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Having studied with Stella Adler in the 1940s, he is credited with being one of the first actors to bring the Stanislavski system of acting and method acting, derived from the Stanislavski system, to mainstream audiences. | ⴹⴰⵕⵜ ⵜⵖⵓⵔⵉ ⵏⵏⵙ ⴷ ⵙⵜⵉⵍⵍⴰ ⴰⴷⵍⵉⵔ ⴳ 1940, ⵉⴳⴰ ⵙⴳ ⵉⵙⵎⴷⵢⴰⵜⵏ ⵉⵎⵣⵡⵓⵔⴰ ⴷ ⵢⵓⵡⵉⵏ ⴰⵏⴳⵔⴰⵡ ⴷ ⵜⵎⴰⵎⴽⵜ ⵏ ⵓⵙⵎⴷⵢⴰ ⵙⵜⴰⵏⵉⵙⵍⴰⴼⵙⴽⵉ, ⴰⵏⴰⴼⵓⵖ ⵏ ⵓⵏⴳⵔⴰⵡ ⵙⵜⴰⵏⵉⵙⵍⴰⴼⵙⴽⵉ, ⵙ ⵓⴳⴷⵓⴷ ⴰⵎⵇⵇⵔⴰⵏ. |
He directed and starred in the cult western One-Eyed Jacks, a critical and commercial flop, after which he delivered a series of notable box-office failures, beginning with Mutiny on the Bounty (1962). | ⵉⵙⵙⵓⴼⵖ ⴷ ⵢⵓⵔⴰⵔ ⴳ ⴽⵓⵍⵜ ⵡⵉⵙⵜⵉⵔⵏ ⵡⴰⵏ ⵉⵢⴷ ⵊⴰⴽⵙ, ⵓⵔ ⵉⵎⵓⵔⵉⵙ ⴳ ⵓⵣⵖⴰⵏ ⴷ ⵓⵙⴱⴱⴻⴱ, ⵉⵙⵙⵎⵔⵙ ⵢⴰⵜ ⵜⵓⴳⵜ ⵏ ⵉⵕⵥⴰⵏ ⵉⴱⴰⵢⵏⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ, ⵙⴳ ⵓⴼⵉⵍⵎ ⵏ ⵎⵓⵏⵉⵜⵢ ⵓⵏ ⴷⵓ ⴱⵓⵏⵜⵉ (1962). |
He refused the award due to alleged mistreatment and misportrayal of Native Americans by Hollywood. | ⵓⵔ ⵉⵔⵉ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⵙⵎⴽⵍ ⵓⵔ ⵉⵃⵍⵉⵏ ⵏⵏⴰ ⵉⵏⵏⴰ ⴷ ⴳⴰⵔ ⴰⵙⵡⵍⴼ ⵏ ⵉⵏⵚⵍⵉⵢⵏ ⵏ ⵎⵉⵔⵉⴽⴰⵏ ⵙⴳ ⵀⵓⵍⵉⵡⵓⴷ. |
According to the Guinness Book of World Records, Brando was paid a record $3.7 million ($ million in inflation-adjusted dollars) and 11.75% of the gross profits for 13 days' work on Superman. | ⵏⵉⵍ ⵓⴷⵍⵉⵙ ⵏ ⴳⵉⵏⵉⵣ ⵉ ⵉⵎⴹⴰⵏⵏ ⵉⵏⴰⴼⵍⵍⴰⵜⵏ, ⵢⵓⵎⵥ ⴱⵕⴰⵏⴷⵓ ⴰⵜⵉⴳ ⵏ 3.7 ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵕ (ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵕ ⵏ ⵉⴷ ⴷⵓⵍⴰⵕ ⵏⵉⵍ ⵓⴱⵣⵣⵓⴳ) ⴷ 11.75% ⵙⴳ ⵉⴱⵖⵓⵔⵏ ⴽⵓⵍⵍⵓ ⵅⴼ 13 ⵏ ⵡⴰⵙⵙ ⵏ ⵜⵡⵓⵔⵉ ⵏ ⵙⵓⴱⵉⵔⵎⴰⵏ. |
His ancestry was mostly German, Dutch, English, and Irish. | ⵜⴳⴰ ⵜⵜⴰⵚⵉⵍⵜ ⵏⵏⴰⵙ ⵜⴰⵍⵎⴰⵏⵉⵢⵜ, ⵜⴰⵀⵓⵍⴰⵏⴷⵉⵢⵜ, ⵜⴰⵏⴳⵍⵉⵣⵉⵢⵜ, ⴷ ⵜⵉⵔⵍⴰⵏⴷⵉⵢⵜ. |
Brando was raised a Christian Scientist. | ⵉⵅⴰⵜⵔⴷ ⴱⵕⴰⵏⴷⵓ ⴷ ⴰⵎⴰⵙⵙⴰⵏ ⴰⵎⴰⵙⵉⵃⵉⵢ. |
However, she was an alcoholic and often had to be brought home from bars in Chicago by her husband. | ⵎⵇⵇⴰⵔ ⴷ ⴰⵢⵏⵏ, ⵜⵜⵓⴱⵍⴰ ⵙ ⵜⵙⵙⵉ ⴰⵔ ⵉⵜⵅⵙⵙⵓ ⵓⵔⴳⴰⵣ ⵏⵏⵙ ⴰⴷ ⵜⵜ ⵉⵔⴰⵔ ⵙ ⵜⴰⴷⴷⴰⵔⵜ ⵙⴳ ⵉⴷ ⵍⴱⴰⵕ ⴳ ⵛⵉⴽⴰⴳⵓ. |
"Brando harbored far more enmity for his father, stating, ""I was his namesake, but nothing I did ever pleased or even interested him." | "ⵓⵔ ⵉⵃⵎⵉⵍ ⴱⵕⴰⵏⴷⵓ ⴱⴰⴱⴰⵙ ⴽⵉⴳⴰⵏ, ⴰⵛⴽⵓ ⵉⵏⵏⴰ ""ⵓⵙⵉⵖ ⵉⵙⵎ ⵏⵏⵙ, ⵎⴰⵛⴰ ⵓⵔ ⴷⵊⵉⵏ ⵢⵓⵙⵉⵢ ⵍⵀⵎⵎ ⵓⵍⴰ ⴰⵏⵜⴰⵢ ⵙ ⵓⵢⵏⵏⴰ ⵙⵙⴽⵔⵖ." |
Around 1930, Brando's parents moved to Evanston, Illinois, when his father's work took him to Chicago, but separated in 1935 when Brando was 11 years old. | ⴰⵜⵜⴰⵢⵏ ⵏ 1930, ⵎⵎⵓⵜⵜⵉⵏ ⵉⵎⴰⵔⴰⵡⵏ ⵏ ⴱⵕⴰⵏⴷⵓ ⵙ ⵉⴼⴰⵏⵙⵜⵓⵏ, ⵉⵍⵉⵏⵡⵉⵙ, ⵍⵍⵉ ⴳ ⵜ ⵜⵓⵡⵉ ⵜⵡⵓⵔⵉ ⵏ ⴱⴰⴱⴰⵙ ⵙ ⵛⵉⴽⴰⴳⵓ, ⵎⴰⵛⴰ ⵏⵏⵓⵕⵥⵎⵏ ⴳ ⵓⵙⴳⴳⵯⴰⵙ 1935 ⵍⵍⵉ ⴳ ⵉⵍⵍⴰ 11 ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⵖⵓⵔ ⴱⵕⴰⵏⴷⵓ. |
