# De la A a la Z: Marlon Brando. Segunda parte.

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 22 Apr 2024, 34 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59573326/lloviendo_brando_2.mp3

En el programa de hoy de Lloviendo cine cerramos el De la A a la Z que le hemos dedicado al actor Marlon Brando con motivo del centenario de su nacimiento. Rematamos la segunda parte del abecedario para repasar la vida y obra de uno de los nombres por antonomasia del séptimo arte, que terminó por crearse de manera voluntaria e involuntaria todo un aura en torno a su personaje y a su persona. Las músicas del podcast proceden de: Pyotr Ilyich Tchaikovsky, CC0, via Wikimedia Commons Ludwig van Beethoven, Public domain, via Wikimedia Commons Ludwig van Beethoven, CC BY-SA 3.0 , via Wikimedia Commons

## Transcript

[0:27] We start our program, we start if circumstances allow us to. Last week
[0:34] we couldn' t, we didn' t come to fight the elements.
[0:39] So here begins one more show of your favorite podcast I watching ending, which
[0:44] you are all pertinent, inconveniently invited. You don' t need any kind
[0:49] of entry, you don' t need any permission. The doors are open
[0:55] to barb a show of raining cinema if the throat permits, in which we
[1:15] will close our second part of the one to the zeta that we are dedicating
[1:19] to the sea naming on the occasion of the centenary of his birth and,
[1:26] in passing, of the twenty anniversary of his death, next June. So
[1:34] we' re going to do this on today' s film- loving show.
[1:38] We remember that he' s the first of the zeta we dedicated to
[1:44] an actor. Before the protagonists had been great film directors, not every character
[1:52] related to the world of the seventh art endures one of the to the z
[1:59] and what better to dedicate to an actor to the actor by antonomasia or with
[2:08] capital letters. Don Marlon Brando, we stayed in the letter m as we
[2:15] were taught at school. Then comes the novelty letter n N when it comes
[2:43] to performing in the cinema, Marron Brando could be called the Charlie Parker of
[2:51] the performance. Taking advantage of a jazz simile but Nonbrando was a real revolution.
[3:00] He has never seen before that way of acting, that he seemed not
[3:07] to be acting, that he was chatting with some friends on the sidewalk of
[3:15] the bar things of the method are islands and that is that it seems that
[3:20] in his films he left the other actors man, not in evidence, but
[3:25] it did seem that in his replicas that he gave the well of the way
[3:31] of interpreting classical cinema, Marlon Brando supposed revolution, revolution based on that method
[3:40] that gave free rein to improvisation, to naturality, to realism. What Amarlombran
[3:46] intended was to make that performance as if you were not acting, that the
[3:53] actor' s reaction in a particular scene was unforeseeable, that his performance was
[4:02] anything but predictable. And in that Marlon Brando was not only a pioneer,
[4:10] but a true teacher. Sometimes it seemed like he was going so far to
[4:15] his ball that the directors were giving it up for impossible You wanted to have
[4:23] Marlon Brando in your movie, because you had to accept all this. You
[4:28] had to accept Marlon Brando more almost chewing gum even though it wasn' t
[4:33] in the script. And this he did on more than one occasion true,
[4:40] Don Bernardo Bertoluccii, by the way, brand of Marlon Brando, that chewing
[4:46] the che wonham We suppose yes, but how many actors chewed gum Usually in
[4:55] the cinema. We move on to the letter n when, but the letter
[5:00] ña arrives always comes to mind, because Spain the closest thing. In this
[5:05] case there was Marlon Brando' s relationship with Spain. There was, but
[5:11] very little. Year one thousand nine hundred ninety- two, film Christopher Columbus.
