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

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 8 Apr 2024, 34 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59328953/lloviendo_brando.mp3

En el programa de hoy de Lloviendo cine regresamos con nuestro especial De la A a la Z para repasar la vida y obra de un actor, el llamado en su época el mejor actor del mundo: Marlon Brando. Aprovechamos el centenario del nacimiento del intérprete de La ley del silencio para dar con las claves de la carrera de uno de los mitos por antonomasia del séptimo arte y uno de los iconos de la cultura popular del siglo XX. Las músicas del podcast proceden de: https://musopen.org/music/25719-ma-vlast-vltava-the-moldau/ Richard Wagner, EEF OAL-1 /commons.wikimedia.org/wiki/File:Richard_Wagner_-_The_Valkyrie_-_Ride_of_the_Valkyries.ogg>, via Wikimedia Commonshttps://musopen.org/music/2567-symphony-no-5-in-c-minor-op-67/

## Transcript

[0:26] We go nothing less than with the number one hundred, because here begins one
[0:34] more program of your favorite podcast I watching end, to which you are all
[0:40] pertinent inconveniently invited. You don' t need any kind of entry, you
[0:44] don' t need any permission. The doors are wide open a program more
[1:00] than iovindo cinema in, indeed an anniversary program, but not an anniversary program
[1:07] as it was, but the number one hundred of the birth of an act.
[1:12] This was said before of actors of other eras, of actors of silent
[1:19] cinema, of actors of the classical era of Hollywood, but on this occasion
[1:23] it is his turn, time passes and she has to say it for people
[1:27] like him to love naming, because these days the hundredth anniversary of his birth
[1:34] has been celebrated and, in addition, the next one of June will be
[1:42] celebrated the twenty anniversary of his death. Reasons more than enough to dedicate one
[1:49] of the whole to the Z. The first of the Z we dedicated to
[1:53] an actor. All previous from the a to the z s with directors A
[2:00] Alfred Kiscock, Jean Nico Dag John Do. In fact, it was already
[2:07] missing to appear and Don Luis garcia to see her at some point had to
[2:15] be an actor who starred in our from the Z. Why better time to
[2:19] do what this is with the special he and we were going to dedicate to
[2:23] the one who was considered the best actor in the world. Indeed, a
[2:45] hundred years after birth, in a thousand nine hundred and twenty- four.
[2:49] In short, this actor with capital letters and with everything that it entails in
[2:55] the case of Marlon Bra we will dedicate a whole of the to the zeta
[3:01] that we will divide into two parts. Today we' ll stay on the
[3:07] m and the second show we' ll start with the letter number N and
[3:15] start with the actor' s a. And it is that, behind all
[3:17] that paraphernalia that the trademark sea lombra histrionisms and poses more or less artificial that
[3:28] Mr Brando carried with him. We forgot that there was an actor and what
[3:36] an actor, an interpreter or rather a person who had the life he had,
[3:40] but his work and that is what we would have to look at was
[3:45] to participate in movies. So we' ll look at the actor aspect that
[3:53] we were going to say to actors studio. But he fears that don Marlon
[4:02] Brando was not really a direct disciple of the mythical New York school of interpretation.
[4:11] We could say that we do but don' t. Marlon Brando began
[4:15] studying as an actor at the New School in New York, not at Actors
[4:21] Studio. The actor was only studied on Saturday mornings because, according to his
[4:27] own confessions, there were girls there. But where he went for the rest
[4:33] of the week to learn interpretation was to the New School, a school of
[4:42] various arts, including teaching to play a theatre role or a film role,
[4:46] and to them was dedicated a teacher named Estela Atler, an actress who was
[4:54] dedicated to teaching her students. The secret of the method are islands, which
[5:03] was the method of interpretation that was taught in that New School that I go
[5:11] where I learned most of his teachings, Mr Marlon brand What happens is that
[5:18] in the actor was studied there was another teacher who would become a key figure
[5:26] in Marlon Brand' s career. There in that actor studio he met Elia
[5:31] Cathar. The rest is already history that we will tell in some other letter
[5:39] of ours from the aceta sirfa, because our first letter to put the points,
[5:45] in this case on the slabs. And we move on to Bernardo'
[5:51] s letter B letter B and also Bertoluch' s who rescued him before Don
[6:02] Francis Forcopola for this ci thing we' ll already talk in other letters of
[6:09] ours about the alace, why those rescues. But there was a moment,
[6:14] in the early 1970s, when Marlon Brando had imposed a kind of voluntary exile
[6:18] on life and film. Until Mr Berto Lucci arrived and told him you will
[6:28] interpret my next film, a film that will be titled the last tango in
[6:33] Paris and where he will practically interpret himself. Those were Bernardo Bertorucci' s
[6:43] intentions, but it was often bar Nomando to listen to him, at least
[6:48] to the first décama, that to say, of this mythical and legendary tape
[6:54] of the year nine hundred seventy- two, we will return to the subject,
[7:00] but I will again have a Marlon Brando in State of Grace with this
[7:05] movie particularities. Apart from the strictly cinematic, Marlon Brando' s performance in
[7:13] the last tango in Paris deserved a crazy nomination that Marlon Brando had not been
[7:18] nominated for oscar by the last tango in Paris, a role that went as
[7:25] a ring to his finger And, indeed, Bernardo berto Lucci pretended that Marlon
[7:30] Brando' s performance was partly or largely autobiographical, a summary of what had
[7:36] been his life as a person and much as Marlon Brando resisted at the end
[7:44] or a large percentage of the character in Bertolucci' s film was Marlon Brando,
[7:50] always said this to be as real r or possible when interpreting a film.