"Brando, whose childhood nickname was ""Bud"", was a mimic from his youth." | "ⴱⵔⴰⵏⴷⵓ ⵎⵉ ⵜⵜⵉⵏⵉⵏ ⴳ ⵜⵎⵥⵉ ""ⴱⵓⴷ"", ⵉⴳⴰ ⴰⵎⴹⴼⵕ ⵙⴳ ⵜⵄⵓⵔⵔⵎⴰ ⵏⵏⵙ." |
In the 2007 TCM biopic Brando: The Documentary, childhood friend George Englund recalls Brando's earliest acting as imitating the cows and horses on the family farm as a way to distract his mother from drinking. | ⴳ ⵓⴼⵉⵍⵎ ⵓⵏⵜⵉⵎ ⴱⵔⴰⵏⴷⵓ: ⵅⴼ ⵜⵔⵉⴷⵔⵜ ⵉ TCM ⴰⵙⴳⴳⵯⴰⵙ ⵏ 2007, ⴰⵔ ⵉⵙⵎⴽⵜⴰⵢ ⵓⵎⴷⴷⴰⴽⴽⵍ ⵏ ⵜⵎⵥⵉ ⵊⵓⵕⵊ ⵉⵏⴳⵍⵓⴷ ⵜⴰⵡⵓⵔⵉ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⵏ ⴱⵔⴰⵏⴷⵓ ⵍⵍⵉ ⴳ ⴷⴰ ⵉⵜⴳⴳⴰ ⴰⵎ ⵜⴼⵓⵏⴰⵙⵉⵏ ⴷ ⵉⵢⵢⵙⴰⵏ ⴳ ⵜⵓⵥⵓⵜ ⵏ ⵜⴰⵡⵊⴰ ⴰⴼⴰⴷ ⵉⵙⵙⵍⵀⵓ ⵉⵎⵎⴰⵙ ⴰⴷ ⵓⵔ ⵜⵙⵙⴰ. |
Brando's sister Frances left college in California to study art in New York. | ⵜⵣⵔⵉ ⴼⵕⴰⵏⵙⵉⵙ ⵓⵍⵜⵎⴰⵙ ⵏ ⴱⵔⴰⵏⴷⵓ ⵜⴰⵙⴷⴰⵡⵉⵜ ⴳ ⴽⴰⵍⵉⴼⵓⵕⵏⵢⴰ ⴰⴼⴰⴷ ⵜⵖⵔ ⵜⴰⵥⵓⵕⵉ ⴳ ⵏⵢⵓⵢⵓⵕⴽ. |
Brando excelled at theater and did well in the school. | ⵉⵎⵓⵔⵙ ⴱⵔⴰⵏⴷⵓ ⴳ ⵓⵎⵣⴳⵓⵏ ⵉⵙⵙⴽⵔ ⴰⴳⴳⴰⵢ ⵉⵖⵓⴷⴰⵏ ⴳ ⵜⵉⵏⵎⵍ. |
The faculty voted to expel him, though he was supported by the students, who thought expulsion was too harsh. | ⵜⵙⵜⵉ ⵜⵙⴷⴰⵡⵉⵜ ⴰⴷ ⵜ ⵜⵀⵕⴹ, ⵎⵇⵇⴰⵔ ⵜ ⵓⵡⵙⵏ ⵉⵎⵣⵔⴰⵡⵏ, ⵏⵏⴰ ⵉⵜⵜⵉⵏⵉⵏ ⵎⴰⵙ ⴷ ⴰⵟⵟⴰⵢ ⵉⵛⵇⵇⴰ ⴽⵉⴳⴰⵏ. |
"In a 1988 documentary, Marlon Brando: The Wild One, Brando's sister Jocelyn remembered, ""He was in a school play and enjoyed it ... So he decided he would go to New York and study acting because that was the only thing he had enjoyed." | ⴳ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⵓⵏⵜⵉⵎ ⴳ 1988, ⵎⴰⵕⵍⵓⵏ ⴱⵔⴰⵏⴷⵓ: ⴷⵓ ⵡⴰⵢⵍⴷ ⵡⴰⵏ, ⵜⵙⵎⵎⴽⵜⵉ ⵊⵓⵙⵉⵍⵉⵏ ⵓⵍⵜⵎⴰⵙ ⵏ ⴱⵔⴰⵏⴷⵓ, ""ⵉⵍⵍⴰ ⴳ ⵢⴰⵜ ⵜⵎⵣⴳⵓⵏⵜ ⵜⴰⵏⵎⵍⴰⵏⵜ ⵜⵙⵙⵓⵙⵎ ⵜ ... ⴰⵢⵏⵏⴰⵖ ⴰⵅⴼ ⵉⴷⴷⴰ ⵙ ⵏⵢⵓⵢⵓⵕⴽ ⴰⴷ ⵉⵖⵔ ⴰⵙⵎⴷⵢⴰ ⴰⵛⴽⵓ ⵉⴳⴰ ⵢⴰⵜ ⵜⵖⴰⵡⵙⴰ ⵏⵏⴰ ⵜ ⵉⵙⵙⵓⵙⵎⵏ." |
For a time he lived with Roy Somlyo, who later became a four time Emmy winning Broadway producer. | ⵉⴷⴷⵔ ⵉⵎⵉⴽ ⵏ ⵜⵉⵣⵉ ⴷ ⵕⵓⵢ ⵙⵓⵎⵍⵢⵓ, ⵏⵏⴰ ⵢⴰⵖⵓⵍⵏ ⵉⴳⴰ ⴰⵎⵙⵙⴼⵔⵙ ⵏ ⴱⵔⵓⴷⵡⴰⵢ ⵏⵏⴰ ⵢⵓⵡⵉⵏ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⵉⵎⵎⵉ ⴽⴽⵓⵣ ⵏ ⵜⵉⴽⴽⴰⵍ. |
Brando's remarkable insight and sense of realism were evident early on. | ⵜⴰⵏⵏⴰⵢⵜ ⵏ ⴱⵔⴰⵏⴷⵓ ⵉⵖⵓⴷⴰⵏ ⴷ ⵓⴼⵔⴰⵢ ⵏⵏⵙ ⴰⵏⵉⵍⴰⵡ ⴳⴰⵏ ⴰⵏⵉⵍⴰⵡⵏ ⵙⴳ ⵣⵉⴽⴽ. |
According to Dustin Hoffman in his online Masterclass, Brando would often talk to camera men and fellow actors about their weekend even after the director would call action. | ⵏⵉⵍ ⴷⵓⵙⵜⵉⵏ ⵀⵓⴼⵎⴰⵏ ⴳ ⵜⵎⵙⵉⵔⵉⵏ ⵏⵏⵙ ⵜⵉⴷⵙⵍⴰⵏⵉⵏ ⴳ ⵡⵏⵜⵉⵔⵏⵉⵜ, ⴷⴰ ⵉⵙⴰⵡⴰⵍ ⴱⵔⴰⵏⴷⵓ ⴽⵉⴳⴰⵏ ⵉ ⵉⵎⵙⵡⵍⴰⴼⵏ ⴷ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⵏⵏⵙ ⵉⵙⵎⴷⵢⴰⵜⵏ ⵅⴼ ⵜⵏⵓⵕⵥⵎⵜ ⵏ ⵜⴳⵉⵔⴰ ⵏ ⵉⵎⴰⵍⴰⵙ ⵇⵇⴰⵔ ⵜⴰ ⵓⵔ ⵉⵖⵔⵉ ⵓⵎⵙⵙⵓⴼⵖ ⵙ ⵜⵉⴳⴰⵡⵜ. |