[5:18] The discovery. So far came the good one from the sea Named to
[5:25] shoot his little scenes his little plans in the film Eye. It is not
[5:31] the film directed by Rilly Scott that same year, one thousand four hundred and
[5:38] ninety- two, the conquest of paradise that, by the way, Rili
[5:43] Scott was at the point of directing this Christopher colón the discovery, to which
[5:49] you will go were five hundred years of discovery or rather of the discovery of
[5:59] those western Indians and it was time to celebrate filmmaking. Marlon Brando participated in
[6:02] the project led by John Glen. Marlon Brando played the sinister inquisitor Tomás de
[6:12] Torqueman. Well, that' s all right up there. What happens is
[6:16] that Marlon Brando refused his role in the film and even wanted his name not
[6:24] to go on the title of the film. It wasn' t like that
[6:32] his good millions. Only by a few scenes did the man take few scenes
[6:39] shot or in Talamanca del Jarama, or in the Castle of Sigüenza or in
[6:44] the Alcazar of Segon. By the way, the screenplay of the film has
[6:49] signed nothing more and nothing less than by Don Mario Puso Rink, the author
[6:55] of the novel Del Godrino. Certainly, the ways of the Lord or of
[7:00] the Seventh Art are inexcructable and also has a relationship, as well as of
[7:08] refilion with Spain by the film Don Juan de Marco year one thousand nine hundred
[7:13] ninety- four. By the way, he produced American Thou Trop, production
[7:18] Francis Ford Copolla, which served in Tray. Despite all the regrets, Don
[7:24] Francis Forco pola to the director of the film Jeremy Leven A Marlon Brando for
[7:30] that role differences of Marlon Brando in Don Juan de Marco with the rest of
[7:38] the participations in the films of that time. Here more, Nomando is the
[7:43] protagonist of the film. Unlike all those roles that marked the last years of
[7:49] his career. It wasn' t a simple collaboration. He wasn' t
[7:55] going to shoot with the consequent delay, his few scenes in a couple of
[8:01] days for that movie. Not here Marlon Brando is the protagonist, along with
[8:05] Johnny Depp. The story, as the story of Don Juan is already known,
[8:09] although in this case Don Juan de Lord Byron at a certain time of
[8:16] it. We' re not gonna gut anything from the movie. In a
[8:20] clumsy spoiler. Marron Brando is named Gonzalo de Flores and Don Johnny Depp Don
[8:26] Juan de Marco, with whom he made crumbs, and Johnny Depp called to
[8:31] participate in his prima opera as director. Three years later, Amarron Brandon of
[8:37] short man on a smaller scale, but another gentleman to feed him apart the
[8:43] good Johnny Depp and we move on to the letter or sunset when we can
[8:52] date the beginning of the sunset or the sunsets of Marlon Brandon, one-
[9:00] way man they surprise. Marlon Brando only had when he made the godfather forty
[9:07] - eight years, that he seemed to have many children, since he had
[9:15] not reached fifty. What happens is that, before the tango and before the
[9:20] godfather, we could talk about Marlon brand' s first sunset phase At the
[9:24] end of the sixties, Marlon Brando participated in minor films, at least considering
[9:31] his prestige and his cache and had to come to Europe. We do not
[9:39] know if to escape from the great superproductions, but at least to breathe a
[9:46] little calm between his island of Taití and his exile in Europe. Marlon Brando
[9:52] was more in his salsa second phase of the sunset after Padrid, this last
[10:00] one linked to a decadence, both a little artistic in the choice of the
[10:05] characters and physically we will not say that they were minor roles, but if
[10:13] they were collaborations or special star appearances that were said of the television series,
[10:18] but in this case, in film, films in which Marlon Brando appeared,
[10:24] to which, however, he gave them that plus, that cache hears that
[10:28] Marlumbrando comes out here, however expendable. In short, whether it was that
[10:37] role or that participation. Indeed, Marlon Brando became an object of worship.
[10:45] Let' s go that he even participated in the shooting of a video clip
[10:50] of Michael Jackson and we went to the P P protest because Marlon Brando was
[10:58] also an activist after an actor, but he was a UNICEF ambassador in the
[11:03] fight against famine and inequality in the world in the 1960s and 1970s. He
[11:09] put his finger on the issue of the rights of Native Americans at the time
[11:16] we were already in the seventies of the twentieth century. Hence his rejection of
[11:22] the Oscar of seventy- three. And he also participated in the march on
[11:28] Washington of nineteen hundred and sixty- three for the civil rights of the African
[11:35] - American race, and did so together with people as disparate as if Nipoatier
[11:39] Polyman, Barland Castter, Harry Belafonte, Simi, David JR, Rita Moreno,
[11:46] James garner or Charlton Heston, who was going to say it. Chartton
[11:48] Cheston participated in the March on Washington of the year nineteen hundred and sixty-
[11:54] three and his island, the island of Tetiaroa, made it a center of
[12:01] scientific research. All this they did not tell us in the history books about
[12:07] Marlon Brando, a project that remained half- way, but that Marlon Brando
[12:13] started with all the illusion of the world, is more, the tourist complex
[12:18] that was mounted over time on that island of Tetiaroa. It was intended that
[12:24] the wealthy classes that went to it would bear the costs of such investigations.