[8:03] Well, in faith that in this case, Don Marlon Brando got it
[8:07] from Bernardo Bertolucci, Marlon Brando' s merit. The beneficiaries all of us
[8:16] and we move to the letter c C of T- shirt and you will
[8:24] say why we chose the T- shirt in one of the one to the
[8:30] appointment dedicated to Don Marlon Brando, because for his performance in a tram called
[8:37] desire the first collaboration with Ellia Cazán in the cinema. We will already speak
[8:41] in some other lyrics of this film, but this role that Elia Cazán had
[8:46] reserved for Marlon Brando, who had played it in the theater before. With
[8:50] this film adaptation it was the birth of the myth. We could call Marlon
[8:58] Brandon' s erotic, very much in turn, because Marlon Brando did not
[9:03] seek at all to become, for example, a Merlin mon Row masculin.
[9:07] But in spite of it, those images of Marlon Brandon T- shirt became
[9:15] quite an icon in the world of cinema. If you wanted to convey that
[9:22] image as a male, you had to put on a T- shirt like
[9:28] Marronmbrando was wearing on a tram called desire, or rather you had to put
[9:35] it on as naturally as Marlon brand Needs of the script, needs that this
[9:41] Cobalky guy had to transmit that image for the film. Maybe he wasn'
[9:48] t wanted voluntarily, but between him and Kathan and between Marlon Brando they turned
[9:56] a t- shirt into a symbol. And we move on to the director
[10:01] ' s handwriting, not the filmmakers who tried. It could be said to
[10:07] direct Marlon brand but Marlon Brando himself as director, because Marlon Brando directed a
[10:16] single film year one thousand nine hundred sixty- one and titled The Impenetrable Face.
[10:22] Here Marlon Brando was addressing himself. But there will be other letters to
[10:31] explain what the impenetrable face just said. It was an atypical Western very Marlon
[10:37] Bran style We are already in the year nineteen hundred and sixty- one.
[10:43] Marlon Brando is more than settled, he is already considered the best actor in
[10:50] the world and he directs this atypical Western very of his style, free,
[10:56] untied, without being construded to the topics, to the genre, a genre,
[11:01] by the way, in which he prodigious little, but in which he
[11:07] looked quite at ease. It wasn' t the typical Huesters. We already
[11:11] said that they were performed in Hollywood had little to do with even John Ford
[11:16] ' s regulars or Howard Rocks' or John' s Sturgles'. You
[11:22] could say it was like an urban wester in the desert, if I were
[11:28] allowed the film pressure, by the way, that I should have signed Estanley
[11:35] Kubrick, but you know. You can imagine the reasons why they are in
[11:41] Kubrick was to fire him if he had not married in access a temperament like
[11:50] that of the American director with that of the actor of the same Nacinale and
[11:56] we reached the letter e e of scandal. Directly he or indirectly moved throughout
[12:01] his life there was to give and take mostly punches to photographers who made him
[12:09] snapshots at known mistime. They were also his delays in the arrivals to the
[12:18] shootings of his fight a day in which he had to shoot his few scenes
[12:24] in the movie we are known was what Marlon Brando was like, but that
[12:31] ' s how far we got with the jockey note of the scandal, because
[12:39] indirectly he was involved in more than a sound and irreversible scandal, like,
[12:46] for example, the death of Marlon Brando' s daughter' s boyfriend at
[12:52] the hands of Marlon Brando' s son. Marlon Brando' s daughter Chayan
[12:56] ' s boyfriend was fatally wounded in a shooting involving Marlon Brando' s son,
[13:03] Christian, which took place at the mansion Marlon Brando had in Mario,
[13:09] which ended with his son Christian behind bars and the subsequent unfortunate suicide of his
[13:16] daughter Chaya. There would be plenty to comment on, starting with whether Marlon
[13:28] Brando was a good example or not. As a father, we could also
[13:33] start by talking about Brando' s family history, the problematic childhood and youth
[13:43] he had with his parents. An authoritarian and alcoholic father and a bipolar mother
[13:48] and also given to drinking, which Marlon Brando did not want to repeat in
[13:54] his relationship with his children regarding what he had with his father, because it
[14:00] ended with an end precisely that was not of the happiest. And we go