His behavior had him kicked out of the cast of the New School's production in Sayville, but he was soon afterwards discovered in a locally produced play there. | ⵉⵥⵥⵍ ⵜ ⵓⵚⵏⵉⵄ ⵏⵏⵙ ⴳ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵉⵎⵙⴷⵢⴰⵜⵏ ⵉⵙⴼⴰⵔⵙⵏ ⵜⵉⵏⵎⵍ ⵜⴰⵎⴰⵢⵏⵓⵜ ⴳ ⵙⴰⵢⴼⵉⵍ, ⵎⴰⵛⴰ ⵓⴼⴰⵏ ⵜ ⴹⴰⵕⵜ ⵢⴰⵏ ⵓⵣⵎⵣ ⵉⴷⵔⵓⵙⵏ ⴳ ⵓⴼⴰⵔⵙ ⵏ ⵢⴰⵜ ⵜⵎⴷⴳⵓⵏⵜ ⵜⴰⴷⵖⵔⴰⵏⵜ. |
Cornell also cast him as the Messenger in her production of Jean Anouilh's Antigone that same year. | ⵉⵙⵜⵉ ⵜ ⴽⵓⵔⵏⵉⵍ ⴷ ⴰⵎⴰⵣⴰⵏ ⴳ ⵓⴼⴰⵔⵙ ⵏⵏⵙ ⵏ ⴰⵏⵜⵉⴳⵓⵏ ⵏ ⵊⵓⵏ ⴰⵏⵡⵉⵍⵃ ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏⵏⴰⵖ. |
Bankhead had turned down the role of Blanche Dubois in A Streetcar Named Desire, which Williams had written for her, to tour the play for the 1946–1947 season. | ⵓⵔ ⵉⵔⵉ ⴱⴰⵏⴽⵀⵉⴷ ⵜⵉⵍⴰⵍⵜ ⵏ ⴱⵍⴰⵏⵛ ⴷⵓⴱⵡⴰ ⴳ ⵓⴼⵉⵍⵎ ⵜⴰⵎⵙⵙⵓⴷⵓⵜ ⵉⵙⵎ ⵏⵏⵙ ⵢⵉⵔⵉ, ⵏⵏⴰ ⴰⵙ ⵜⵓⵔⴰ ⵡⵉⵍⵢⴰⵎⵣ, ⴰⴼⴰⴷ ⵜⵙⵙⴽⵔ ⴰⵙⵓⵜⵍ ⵏ ⵜⵎⵣⴳⵓⵏⵜ ⴳ ⵡⴰⵏⵏⴰⵣ ⵏ 1946–1947. |
"Wilson was largely tolerant of Brando's behavior, but he reached his limit when Brando mumbled through a dress rehearsal shortly before the November 28, 1946, opening. """ | "ⵉⴳⴰ ⵡⵉⵍⵙⵓⵏ ⴰⵎⵙⵙⵓⵔⵓⴼ ⴽⵉⴳⴰⵏ ⴷ ⵓⵚⵏⵉⵄ ⵏ ⴱⵔⴰⵏⴷⵓ, ⵎⴰⵛⴰ ⵢⵓⵡⴹ ⵏⵏ ⴰⵡⵜⵜⵓ ⵏⵏⵙ ⴳ ⵉⵜⵎⵜⵎ ⴱⵔⴰⵏⴷⵓ ⴳ ⵢⴰⵏ ⵓⵄⴰⵡⴷ ⴰⵎⴰⵜⴰⵢ ⵉⵎⵉⴽ ⴷⴰⵜ ⵓⵕⵥⵥⵓⵎ ⵏ 28 ⵏⵓⵡⴰⵏⴱⵉⵔ 1946.""" |
"It was marvelous,"" a cast member recalled. """ | "ⴷⴰ ⴷ ⵉⴽⵜⵜⵉ ⵢⴰⵏ ⴳ ⵉⴳⵎⴰⵎⵏ ⵏ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵓⵙⵎⴷⵢⴰ, ""ⵉⵥⵉⵍ. """ |
Critics were not as kind, however. | ⵎⴰⵛⴰ ⵉⵎⵣⵖⴰⵏ ⵓⵔ ⴳⵉⵏ ⴰⵎ ⵡⴰⵏⴰⵡ ⴰⴷ ⵉⵥⵉⵍⵏ. |
"He received better reviews at subsequent tour stops, but what his colleagues recalled was only occasional indications of the talent he would later demonstrate. """ | "ⵢⵓⵎⵥ ⵉⵙⵜⵜⴳⵏ ⵉⵖⵓⴷⴰⵏ ⴳ ⵜⵉⵔⴰⵎ ⴷ ⵉⴷⴷⴰⵏ, ⵎⴰⵛⴰ ⴰⵢⵏⵏⴰ ⴱⴷⵔⵏ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⵏⵏⵙ ⵉⴳⴰ ⵜⵉⵎⴰⵜⴰⵔⵉⵏ ⵜⵉⵎⵣⵡⵓⵔⴰ ⵏ ⵜⵥⵓⵕⵉ ⵏⵏⴰ ⵔⴰⴷ ⵉⵙⵙⵓⴼⵖ ⵖⵔ ⴷⴰⵜ.""" |
Brando displayed his apathy for the production by demonstrating some shocking onstage manners. | ⵉⵙⵙⵓⴼⵖ ⴷ ⴱⵔⴰⵏⴷⵓ ⵡⴰⵔⴽⴽⵓⵍ ⵅⴼ ⵓⴼⴰⵔⵙ ⵙ ⵓⵙⵙⵓⴼⵖ ⵏ ⵜⵎⴰⵎⴽⵉⵏ ⵉⵙⵙⴱⵀⴰⴹⵏ ⴳ ⵜⵎⵥⵕⵉⵜ. |
After several weeks on the road, they reached Boston, by which time Bankhead was ready to dismiss him. | ⴷⴰⵜ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⴰⵍⴰⵙⵏ ⴳ ⵓⴱⵔⵉⴷ, ⵉⵡⴹⵏ ⴱⵓⵙⵜⵓⵏ, ⴳ ⵜⵉⵣⵉ ⵏⵏⴰⵖ ⵉⵙⵙⵓⵊⴷ ⴱⴰⵏⴽⵀⵉⴷ ⵓⴽⵓⵙ ⵏⵏⵙ. |
"Pierpont writes that John Garfield was first choice for the role, but ""made impossible demands.""" | "ⵢⵓⵔⴰ ⴱⵉⵔⴱⵓⵏⵜ ⵎⴰⵙ ⵉⴳⴰ ⵊⵓⵏ ⴳⴰⵔⴼⵉⵍⴷ ⴰⵙⵜⴰⵢ ⴰⵎⵣⵡⴰⵔⵓ ⵉ ⵜⵉⵍⴰⵍⵜ ⴰⴷ, ⵎⴰⵛⴰ ""ⵉⴼⴽⴰ ⵉⵙⵙⵓⵜⵓⵔⵏ ⵢⴰⴳⵓⵎⵏ.""" |