[12:33] Don Marlon Brando was conscious and linked to the above letter. We ran into
[12:39] Q D Keimada. We could call Keimada the only political film starring Marlon Bratt
[13:03] in the year nineteen hundred and sixty- nine years in turmoil throughout the world
[13:09] and Don Gillo Ponte Corvo, the Italian director of the film The Battle of
[13:15] Algiers, called Marlon Brando to star in a film in which the American actor
[13:22] embodied a 19th- century British agent of those who already at that time incited
[13:30] popular revolts to overthrow legitimate governments and implant 19th- century dictators of that country
[13:39] ' s rope. A century later, when this film was shot, what
[13:46] certain imperialist governments were doing, because I practically see what the United States was
[13:56] doing at the time and put puppet dictators on its rope, because that was
[14:03] the way, also as an activist of Marlon Brando, to denounce these behaviors.
[14:13] There was a whole evening critical of the United States, the government of
[14:18] its land with this film. And they' re communicating letters, because the
[14:24] next letter is the letter r RD Rebellion on board. They' re lyrics,
[14:31] they' re movies that changed the way Marlon brand saw things The rebel
[14:39] aspect not of the characters in his films, but the rebellious aspect of the
[14:43] Lombrando Sea, person changed with them. And rebellion on board the year nine
[14:48] hundred and sixty- two was a turning point When it came to approaching characters,
[14:54] when it came to working in the cinema. Marron Brando participated in a
[15:00] great superproduction of those that were made at that time. Rebellion on board lasted
[15:07] more than three hours that it meant to amarlon brandy rebellion on board, because
[15:13] not being satisfied with the shooting of this film, of this great superproduction,
[15:20] that was not his own, He did not feel enough freedom when expressing his
[15:26] artistic ideas, But they say that the penalties with bread are less the shooting
[15:33] of this film. In Thití he allowed him to know the island of his
[15:41] dreams, you Tyre, island that was not part of the filming, but
[15:46] he met in one of his excursions or incursions in the sea by that French
[15:54] Polynesia gave him the opportunity to know the paradise in which he spent the happiest
[16:00] moments of his life, so that where he met the mother of his two
[16:07] children, two of his recognized sons and that he will already be part of
[16:11] the story. We don' t know about the Seventh Art, but we
[16:18] do know about Marlon Brandon' s life. If we stick to the strictly
[16:21] cinematic, in rebellion on board there are two clearly distinguishable interpretation schools, the
[16:29] one headed by Trevor Howard and the magnificent lineage of British interpreters and, on
[16:36] the other hand, that of Marlon Branton. If there is a film in
[16:40] which there is a record of the difference of interpretations between Marlon Brando and the
[16:48] rest, it is here in Rebelon on board, we are not going to
[16:52] say that Trevor Howard and his English friends were exposed to the opposite. But
[16:57] there' s a real force tour when it comes to watching Marlon Brando and
[17:03] the others on screen. By the way, among those others, the closest
[17:10] British actor, to his postulates, Richard Harris, of the British actors,
[17:17] we would dare say that Petero Tul and he were of those actors that we
[17:22] could say were emancipated from their origin and made a way to interpret themselves.
[17:30] And let' s move on to the lyrics. S s d superman a
[17:36] minor role according to Brando himself the one he had in this film, according
[17:42] to the children' s cut, but he reported his very good millions of
[17:51] dollars. A film where, by the way, it once again coincided with
[17:57] Trevor Howard and Glenford, with whom he had already worked in the past in
[18:03] that preliminary scene of the film. Who was going to tell Marlon Brando that
[18:07] over the years he was going to participate in such a science fiction project.
[18:15] It is clear, in short, when money is needed, because it has
[18:21] to be done, you have to work, and Marlon Brando needed it at
[18:26] different stages of his life. Evidently, how to get your money, working
[18:30] and what your job is to make movies, even if it was in a
[18:36] naive or childish film, like Superman was. In short, Superman' s
[18:42] father, the father of the terrestrial clarken, who, thanks to the miracles
[18:48] of the technique in the year two thousand and six, reappeared in Superman Returns
[18:56] we were in the year two thousand and six. Artificial intelligence applied to cinema
[19:03] still sounded like science fiction. The thing was still in diapers and we went
[19:14] to the letter t t technique applied to the way of playing Marlon brand and
[19:22] we have said on more than one occasion it has been said until the satiety
[19:29] Marlon Brando was the best actor in the world. This can also be said
[19:33] between questions. Marlon Brando was the best technically. Yes, hence the letter
[19:41] t of technique Arlon Brando meant all that real revolution. We' re still
[19:48] with the jazz simile. Before the sea Named we had the era of the
[19:53] Swin. With Marlon Brando, he gave way to the era of the VIVOP.