[14:09] to the letter f la f of Francis Ford cop And while we say it
[14:31] was Bernard Roberto Luchi who rescued Marlon Brando, what would have been Marlon Brando
[14:39] ' s career without Francis Ford Coppol, who the same year called Marlon Brando
[14:46] to star in the Nitic Bito Corleone of the godfather. Because, after all,
[14:56] the tango film was just another of the particular cinematic exile of the American
[15:01] actor. We' ll already discuss this issue in some of your plots and
[15:11] see that Marlon Brando has had iconic roles at the beginning of his career,
[15:18] those roles that shaped the figure the icon Marlon brand Well, then, we
[15:26] would dare say that the Gordian knot of Mr Brando' s career was Vito
[15:31] Jorleone. It was Francis Forco Pola and he was the father and so to
[15:35] his ball was Don Marlon Brando throughout his career, that much of the characterization
[15:41] of Vito Corleone was in charge of Marron brand himself but Marron Brandon had to
[15:50] perform a casting test to get the role. He himself said that, despite
[15:56] taking the part, having to do a casting test was most humiliating. We
[16:04] didn' t see that Marlon Brando had an oscar before he won his second
[16:11] for the role of Vitocoleone in the father. That' s why we say
[16:17] what would have happened to Marlon Brando' s career without Francis Forcopol, because
[16:22] after Copola' s godfather came apocalypsenau that was already another story. What way
[16:30] to make yourself aware of Mr Marlon Brando' s in accepting and participating in
[16:37] this story? What if where I said, I say, I say that
[16:42] if you' re going to pay me three million dross, but in the
[16:48] middle of the shoot I' m going if you don' t accept my
[16:52] terms, that if I don' t want Dennis Hopper in this scene,
[16:56] you better not be in it, if I don' t refuse to participate
[17:02] in the movie, that if I don' t like the script and rewrite
[17:08] it in my own way because if I don' t abandon the movie,
[17:10] that if I don' t have late habits. In Marlon Brando' s
[17:11] arrival in the Philippines there has been some other actor in the world throughout the
[17:19] history of cinema. As Don Marlon Brando take this in any of the many
[17:27] senses with which that phrase can be taken. And we move on to Gais
[17:34] Andols' g letter here called in Spain, they and they a musical in
[17:45] Marlon Brando' s career. Yes, Marlon Brando made a musical film and
[17:52] did it together with another myth, along with Fran Sinatro, that Marlon Brando
[17:59] and Frank Sinatra never seemed to coincide in any film, as they did in
[18:07] this Engis Andol. And for more signs, Marlon Brando sings and dances and
[18:15] comes out of the airiest. It doesn' t go off in any sense,
[18:22] at any time. Frankly well, the film is from the year one
[18:29] thousand nine hundred and fifty- five. Brandon had just signed one of his
[18:33] most memorable interpretations with the law of silence and good gaurimeras he began to sing
[18:40] and dance. The director of the film, by the way, was Joseph
[18:45] Leo Mankeutch, in what was the second collaboration between the two, between director
[18:52] and actor, after Julio César and Brando' s brilliant speech as an antonous
[19:00] frame in which two films most widely shot coincided Don Joseph Leo and Don Marlon
[19:06] Bran. By the way, film directed by Joseph Leo Mankevich, that it
[19:11] seemed that this film had been directed by this law hurt because it was not
[19:18] by Joseph Leo Mankevich, that you also thought it had been this one in
[19:26] the idol. And it was also the only musical, by the way,
[19:30] directed by Herman Mankevich' s brother, by Joseph Leo Mankevich and by the
[19:37] way. We claim and recommend the viewing of both Julio César and Guaisandolph,
[19:45] they and them in today' s program of Jovi in do cinema. And
[19:49] we move on to the next letter, letter H of men. And why
[19:56] this title so generic p for the letter h because men. It was the
[20:03] first film in which Marlon brand participated It was Marlon Brandon' s first film
[20:11] in which he was able to demonstrate what he had already shown in smaller circles
[20:18] on the theater tables. Film in which he could already apply the teachings of
[20:25] the method These Isleski and as he did documenting himself living with disabled veterans in
[20:33] wheelchairs of the Second World War, love what eventually made people like Pacino or