"It humanizes the character of Stanley in that it becomes the brutality and callousness of youth rather than a vicious old man ... A new value came out of Brando's reading which was by far the best reading I have ever heard.""" | "ⵉⵙⵏⵓⴼⴳⵏ ⴰⵡⵔⵉⴽ ⵏ ⵙⵜⴰⵏⵍⵉ ⴳ ⵓⵏⴰⵎⴽ ⴳ ⵉⵜⴳⴳⴰ ⵓⵥⵥⵉⵕ ⴷ ⵓⵡⵄⴰⵕ ⵏ ⵉⵄⵔⵔⵉⵎⵏ ⴳ ⵓⴷⵖⴰⵔ ⵏ ⵓⵔⴳⴰⵣ ⴰⵡⵙⵙⴰⵔ ⴰⵎⴼⵍⵍⵙ ... ⵉⴼⴼⵖ ⴷ ⵢⴰⵏ ⵡⵓⴷⴷⵓⵔ ⴰⵎⴰⵢⵏⵓ ⵏ ⵜⵖⵔⵉ ⵏ ⴱⵔⴰⵏⴷⵓ ⵏⵏⴰ ⵉⴳⴰⵏ ⵙⴳⵍⵍⵉ ⵜⵉⵖⵔⵉ ⵜⴰⵎⵓⴼⴰⵢⵜ ⵎⵉ ⵙⵍⵍⴰⵖ ⴰⴽⴽⵯ.""" |
"He said, ""The curtain went up and on the stage is that son of a bitch from the gym, and he's playing me.""" | "ⵉⵏⵏⴰ, ""ⵉⵜⵜⵡⴰⴽⴽⵙ ⵓⵙⵏⵜⵍ ⵢⵉⵍⵉ ⵎⴻⵎⵎⵉⵙ ⵏ ⵜⵎⴳⴳⴰⵏⵜ ⵏ ⵜⴷⴰⵍⴰ ⵏ ⵍⵊⵉⵎ ⴳ ⵜⵎⵥⵕⵉⵜ, ⴰⵔ ⴷⵉⴷⵉ ⵉⵜⵜⵓⵔⴰⵔ.""" |
Brando's first screen role was a bitter paraplegic veteran in The Men (1950). | ⵜⴳⴰ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⵏ ⴱⵔⴰⵏⴷⵓ ⴳ ⵓⵎⵉⵥⴰⵕ ⴰⵎⵃⵔⴽⴰ ⴰⵣⴰⵢⴽⵓ ⵢⴰⵖ ⵓⴽⴽⵓⵛⵎ ⵉⵃⵕⵕⴰⵏ ⴳ ⴷⵓ ⵎⵉⵏ (1950). |
By Brando's own account, it may have been because of this film that his draft status was changed from 4-F to 1-A. He had had surgery on his trick knee, and it was no longer physically debilitating enough to incur exclusion from the draft. | ⵙⴳ ⵓⵎⵉⴹⴰⵏ ⵏ ⴱⵔⴰⵏⴷⵓ ⴰⵎⵥⵍⴰⵢ, ⵉⵖⵢ ⵉⴷ ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⴼⵉⵍⵎ ⴰⴷ ⵉⵎⵎⵓⵜⵜⵉ ⵡⴰⴷⴷⴰⴷ ⵏⵏⵙ ⵙⴳ 4-F ⵖⵔ 1-A. ⵜⵜⵓⴳⴰ ⴰⵙ ⵢⴰⵜ ⵜⴽⵛⵛⵓⵎⵜ ⵏ ⵓⴼⵍⴰⵢ ⴳ ⵓⴼⵓⴷ ⵉⵜⵜⵓⴽⵏⴰⴷⵏ, ⵓⵔ ⵢⴰⴷ ⵉⴳⵉ ⴰⵎⴰⵃⵓⵍ ⴳ ⵜⴼⴳⴳⴰ ⵏⵏⵙ ⴰⴼⴰⴷ ⵉⵜⵜⵡⴰⴽⴽⵙ ⴳ ⵜⵏⴼⵓⵍⵜ. |
Coincidentally, the psychiatrist knew a doctor friend of Brando. | ⵙ ⵓⵙⴰⵎⴰ, ⵉⵙⵙⵏ ⵓⴱⵙⵉⴽⵢⴰⵜⵔ ⵢⴰⵏ ⵓⵎⵙⴳⵏⴰⴼ ⴰⵎⴷⴷⴰⴽⴽⵍ ⵏ ⴱⵔⴰⵏⴷⵓ. |
The role is regarded as one of Brando's greatest. | ⵜⵉⵍⴰⵍⵜ ⵜⴳⴰ ⵢⴰⵏ ⵙⴳ ⵉⵎⵇⵇⵔⴰⵏⵏ ⵏ ⴱⵔⴰⵏⴷⵓ. |
The film was directed by Elia Kazan and co-starred Anthony Quinn. | ⵉⵍⵉⵢⴰ ⴽⴰⵣⴰⵏ ⴰⵢⴷ ⵉⵙⵙⵓⴼⵖⵏ ⴰⴼⵉⵍⵎ ⴷ ⴰⵏⵟⵓⵏⵉ ⴽⵡⵉⵏ ⴰⵢⴷ ⵉⴳⴰⵏ ⴰⵏⴰⴹ ⵏⵏⵙ. |
During our scenes together, I sensed a bitterness toward me, and if I suggested a drink after work, he either turned me down or else was sullen and said little. | ⴳ ⵉⵎⵉⵥⴰⵕⵏ ⵏⵏⵖ ⵙ ⵙⵉⵏ, ⴼⵔⴽⵖ ⵙ ⵜⴰⵕⵥⴳⵜ ⵙⵉⵡⴰⵍⴰ ⵉⵏⵓ, ⴷ ⵎⴽ ⵔⵉⵖ ⴰⴷ ⵏⵙⵓ ⴽⵔⴰ ⴹⴰⵕⵜ ⵜⵡⵓⵔⵉ, ⵓⵔ ⴷⴰ ⵉⵜⵜⵉⵔⵉ ⵏⵖⴷ ⵉⵙⵓⴳ ⵉⴷⵔⵉⵙ ⴰⵙ ⵡⴰⵡⴰⵍ. |
After achieving the desired effect, Kazan never told Quinn that he had misled him. | ⴰⴷⴷⴰⵢ ⵢⴰⵡⴹ ⵉⴹⵉⵚ ⵏⵏⴰ ⵉⵔⴰ, ⵓⵔ ⴰⴽⴽⵯ ⵉⵏⵏⵉ ⴽⴰⵣⴰⵏ ⵉ ⴽⵡⵉⵏ ⵉⵙ ⵜ ⵉⵣⵍⴰ. |
Gielgud was so impressed that he offered Brando a full season at the Hammersmith Theatre, an offer he declined. | ⵉⵜⵜⵓⵙⵓⵙⵎ ⴳⵉⵍⴳⵓⴷ ⴽⵉⴳⴰⵏ ⴰⵍⵍⵉⴳ ⵉⵙⵓⵎⵔ ⵅⴼ ⴱⵔⴰⵏⴷⵓ ⴰⵏⵏⴰⵣ ⵉⴽⵎⵎⵍⵏ ⴳ ⵓⵎⵣⴳⵓⵏ ⵀⴰⵎⵔⵙⵎⵉⵜ, ⴷ ⴰⵙⵙⵓⵎⵔ ⵢⵓⴳⵉ. |
It was like a furnace door opening—the heat came off the screen. | ⵉⴳⴰ ⵣⵓⵏ ⵜⵕⵥⵎⴷ ⵜⵉⴼⵍⵓⵜ ⵏ ⵓⴼⵕⵕⴰⵏ—ⵉⴼⴼⵖ ⴷ ⵓⵏⵔⵖⵉ ⴳ ⵓⵎⵉⵥⴰⵕ. |
