets darker. Brando seems like he’s stuck in a bad plot
and can’t get out of it, which is the case. Might as well dress in all
black and yet again play the bad guy who’s kind of good, but not good
enough to save the story.14. REFLECTIONS IN A GOLDEN EYE (1967) *
One
of the strangest films I’ve ever seen. Brando stars as a repressed
homosexual, which in itself is pretty awesome, opposite Elizabeth
Taylor, which in itself is just weird. Visions of naked men ride
bareback through the woods. I mean it’s really weird. Brando’s ok in
this, but is it worth seeing? I don’t think so.13. A COUNTESS FROM HONG KONG (1967) *
Charlie
Chaplin’s last film, in which he makes a few cameos. Pretty bad,
though. It’s unfortunate, because with Sophia Loren and a completely
different plot and no slapstick, it could have been ok. I feel like
Brando spent the late 60s starring in a series of really lame movies
where he’s the only one taking his role seriously. He always nails his
character and gives a top rate performance, despite the low quality of
the script, the directing, etc. This film is no exception. I won’t even
describe the plot to you because it’s so stupid. Great high dive by
Loren at the end, though.12. THE UGLY AMERICAN (1963) ***
Very
interesting film including favorite Brando elements: intercultural
understanding (or the lack thereof), conflict vs. peace, etc. Brando
stars as the upright ambassador naive about the problems he will
encounter bringing “democracy” to a communist country. Popular themes
for the 60s, but very well-approached and unbiased. Brando takes the
stage during the entire thing, with some excellent debate monologues
about politics, socialism, etc. And the great part is, there’s no happy
ending; just an ending that makes people think about capitalism,
colonialism, greed, nationalism, and the dominance of the U.S. over
Southeast Asia. Quality film.11. GUYS AND DOLLS (1955) ****
I
love this musical! I mean first of all, c’mon, it’s BRANDO in a
MUSICAL! Singing! Opposite Frank Sinatra! I really loved this film to
death. Same theme of bad guy turned good guy by way of innocent
(Christian) girl, but it’s a musical, so that provides enough of a
ridiculous angle to keep everything entertaining. I just love how Brando
takes every role by the balls — a singing gambler? No problem. Note
that he never sang again in any film, because he could barely sing in
the first place. Pity. See it!10. THE TEAHOUSE OF THE AUGUST MOON (1966) *
I
can’t honestly review this movie because I turned it off after about
half an hour. Brando plays a Japanese interpreter (with the help of
caked-on eye makeup) for the U.S. Army. I couldn’t even tell you what
it’s about, although I was impressed how, even though he was handed this
ridiculous role, Brando took it soooo seriously that you almost
believed he was an Okinawan interpreter. If my boyfriend hadn’t refused
to watch anymore, I would have finished it just to see if Brando’s
character develops and takes over the film, but we really couldn’t take
any more. I read it’s supposed to be a comedy, but it was too horrible
to even be humorous. Why would you ever make this after making Guys and
Dolls?9. SUPERMAN RETURNS (2006 Director’s Cut) **
I
don’t think I’ve seen the first Superman since the early 80s, and I
only watched Superman Returns for Brando’s sake. Do yourself a favor and
look up the YouTube outtake of Brando’s monologue to Kalel — priceless.
You can tell he was laughing at himself throughout this entire
production…or laughing at the producer for agreeing to pay him so much
money for the role (which is why he was cut in the first release)…or
laughing at the fact that Superman did so well in the first place,
considering it’s so cheesy. 8. BURN! (1970) ***
This
was a bit fascinating: Brando’s a British colonel who incites a
revolution on a Caribbean colony. Things get out of hand, though, and
the plot twists…it’s a really interesting look at political organizing,
colonization, greed, autonomy, etc…and has a moral Brando would have
agreed with. Watch it, because it’s out of the ordinary. It’s also worth
noting that Brando considered this his best film.7. MUTINY ON THE BOUNTY (1962) ***
“I
believe I did what honor dictated, and that belief sustains me. Except
for a slight desire to be dead, which I’m sure will pass.” Apparently,
Brando split over 50 pairs of pants during the making of this film,
which is reason enough for you to Netflix it now. It’s also filmed on
Tahiti, which may have begun Brando’s love affair with the island (and
its women, as evidenced in the film) in real life. He plays a British
guy again, leads a mutiny on a ship, etc etc. It’s an good film…Brando
seems kind of bored (zen?) during the whole production. Worth it — I
mean 50 pairs of pants? Wow.6. LAST TANGO IN PARIS (1972) ***
A
flabby Brando in French soft porn. But brilliant, I guess, if you’re
into that sort of thing. I hated the young woman’s character in this
film, but Brando slams the role of slightly-creepy older man, and the
woman’s boyfriend is a spoof of Godard, which is pretty funny. Can’t
believe he made this the same year as the Godfather. Weird ending, but
it’s a foreign film, and I prefer odd unresolved foreign endings to
everything-ends-perfectly American ones.5. A STREETCAR NAMED DESIRE (1951) ****
Oh,
God, the film/play that typifies Brando, I think. More than any other
role, I’d argue that Brando’s portrayal of Stanley Kowalski colored the
future of his acting career. Plus everyone and everything else about it
is stellar. Is there a better film that this? Not too many.4. ON THE WATERFRONT (1954) ****
Another
famous Brando film, and famous for a good reason: it’s awesome.
Director Elia Kazan won tons of awards for it, Brando got best actor.
Brando plays an ex-boxer turned longshoreman who fights against a
corrupt union boss and gets the kabooty kicked out of him. Great example
Brando twisting with inner angst, one of his best acting abilities.
Also wonderful supporting roles, NY backdrop, solid storyline, classic
monologues. “I coulda been a contender…” CLASSIC.3. THE WILD ONE (1954) **
Biker
dude turns soft for down-home girl. One of Brando’s most known films.
Another cheesy rebel motorcycle film, it could easily star Elvis or
James Dean, but no, it stars Brando, therefore he IS the film. I thought
the scenes where he gets rough with the girl were pretty racy, but of
course she’s in love with him despite his violent outbursts. Basically a
bad 50s film starring a great actor. 2. SAYONARA (1957) ***
Brando
made a bunch of “white man in Asia, trying to be culturally sensitive”
films. This was the most well-done of that genre. It actually approaches
the issue of interracial relationships and cultural/gender roles from a
decent perspective, considering it’s still the 1950s. Plus, his gentle
performance was pretty funny, considering other roles. Basically this is
an Army-officer(s)-fall-in-love-with-Japanese-women-despite-racism
movie. I also heard that Brando hated the director and basically
self-directed a lot of his own scenes in this film. Worth seeing.
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