[20:40] like Robert de Neo, two actors also of method, and it could be
[20:45] said that the honor of being the first film director to lead Marlon Brando was
[20:51] the great Fred Firman. Yes, the only one in front of the movie,
[21:00] because it seems that the first director who directed Marlon Brando on the Great
[21:06] Screen was Elia Gathán, as Fred Cine was not. It' s funny
[21:11] that Marlon Brando' s career doesn' t seem like it' s getting
[21:18] on today' s show of raining movies. By the way, if you
[21:22] haven' t seen Fred Ciirmano' s men with sea Ron Brando, you
[21:29] ' re going to take a pleasant surprise and move on to the lyrics and
[21:34] island. One of the actor' s best known eccentricities was the acquisition of
[21:44] Tetiaroa Island, located in the archipelago of French Polynesia of the Pacific. South
[21:52] Let' s go to Tahiti where Marlon Brando was more than caught after shooting
[22:00] on those islands of the film Rebellion on board the year nine hundred and sixty
[22:07] - five, or we call it eccentricity. Marlon Brando was in all his
[22:15] right to do so, to take an island for himself, to leave the
[22:22] great studios more than tired after the shooting of Rebellion on board and begin we
[22:29] will already comment on some other letter of our zeta wing begin his particular vital
[22:36] exile, which was from the island of Tetiaroa. In time, once Marlon
[22:42] Brando left this world he' s a man. Today on that island there
[22:48] is a tourist complex that some beekeeper has baptized with the name of brave here
[22:59] the one that does not fly and we pass to the letter j of Johnny
[23:06] What Johnny you will say, because the Johnny of Salvaje a film that has
[23:11] left us talking about iconic images, one of the most iconic images of the
[23:18] entire career of Marlon brand A, the height of the shirt, of a
[23:23] tram called desire or its characterization of the Padrid, that leather cspa, that
[23:32] motorcycle, that biker cap and that aesthetic that marked an entire epoch and an
[23:40] entire wedding, the one that bears Johnny in Salvaje, a whole way to
[23:47] understand the youth years and a precursor of what soon were the rockers of all
[23:55] that involved that youth rebellion, with Luis Presley at the head and indeed the
[24:00] Luis Presley would have existed. If the iconic image of Marlon Brando of Johnny
[24:08] in Wild. We repeated all wanted to be either Marlon Brando or Marlon Brando
[24:17] in the films Marlon Brando was trending. They all fell on their networks when
[24:25] social networks did not exist. He who directed the film, as a Hungarian
[24:30] emigrated to Hollywood, Lashlow Benedeck in what was a whole vehicle, already had
[24:37] his prestige at the service of Marron Brando. Let us not forget in a
[24:45] production is such a Kramer Law and we move on to the letter k K
[24:52] of Kazan or Kovalsky. Elia Kathan, the key person in her filmography,
[24:57] and we would dare to say that of her life, of what was later
[25:03] uploaded, and Kovalsky the name well the name of the protagonist of a tram
[25:11] called desire, starring Marron Brando and directed by Elia kath By the way,
[25:18] they were before a tram called desire and alive shoe that the Law of Silence,
[25:25] to that it would seem another that would have been the reverse that the
[25:30] Law of Silence was previous to those two towns and three were the collaborations of
[25:40] Marlon Brando with Elia Kazan only three, to which it seems that they had
[25:47] been a few more. This is Lighting. Marlon Brando' s way of
[25:52] playing ended up modeling. They already knew each other from their stage stage,
[25:59] from the formative stage of Marlon brand and Marlon Brando had already played Kovalsky in
[26:07] the theater. He knew the work and its role more than perfectly. Of
[26:12] course you love Dad or Mom more. What interpretation could we say was better
[26:19] that of a tram called desire or that of the Law of Silence? For
[26:25] the taste of colors, being as they are two interpretations that differ and both
[26:32] from each other. And you remember what we said that Bernardo Berto Lucci had
[26:37] asked him for the last tango in Paris to play himself. Well, because
[26:45] the model chosen by Maclobrant to interpret the Kobalsk from a tram called Deseo,
[26:55] had Paterna figure. Ah good to understand that it is difficult to decide.