"By all accounts, Brando was upset by his mentor's decision, but he worked with him again in On The Waterfront. """ | "ⵙ ⵜⵎⵙⵖⴰⵍⵉⵏ ⴽⵓⵍⵍⵓ, ⵉⵜⵜⵓⵏⴽⴽⴷ ⴱⵔⴰⵏⴷⵓ ⴳ ⵜⵖⵜⴰⵙⵜ ⵏ ⵓⵙⵍⵎⴰⴷ ⵏⵏⵙ, ⵎⴰⵛⴰ ⵉⵙⵡⵓⵔⴰ ⵉⴷⵙ ⵜⵉⴽⴽⵍⵜ ⵢⴰⴹⵏ ⴳ ⴷⵓ ⵡⴰⵜⵔⴼⵔⵓⵏⵜ.""" |
Triumph's importers were ambivalent at the exposure, as the subject matter was rowdy motorcycle gangs taking over a small town. | ⴳⴰⵏ ⵉⵎⴽⵛⵉⵎⵏ ⵏ ⵜⵔⵉⵢⵓⵎⴼⵣ ⵉⵎⵖⵏⵏⴻⵏ ⴷ ⵓⴼⵙⴰⵔ, ⴰⵛⴽⵓ ⵉⴳⴰ ⵉⵎⵔⵙⵉ ⵅⴼ ⵜⵔⵓⴱⴱⴰ ⵏ ⵉⵎⵓⵟⵓⵕⵏ ⵢⵓⵎⵥⵏ ⵢⴰⵏ ⵉⵖⵔⵎ ⴰⵎⵥⵥⵢⴰⵏ. |
When initially offered the role, Brando—still stung by Kazan's testimony to HUAC—demurred and the part of Terry Malloy nearly went to Frank Sinatra. | ⵍⵍⵉ ⴳ ⵜⵜⵓⴼⵙⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵜⵉⵣⵡⵓⵔⵉ, ⴱⵔⴰⵏⴷⵓ—ⵉⵙⵓⵍⵏ ⵉⵜⵜⵓⴹⴰⵚ ⵙ ⵡⴰⵡⴰⵍ ⵏ ⴽⴰⵣⴰⵏ ⴷⴰⵜ HUAC—ⵢⵓⴳⵉ ⴷ ⴷⵔⵓⵖ ⵉⴷⴷⴰ ⵢⴰⵏ ⵓⵇⵛⵓⵔ ⵏ ⵜⵉⵔⵔⵉ ⵎⴰⵍⵡⵉ ⵙ ⵖⵓⵔ ⴼⵕⴰⵏⴽ ⵙⵉⵏⴰⵜⵔⴰ. |
Brando won the Oscar for his role as Irish-American stevedore Terry Malloy in On the Waterfront. | ⵢⵓⵡⵉ ⴱⵔⴰⵏⴷⵓ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵔ ⵅⴼ ⵜⵉⵍⴰⵍⵜ ⵏ ⵓⵎⵙⵙⴰⵔⵜⵓ ⵉⵔⵍⴰⵏⴷⵉⵢ-ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ ⵜⵉⵔⵔⵉ ⵎⴰⵍⵡⵉ ⴳ ⵓⴼⵉⵍⵎ ⵓⵏ ⴷⵓ ⵡⴰⵜⵔⴼⵔⵓⵏⵜ. |
"In his July 29, 1954, review, The New York Times critic A. H. Weiler praised the film, calling it ""an uncommonly powerful, exciting, and imaginative use of the screen by gifted professionals.""" | ⴳ ⵓⵣⵖⴰⵏ ⵏⵏⵙ ⴳ 29 ⵢⵓⵍⵢⵓⵣ 1954, ⵢⵓⵍⵖ ⵓⵎⵣⵖⴰⵏ ⵏ ⵏⵢⵓⵢⵓⵕⴽ ⵜⴰⵢⵎⵣ A. H. ⵡⵉⵍⵉⵔ ⴰⴼⵉⵍⵎ, ⵉⵙⵏⵓⵎⵎⵍ ⵜ ""ⴰⵙⵙⵎⵔⵙ ⵓⵙⵍⵉⴷ ⵉⴷⵓⵙⵏ, ⴰⵏⴱⴷⴰⵔ, ⴰⵎⴰⵔⵓⵔ ⵏ ⵓⵎⵉⵥⴰⵕ ⵙ ⵉⵣⵣⵓⵍⴰⵏⵏ.""" |
He portrayed Napoleon in the 1954 film Désirée. | ⵉⵙⵡⵍⴼ ⵏⴰⴱⵓⵍⵢⵓⵏ ⴳ ⵓⴼⵉⵍⵎ ⵏⵏⴰ ⵉⵔⴰ ⴳ 1954. |
Brando was especially contemptuous of director Henry Koster. | ⴱⵔⴰⵏⴷⵓ ⴷⴰ ⵉⵜⵃⵇⵇⴰⵔ ⵙ ⵓⵥⵍⴰⵢ ⴰⵎⵙⵙⵓⴼⵖ ⵀⴻⵏⵔⵉ ⴽⵓⵙⵜⵔ. |
"Relations between Brando and costar Frank Sinatra were also frosty, with Stefan Kanfer observing: ""The two men were diametrical opposites: Marlon required multiple takes; Frank detested repeating himself.""" | "ⵉⵣⴷⴰⵢⵏ ⵉⵏⴳⵔ ⴱⵔⴰⵏⴷⵓ ⴷ ⴽⵓⵙⵜⴰⵔ ⴼⵕⴰⵏⴽ ⵙⵉⵏⴰⵜⵔⴰ ⵇⵔⴼⵏ, ⵢⵓⴽⵣ ⵙⵜⵉⴼⴰⵏ ⴽⴰⵏⴼⵔ: ""ⵉⵔⴳⴰⵣⵏ ⵙ ⵙⵉⵏ ⵎⵅⴰⵍⴰⴼⵏ ⵏⵏⵉⴽ: ⵎⴰⵔⵍⵓⵏ ⴷⴰ ⵉⵜⵜⵉⵔⵉ ⴰⴷ ⵢⴰⵍⵙ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⵍⵜ; ⴼⵕⴰⵏⴽ ⵓⵔ ⴷⴰ ⵉⵜⵜⵉⵃⵎⵉⵍ ⴰⴷ ⵢⴰⵍⵙ ⵉ ⵉⵅⴼ ⵏⵏⵙ.""" |
"Frank Sinatra called Brando ""the world's most overrated actor"", and referred to him as ""mumbles""." | "ⵉⵏⵏⴰ ⴼⵕⴰⵏⴽ ⵙⵉⵏⴰⵜⵔⴰ ⵅⴼ ⴱⵔⴰⵏⴷⵓ ""ⵙⵓⴼⵏ ⵜ ⵓⴳⴳⴰⵔ ⵏ ⵉⵙⵎⴷⵢⴰⵜⵏ ⵏⵓⵎⴰⴹⴰⵍ"", ⴷ ⵉⵙⵙⵍⵖ ⴰⵙ ""ⵎⵓⵎⴱⵍⵣ""." |