[20:00] It was the Charlie Parker of the movie theater, only then all the
[20:06] other copycats came. He was the pioneer. The others came back. The
[20:12] method. You know he' s got his pros and he' s got
[20:18] his cons. It has its advantages and drawbacks. Perhaps the quadriculate too much
[20:25] in the interpretation of a role as much as one wants to give free rein
[20:32] to that improvisation and that realism. And we combine letters are contiguous letters,
[20:41] letter t of technique and unique letter, regardless of their qualities and qualities or
[21:10] unique, especially from a certain moment of their career, to see who was
[21:17] the handsome one who literally directed him, as he said himself. He himself
[21:26] was the one who rewritten his part of the script his phrases in the film
[21:33] ' s filming took pencil and paper and began to erase and rewrite. He
[21:41] practically addressed himself that paraphernalia around him and his character. Many and many have
[21:52] been forced to imitate that creating an aura around themselves. Marlon Brando was the
[22:03] initiator, Bueno Howarhus, by which actor he was going to invent in filming
[22:11] a film that this character playing Marlon Brando needed a hearing aid because he mishears.
[22:21] That character needs a Tony sound what was there. Behind all this,
[22:26] To love Lon Brando gave him for not learning his script had a pingel in
[22:34] his ear that was dictating the phrases of his dialogue. That character needed a
[22:44] hearing aid on a whim. It' s all part of Marlon Brando'
[22:49] s genius as an actor, as a person and as a character. It
[22:55] happened in the film John He Speaks' Formula, in which he performed alongside
[23:02] Georgs Scott, the first two actors who had rejected an Oscar Award. Like
[23:11] the other one would say. It' s all interconnected. You know what
[23:15] we like, watching movies, discovering that of the communicating glasses and moving on
[23:22] to the lyrics V V David de Vito Corleón. What to say is that
[23:30] it has not been said of possibly one of the greatest icons in the history
[23:37] of the Seventh. A whole creation, a whole recreation, almost an instant
[23:45] parody in itself for here, by the way, made kind later in the
[23:52] film The Newbie of the Year nine hundred and ninety, in which Marlon Brandon
[23:56] was a sosism of his character in the father. It is remembered more that
[24:03] Amarlon Brando by Vito Corleon, for his role in the godfather than for any
[24:08] of his other great roles, including his first forays into cinema, his collaborations
[24:15] with Ellia. Cazo Marlon Brando we have said before was only forty- eight
[24:22] years old, but all that actoral well and life experience expanded not only in
[24:30] his role as Don Vito Corleon but also in his role as Paul of the
[24:37] last tango in Paris, two consecutive roles that he rolled with a few days
[24:45] away, a moment in which one of the most tortuous relationships also began of
[24:52] the seventh art in all its history, that of Francis Forco Polla with Marlon
[24:56] brand It seemed to be seen with the time that Marlon Brando says I have
[25:04] saved you in the film thanks to my reinterpretation of the character, the great
[25:11] success of the same thirst of Don Vito Corleone. If you want to work
[25:15] with me again, you' re going to have to swallow cars and wagons
[25:22] and hence your experience in apocalypse to Mr Coppola. I knew there was no
[25:27] other Colonel Kurt, that it wasn' t Mr Marlon brand, because everything
[25:36] started there with Vito Corleone and the godfather. Seen in time who brought more
[25:41] to whom Vito Corleone to the godfather or the godfather to marlombre. And we
[25:51] move on to Waterfron' s w- letter or Walter Fron' s,
[25:59] here called the I- Law. We have to bite our tongues when we
[26:03] say once again what is Marlon Brando' s best interpretation of all his filmography,
[26:10] as it is possibly Undee Watter the Law of Silence. Interestingly, Marlon
[26:18] Brando was not entirely satisfied with his role in this film, for it is
[26:26] good, because no one better than him could not make him to Cathan In
[26:33] the Law of Silence, We did not know whether his interpretation in a way
[26:41] called desire or in the Law of Silence, We did not know with which
[26:45] letter to stay good, for it was this letter that brought to him his
[26:52] first Oscar Oscar, which did receive and received very willingly. After all,
[26:57] everyone was younger. Marlon Brando received with all the illusion of the world this
[27:07] award for his role in the Law of Silence, for his role as Terry
[27:11] Malloy, a film in which he had to feel comfortable. He was headed
[27:19] by Elia Kathan, his friend, and was leaving for Professor Eliakath. He
[27:23] had by his side companions of the art th Steiger method and the hijkov O,
[27:32] using another musical simile. Rock and roll was already dancing here. He
[27:37] had the father, Father Barry masterfully embodied by Karl Malden and despite all this,
[27:45] Marlumbrando was not entirely satisfied with Terry Malloy' s interpretation of the Law
[27:53] of Silence, less iconic than Don Vito' s godfather' s corleons.