[27:02] That' s why we took those from Villadiego, Kovalsky or Malloy. We
[27:08] still don' t know which of the two roles we can fit better.
[27:15] We move on to another letter etra. L ld lee tle Feder satching let
[27:22] tle Feder, the actress and activist of Native American origin named Mary Lewis Cruz,
[27:33] who came on the stage of the Oscars' delivery on March 27th of
[27:37] a thousand nine hundred and seventy- three to reject the name Marlon Brando the
[27:45] delivery of the golden statuette for his performance of Vito Corleone in the godfather.
[27:51] Second occasion, after George sk Scott, when an actor refused delivery or reception,
[27:57] in this case an oscar reasons why Satchin Little Feather came on stage to
[28:03] reject this award the image that, according to the American actor, Hollywood films
[28:11] gave of Native Americans of Indians in Western films. Clearly, Marlon Brando did
[28:22] not go to the Dorophitxander Babelion of the Angels. That night of March of
[28:29] the year seventy- three was not among the scenes. She sent in her
[28:34] name this actress named Mary Louis Cruz, to Sacheitter Fehr to reject the award.
[28:44] By the way, according to her, according to satche Little Feder,
[28:48] the actress and activist was of Native American origin, since they affirm the bad
[28:56] languages and the not so bad ones that nothing, that was American, of
[29:02] pure strains if perhaps of Mexican origin, but that of indigenous tribe. Only
[29:07] the Apache attire, with which he climbed to the stage of the durd The
[29:15] Chalder Pabily and passed to the last letter of today' s show of loving
[29:22] cinema mdmito how much, really, how much he possessed of character on the
[29:30] margin of the actor or vice versa. He had marauding how many ideas and
[29:36] how many images come to mind, saying his name, saying or hearing his
[29:41] name, already imposing you changes your face to the mind all that aura that
[29:47] surrounded for good or bad to Marlonmbra. The things we' ve heard,
[29:55] the things we' ve already said in this first part of our ace dedicated
[30:00] to Marlon Brando, about this actor, about this character. When all these
[30:08] things come to mind, we think about the actor, think about the person
[30:14] or think about the character. Who' s eaten here, what' s
[30:21] left to count. We still have part two, what remains to be heard
[30:26] that Marlon Brando has not yet been told. We wanted to talk, and
[30:30] it was our purpose, simply of its facet as an actor, but we
[30:37] have realized that such a task is the most arduous. Marlombrando is indissoluble its
[30:44] artistic facet and its personal facet. We have seen that they are intimately linked.
[30:51] His characters feed on what he wanted to be. As real as possible,
[30:57] it nourished itself from its essences. Your reality writes about what you know
[31:03] he acted, about what he had lived. Risks of being a method actor,
[31:08] Risks, disadvantages, but also quite advantages. Few very few actors in
[31:17] the history of cinema have achieved what he is impossible to pass, unperfection and
[31:55] so far one more show of your podcast has arrived. Right now, I
[31:59] watch film in what has been the first part of our special lace dedicated to
[32:05] the stage of Marlon Brand' s birth. We have reviewed half of the
[32:14] alphabet based on his life to understand or rather to try to understand the keys
[32:22] of his success, of that image, of that aura that has always surrounded
[32:29] and will surround the image of the American actor. We have the second part
[32:37] left. We have a few more aspects left, and for this we will
[32:45] dedicate the second part of this special of the lace. He hopes that the
[32:50] program will have been of your total pleasure. We said goodbye until the week
[32:54] that we will talk about the second part of our special of the a,
[33:00] the dedicated appointment to love him until then we only have to thank you very
[33:06] much for your attention, much more your patience and make you the final culinary
[33:12] recommendation of all of Ovindocine eat much banana, which is very healthy. We
[33:15] can' t imagine you perfectly loving by ombrating the shirt, eating a whole
[33:23] Platonic lord and above all, when you look up to heaven, you know
[33:27] what you have to do. Find your cloud. We all have one and
[33:30] when you have entered into trust and conversation with her. You have to tell
[33:34] me very clearly that it rains cinema for ten.

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