"Pauline Kael was not particularly impressed by the movie, but noted ""Marlon Brando starved himself to play the pixie interpreter Sakini, and he looks as if he's enjoying the stunt—talking with a mad accent, grinning boyishly, bending forward, and doing tricky movements with his legs." | "ⵓⵔ ⵜⵜⵓⴹⴰⵚ ⴱⵓⵍⵉⵏ ⴽⴰⵢⵍ ⵙ ⵓⴼⵉⵍⵎ ⵙ ⵓⵥⵍⴰⵢ, ⵎⴰⵛⴰ ⵜⵓⴽⵣ ""ⵜⵙⵍⵍⵓⵥ ⵎⴰⵕⵍⵓⵏ ⴱⵔⴰⵏⴷⵓ ⵉⵅⴼ ⵏⵏⵙ ⴰⴼⴰⴷ ⵜⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵓⵎⵙⵙⵓⵖⵍ ⵙⴰⴽⵉⵏⵉ, ⴷ ⵄⵏⵉⵖ ⵉⵙⵙⵓⵙⵎⵜ ⵓⵎⴹⴼⵕ—ⴰⵡⴰⵍ ⵙ ⵓⴳⵕⴹ ⴰⵏⴰⴼⴰⵍ, ⴷ ⵜⴰⴹⵚⴰ ⵙ ⵜⵎⴰⵎⴽⵜ ⵏ ⵉⵎⵥⵥⵢⴰⵏⵏ, ⴰⵔ ⵉⴽⵏⵏⵓ ⵙ ⴷⴰⵜ, ⴰⵔ ⵉⵙⵎⵓⵙⵙⵓ ⵉⴼⴰⴷⴷⵏ ⵏⵏⵙ ⵙ ⵜⵜⴰⵡⵉⵍ." |
"Newsweek found the film a ""dull tale of the meeting of the twain"", but it was nevertheless a box-office success." | "ⵜⵓⴼⴰ ⵏⵢⵓⵣⵡⵉⴽ ⴰⴼⵉⵍⵎ ""ⵜⵓⵍⵍⵉⵙⵜ ⵜⴰⵎⵙⵉⵍⴰⵡⵜ ⵏ ⵓⵎⵍⴰⵍⴰ ⵏ ⵉⴽⵏⵉⵡⵏ"", ⵎⴰⵛⴰ ⵜⵎⵓⵔⵙ ⵎⵇⵇⴰⵔ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ." |
The film went on to win four Academy Awards. | ⵢⵓⵡⵉ ⵓⴼⵉⵍⵎ ⴽⴽⵓⵥ ⵏ ⵜⵙⵎⵖⵓⵔⵉⵏ ⵏ ⵓⵙⴽⴰⵕ. |
"By all accounts, Brando was devastated by her death, with biographer Peter Manso telling A&E's Biography, ""She was the one who could give him approval like no one else could and, after his mother died, it seems that Marlon stops caring.""" | "ⵙ ⵜⵎⵙⵖⴰⵍⵉⵏ ⴽⵓⵍⵍⵓ, ⵉⴼⵜⵜⵙ ⴱⵔⴰⵏⴷⵓ ⵙ ⵜⵎⵜⵜⴰⵏⵜ ⵏⵏⵙ, ⵉⴷⵖ ⵉⵏⴰ ⵓⵎⵉⵔⴰ ⵏ ⵜⵔⵉⴷⵔⵜ ⴱⵉⵜⵔ ⵎⴰⵏⵙⵓ ⵜⵉⵔⵉⴷⵔⵜ ⵏ A&E's, ""ⵏⵜⵜⴰⵜ ⴰⵢⴷ ⵉⵖⵉⵏ ⴰⴷ ⴰⵙ ⵉⴼⴽ ⴰⵎⵙⴰⵙⴰ ⵉⵎⴽⵉ ⵏⵏⴰ ⵓⵔ ⵉⵖⵉⵢ ⴽⵔⴰ ⵢⴰⴹⵏ, ⴹⴰⵕⵜ ⵜⵎⵜⵜⴰⵏⵜ ⵏ ⵉⵎⵎⴰⵙ, ⵄⵏⵉⵖ ⵎⴰⵕⵍⵓⵏ ⵜⵙⴱⴷⴷ ⴰⵏⵀⵍⵍⴰ.""" |
The Young Lions also features Brando's only appearance in a film with friend and rival Montgomery Clift (although they shared no scenes together). | ⵉⴳⴰ ⴷⵓ ⵢⵓⵏⴳ ⵍⵢⵓⵏⵙ ⵓⴼⵓⵖ ⵏ ⴱⵔⴰⵏⴷⵓ ⴰⵎⵢⵉⵡⵏ ⴳ ⵓⴼⵉⵍⵎ ⵏⵜⵜⴰ ⴷ ⵓⵎⴷⴷⴰⴽⴽⵍ ⴷ ⵔⵉⴼⴰⵍ ⵎⵓⵏⵜⴳⵓⵎⵔⵉ ⴽⵍⵉⴼⵜ (ⵎⵇⵇⴰⵔ ⵓⵔ ⴰⵎⵓⵏ ⴳ ⴰⵡⴷ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ ⵙ ⵙⵉⵏ). |
"Brando portrays the lead character Rio, and Karl Malden plays his partner ""Dad"" Longworth." | "ⵉⵙⵡⵍⴼ ⴱⵔⴰⵏⴷⵓ ⴰⵡⵔⵉⴽ ⴰⴷⵙⵍⴰⵏ ⵔⵉⵢⵓ, ⴷ ⴽⴰⵕⵍ ⵎⴰⵍⴷⵏ ⵢⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵓⵎⵙⵙⵓⵔ ⵏⵏⵙ ""ⴷⴰⴷ"" ⵍⵓⵏⴳⵡⵓⵕⵜ." |
Brando's inexperience as an editor also delayed postproduction and Paramount eventually took control of the film. | ⴰⵔⵉⵔⵉⵎ ⵏ ⴱⵔⴰⵏⴷⵓ ⴳ ⵓⵙⵏⴰⵢ ⴰⵢⴷ ⵉⵙⵎⴰⵟⵍⵏ ⵜⵉⴼⵔⴽⵜ ⵏ ⴹⴰⵕⵜ ⵓⴼⴰⵔⵙ ⴰⵍⵍⵉⴳ ⵉⴱⴰⴹ ⴱⴰⵔⴰⵎⵓⵏⵜ ⵜⵉⴳⵉⵔⴰ ⴳ ⵓⴼⵉⵍⵎ. |
"By then, I was bored with the whole project and walked away from it.""" | "ⴳ ⵜⵉⵣⵉ ⴰⴷ, ⵇⵏⴹⵖ ⵙⴳ ⵓⵙⵖⵏⵓ ⴽⵓⵍⵍⵓⵜ ⴼⴽⵖ ⴰⵙ ⵙ ⵜⵜⵉⵙⴰⵄ.""" |
Brando's revulsion with the film industry reportedly boiled over on the set of his next film, Metro-Goldwyn-Mayer's remake of Mutiny on the Bounty, which was filmed in Tahiti. | ⴰⴳⵔⵓⵔⵙ ⵏ ⴱⵔⴰⵏⴷⵓ ⴳ ⵜⵎⴳⵓⵔⵉ ⵏ ⵓⴼⵉⵍⵎ ⴰⵢⴷ ⵉⵙⵙⵏⴳⵉⵏ ⴰⵙⵏⴰⵢ ⵏ ⵓⴼⵉⵍⵎ ⵏⵏⵙ ⵢⴰⴹⵏ, ⵎⵉⵜⵔⵓ-ⵎⴰⵢⵕⵣ ⵜⴰⵥⵕⵉⴳⵜ ⵜⴰⵎⴰⵢⵏⵓⵜ ⵙⴳ ⵎⵓⵏⵉⵜⵉ ⵓⵏ ⴷⵓ ⴱⵓⵏⵜⵉ, ⵏⵏⴰ ⵉⵜⵜⵓⵙⵡⵍⴼⵏ ⴳ ⵜⴰⵀⵉⵜⵉ. |