[27:59] Marlon Brandon' s character in the Law of Silence has nothing to envy,
[28:03] at least from an artistic point of view, the character in Francis Forcopola'
[28:08] s film. Technically, Marlon Brando achieved perfection in the Law of Silence.
[28:18] And we move on to the letter X D contains the x exile. We
[28:22] have already seen that, after his experience failed in a great overproduction, as
[28:27] was the rebellion approached Marlon Brando, he moved away from Hollywood, he moved
[28:33] away from the great studios to take things more calmly. He had already demonstrated
[28:42] everything that needed to be demonstrated. He owed nothing to anyone but the contrary,
[28:47] and he imposed a time of rela, a time of islands and a
[28:52] time of whims. And how we saw of involuntary scandals, that cinematic exile,
[29:02] intervening in films produced on the old continent, that voluntary exile of the
[29:08] city of Los Angeles and surrounding area, that way of taking things much more
[29:15] relaxed. Tetiaroa Island. As a result of all this, we have already
[29:22] seen what happened in the early seventies two of his most memorable roles and with
[29:27] the Greek and includes the we go to Sayonara, which serves us to talk
[29:34] about the eastern stage of Marlon brand Sea. Llanará is set in the Korean
[29:41] War, but also in Japan of the time. A film, we could
[29:48] say the one directed by Joshua Logan in the year nineteen hundred and fifty-
[29:53] seven, a standard film in which Marlon Brando applies his knowledge of method for
[30:02] a main stream role, which does not mean that he ceases to be Marlon
[30:07] brand and also uses Sayonara' s daughter and her eastern stage to talk about
[30:14] another film, such as The Tea House of the Moon of August, probably
[30:18] and probably that she, that is, one of the least expected roles that
[30:23] could play Don Barlon Brant, one of the roles that he most dislocated from
[30:32] his entire filmography. In the film he plays native Japanese, but frankly he
[30:37] does well roles, however, on the edge, on the edge as Emiliano
[30:41] Zapata' s z z- letter, one of the most ominous interpretations of
[30:49] his entire history, one of the roles of his less remembered beginnings, one
[30:56] of the interpretations that we would have to remember more. And we already say
[31:00] it is curious that chance has wanted us to leave for the end of ours
[31:06] the zeta dedicated to the sea naming, to its most exotic interpretations, to
[31:12] a point of being histrionic, to a point of surpassing itself. Come on,
[31:19] if this role, in this movie, is played by another actor,
[31:26] we' d be talking about the other side of the limit of overplay.
[31:30] But of course, amarlon brando already in this film, by now almost everything
[31:34] could be forgiven. We can forgive him for loving by naming those shadows in
[32:14] so many ways he had throughout his life. We said it at first we
[32:17] wanted to talk only about the Marlon Brando actor, but we realized that'
[32:22] s impossible. Only in a few very limited cases of film history. To
[32:30] try to separate one side from the other, one aspect from the other,
[32:37] is absolutely unnecessary, because both are intimately connected. Marlon Brando could never get
[32:45] rid of the actor man' s myth of simply being the best. Hoping
[32:54] that the program has been of your total pleasure, we say goodbye until next
[33:00] week, in which we will talk as always, about the topic that we
[33:02] come up with in the coming days. Until then, we can only thank
[33:07] you very much for your attention, much more your patience and make you the
[33:15] final culinary recommendation of all the lluvine eat a lot of bananas, which is
[33:20] very healthy. If there is no banana on the island of Ttiroa, we
[33:24] will take care of exporting it. And above all, when you go to
[33:30] heaven, you know what you have to do. Find your cloud. We
[33:34] all have one and when you have entered into trust and conversation with her,
[33:38] you have to tell her loudly and clearly what I evade cinema par ten

Shows are listed from Apple Podcasts' charts and directory, and Podcast Index where it is used. Every show and episode belongs to its publisher and plays from the publisher's own feed; this site hosts none of them.