"Mutiny director Lewis Milestone claimed that the executives ""deserve what they get when they give a ham actor, a petulant child, complete control over an expensive picture.""" | "ⴰⵎⵙⵙⵓⴼⵖ ⵏ ⵎⵓⵏⵉⵜⵉ ⵍⵡⵉⵙ ⵎⵉⵍⵉⵙⵜⵓⵏ ⵉⵙⵏⴰⵍⴰⵡ ⵎⴰⵙ ⴷ ⵉⵎⵙⴽⴰⵔⵏ ""ⵓⴽⵍⴰⵍⵏ ⴰⵢⵏⵏⴰ ⵜⵜⴰⵎⵥⵏ ⵜⵉⵣⵉ ⴳ ⴰⴽⴽⴰⵏ ⴰⴽⵙⵓⵎ ⵏ ⵓⵃⵍⵍⵓⴼ ⵉ ⵓⵙⵎⴷⵢⴰ, ⴰⵔⴱⴰ ⵓⵔ ⵉⵃⵍⵉⵏ, ⵜⴰⵏⴱⴰⴹⵜ ⵜⴰⵎⵓⵜⵜⵔⵜ ⵅⴼ ⵢⴰⵜ ⵜⵡⵍⴰⴼⵜ ⵉⵖⵍⴰⵏ.""" |
The Ugly American (1963) was the first of these films. | ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ ⵓⵔ ⵉⵃⵍⵉⵏ (1963) ⴰⵢⴷ ⵉⴳⴰⵏ ⴰⵎⵣⵡⴰⵔⵓ ⴳ ⵉⴼⵉⵍⵎⵏ ⴰⴷ. |
All 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 also critical and commercial flops. | ⴽⵓⵍⵍⵓ ⵉⴼⵉⵍⵎⵏ ⵉⵎⴰⴹⵍⴰⵏⵏ ⵏ ⴱⵔⵓⵏⴷⵓ ⴳ ⵜⵉⵣⵉ ⴰⴷ, ⴳ ⵉⵍⵍⴰ ⵜⵓⵍⵍⵉⵙⵏ ⵏ ⵜⵉⵣⵉ ⵏ ⵢⵉⴹⵙ (1964), ⴷⵓ ⴰⴱⴱⴰⵍⵓⵓⵣⴰ (1966), ⴽⵓⵏⵜⵉⵙⵙⴰ ⵙⴳ ⵀⵓⵏ ⴽⵓⵏⴳ (1967) ⴷ ⵉⴹ ⵏ ⵡⴰⵙⵙ ⴷ ⵉⴷⴷⴰⵏ (1969), ⵍⵍⴰⵏ ⵉⵏⴼⴰⵍⵏ ⵉⵎⵣⵖⴰⵏⵏ ⴷ ⵉⵏⵙⴱⴰⴱⵏ. |
Brando had also appeared in the spy thriller Morituri in 1965; that, too, failed to attract an audience. | ⵉⴼⴼⵖ ⴷ ⴱⵔⴰⵏⴷⵓ ⴰⵡⴷ ⴳ ⵜⵉⵖⵍⵉ ⵎⵓⵔⵉⵜⵓⵔⵉ ⴰⵙⴳⴳⴰⵙ ⵏ 1965; ⵏⵏⴰ; ⴷ ⵓⵔ ⵉⵍⴷⵉⵢⵏ ⴰⵡⴷ ⵏⵜⵜⴰⵜ ⴰⴳⴷⵓⴷ. |
Candy was especially appalling for many; a 1968 sex farce film directed by Christian Marquand and based on the 1958 novel by Terry Southern, the film satirizes pornographic stories through the adventures of its naive heroine, Candy, played by Ewa Aulin. | ⵉⵎⵇⵇⵜ ⴽⵉⴳⴰⵏ ⴽⴰⵏⴷⵉ; ⴰⴼⵉⵍⵎ ⴰⵎⵚⴹⵚⵉ ⵏ ⵜⵓⵇⵇⵓⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1968 ⵏⵏⴰ ⵉⵙⵙⵓⴼⵖ ⴽⵔⵉⵙⵜⵢⴰⵏ ⵎⴰⵕⴽⵡⴰⵏⴷ ⵢⵓⵜⴳⵏ ⵙ ⵢⴰⵜ ⵜⵓⵍⵍⵉⵙⵜ ⵏⵏⴰ ⵢⴰⵔⵓ ⵜⵉⵔⵔⵉ ⵙⴰⴷⵔⵏ ⴳ 1958, ⴷⴰ ⵉⵜⵜⴹⵚⴰ ⵓⴼⵉⵍⵎ ⴳ ⵜⵓⵍⵍⵉⵙⵉⵏ ⵏ ⵜⵓⵇⵇⵓⵜ, ⵙⴳ ⵜⵎⵙⴽⵙⴰⵍⵉⵏ ⵏ ⵜⴰⵏⴰⴹⵜ ⵏ ⵓⴼⵉⵍⵎ ⵉⴼⵍⵍⵙⵏ, ⴽⴰⵏⴷⵉ, ⵏⵏⴰ ⵢⵓⵔⴰⵔⵏ ⵜⵉⵍⴰⵍⵜ ⵏ ⵉⵡⴰ ⵓⵍⴰⵢⵏ. |
"In the March 1966 issue of The Atlantic, Pauline Kael wrote that in his rebellious days, Brando ""was antisocial because he knew society was crap; he was a hero to youth because he was strong enough not to take the crap"", but now Brando and others like him had become ""buffoons, shamelessly, pathetically mocking their public reputations.""" | "ⴳ ⵓⵎⴹⴰⵏ ⵏ ⵎⴰⵕⵙ 1966 ⵏ ⵜⵙⵖⵓⵏⵜ ⴰⵟⵍⴰⵏⵜⵉⴽ, ⵜⵓⵔⴰ ⴱⵓⵍⵉⵏ ⴽⴰⵢⵍ ⵎⴰⵙ ⴷ ⴳ ⵡⵓⵙⵙⴰⵏ ⵏⵏⵙ ⵉⵎⵖⵡⵡⵖⵏ, ⴱⵔⴰⵏⴷⵓ ""ⵓⵔ ⵉⵃⵎⵉⵍ ⴰⵎⵓⵏ ⴰⵛⴽⵓ ⵉⵙⵙⵏ ⵉⵙ ⵉⴳⴰ ⵓⵎⵓⵏ ⵉⵙⴽⵙⵜⵓⴼⵏ; ⵉⴳⴰ ⴰⵏⴰⴹ ⵉ ⵉⵄⵔⵔⵉⵎⵏ ⴰⵛⴽⵓ ⵉⴷⵓⵙ ⴽⵉⴳⴰⵏ ⴰⴼⴰⴷ ⵓⵔ ⵢⵉⵃⵎⵉⵍ ⵉⵙⴽⵙⵜⵓⴼⵏ"", ⵎⴰⵛⴰ ⴷⵖⵉ ⵢⴰⵖⵓⵍ ⴱⵔⴰⵏⴷⵓ ⴷ ⴰⵎ ⵏⵜⵜⴰ ⴳⴰⵏ ""ⵉⵀⵢⵢⴰⴹⵏ, ⴱⵍⴰ ⵍⵃⵢⴰ, ⴰⵔ ⵜⵜⴹⵚⴰⵏ ⴳ ⵡⵓⴷⴷⵓⵔ ⵏⵏⵙⵏ ⴰⵍⵍⵉⴳ ⴷⴰ ⵙⵙⵏⵖⴰⵏ ⵜⴰⵙⴰ.""" |
"I was very convincing in my pose of indifference, but I was very sensitive and it hurt a lot.""" | "ⵏⵥⵉⵖ ⴽⵉⴳⴰⵏ ⵙ ⵡⴰⵏⵙⴰ ⵉⵏⵓ ⵏ ⴰⵔⴰⵎⵣⵉⵔⴰⵢ, ⵎⴰⵛⴰ ⵃⵏⵓⵏⴰⵖ ⴷ ⵓⵢⴰ ⵉⵄⵔⵔⵎⵉ ⴽⵉⴳⴰⵏ.""" |
The film overall received mixed reviews. | ⵙ ⵓⵎⴰⵜⴰ ⵢⵓⵎⵥ ⵓⴼⵉⵍⵎ ⵜⴰⵏⵏⴰⵢⵉⵏ ⵉⵎⵣⴰⵔⴰⵢⵏ. |
Brando dedicated a full chapter to the film in his memoir, stating that the director, Gillo Pontecorvo, was the best director he had ever worked with next to Kazan and Bernardo Bertolucci. | ⵢⵓⴷⵊⴰ ⴱⵔⴰⵏⴷⵓ ⵢⴰⵏ ⵉⵎⵉⵔ ⴽⵓⵍⵍⵓ ⵉ ⵓⴼⵉⵍⵎ ⴳ ⵜⵎⵙⴽⵜⵉⵜⵉⵏ ⵏⵏⵙ, ⵢⵉⵏⵉ ⵎⴰⵙ ⴷ ⴰⵎⵙⵙⵓⴼⵖ, ⴳⵉⵍⵓ ⴱⵓⵏⵜⵉⴽⵓⵔⴼⵓ, ⴷ ⴰⵎⵙⵙⵓⴼⵖ ⴰⵎⵓⴼⴰⵢ ⵏⵏⴰ ⴷ ⵉⵙⵡⵓⵔⵉ ⴰⴽⴽⵯ ⵏⵜⵜⴰ ⴷ ⴽⴰⵣⴰⵏ ⴷ ⴱⵉⵔⵏⴰⵕⴷⵓ ⴱⵉⵔⵜⵓⵍⵓⵜⵛⵉ. |
In 1971, Michael Winner directed him in the British horror film The Nightcomers with Stephanie Beacham, Thora Hird, Harry Andrews and Anna Palk. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1971, ⵉⵙⵙⵓⴼⵖ ⵜ ⵉⴷ ⵎⴰⵢⴽⵍ ⵡⵉⵏⵉⵔ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵜⴰⵡⴷⴰ ⴰⴱⵕⵉⵜⴰⵏⵉⵢⴷⵓ ⵏⵉⵢⵜⴽⵓⵎⵔⵣ ⴷ ⵙⵜⵉⴼⴰⵏⵉ ⴱⵉⵜⵛⴰⵎ, ⵜⵓⵕⴰ ⵀⴰⵢⵔⴷ, ⵀⴰⵔⵔⵉ ⴰⵏⴷⵔⵓⵣ ⴷ ⴰⵏⵏⴰ ⴱⴰⵍⴽ. |
He bested Brando at the 1972 New York Film Critics Circle Awards.) | ⵉⵔⵏⴰ ⴱⵔⴰⵏⴷⵓ ⴳ ⵜⴼⵓⴳⵍⴰ ⵏ ⵓⴱⵟⵟⵓ ⵏ ⵜⵙⵎⵖⵓⵔⵉⵏ ⴳ ⵏⵢⵓⵢⵓⵕⴽ ⴼⵉⵍⵎⴽⵔⵉⵜⵉⴽ ⵙⴰⵢⵔⴽⵍ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1972.) |
Brando also had One-Eyed Jacks working against him, a troubled production that lost money for Paramount when it was released in 1961. | ⵉⵍⵍⴰ ⴰⵡⴷ ⵖⵓⵔ ⴱⵔⴰⵏⴷⵓ ⵡⴰⵏ-ⴰⵢⴷ ⵊⴰⴽⵙ ⵉⵙⵡⵓⵔⵉⵏ ⵎⴳⴰⵍ ⵏⵏⵙ, ⴰⴼⴰⵔⵙ ⵢⵓⵙⵙⴰⵏ ⵎⵉ ⴷⴷⴰⵏ ⵉⴷⵔⵉⵎⵏ ⵉ ⴱⴰⵔⴰⵎⵓⵏⵜ ⵍⵍⵉ ⴳ ⵜⵉⴷ ⵜⵙⵙⵓⴼⵖ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1961. |
"Coppola convinced Brando to a videotaped ""make-up"" test, in which Brando did his own makeup (he used cotton balls to simulate the character's puffed cheeks)." | "ⴽⵓⴱⴱⵓⵍⴰ ⵜⵏⵥⴰ ⴱⵔⴰⵏⴷⵓ ⴰⴷ ⵉⵣⵣⵔⵉ ⵉⵔⵉⵎ ""ⵍⵄⵏⴰⵢⵜ"" ⵉⵜⵜⵓⵙⵡⵍⴰⴼⵏⴳ ⵓⴼⵉⴷⵢⵓ, ⵉⵙⵙⴽⵔ ⴱⵔⴰⵏⴷⵓ ⵍⵄⵏⴰⵢⵜ ⵉⵥⵍⵉⵏ ⵥⴰⵕⵙ (ⵉⵙⵙⵎⵔⵙ ⴽⵔⴰ ⵏ ⵜⴽⵓⵔⵉⵏ ⵏ ⵓⴼⴷⵓⵖ ⴰⴷ ⵉⵙⵙⴽⵔ ⴰⴳⴳⴰⵢⵏ ⵏ ⵓⵡⵔⵉⴽ ⵉⵏⵏⵓⵕⵥⵎⵏ)." |
"Brando had doubts himself, stating in his autobiography, ""I had never played an Italian before, and I didn't think I could do it successfully.""" | "ⴱⵔⴰⵏⴷⵓ ⵉⵛⴽⴽⴰ ⴳ ⵉⵅⴼ ⵏⵏⵙ, ⴰⵛⴽⵓ ⵉⵏⵏⴰ ⴳ ⵜⵔⵉⴷⵉⵔⵜ ⵏⵏⵙ, ""ⵓⵔ ⴷⵊⵓⵏ ⵓⵔⴰⵔⵖ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵟⴰⵍⵢⴰⵏⵉⵢⵜ, ⵓⵔ ⴷⵊⵓⵏ ⵏⵏⵉⵖ ⵉⵙ ⵖⵉⵢⵖ ⴰⴷ ⵙⵙⴽⵔⵖ ⴰⵢⵏⵏⴰⵖ ⵙ ⵓⵎⵓⵔⵙ.""" |
Brando was signed for a low fee of $50,000, but in his contract, he was given a percentage of the gross on a sliding scale: 1% of the gross for each $10 million over a $10 million threshold, up to 5% if the picture exceeded $60 million. | ⵉⵙⵏⵢⴰ ⴱⵔⴰⵏⴷⵓ ⵎⴳⴰⵍ ⵏ ⵡⴰⵔⵔⴰⵜⵏ ⵉⴳⴳⵣⵏ ⴰⵏⵛⵜ $50,000, ⵎⴰⵛⴰ ⵜⴰⵎⵖⵓⵏⵜ ⵏⵏⵙ, ⵢⵓⵎⵥ ⵜⵉⴳⵎⵉⴹⵉ ⵙⴳ ⵓⵙⵎⵎⵓⵏ ⵅⴼ ⵜⵙⵇⵇⵓⵍⵜ ⵉⵜⵜⴰⵍⵉⵏ: 1% ⵙⴳ ⵓⵙⵎⵎⵓⵏ ⵉⴽⵓ 10 ⵏ ⵉⴷ ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵕ ⵅⴼ ⵓⴱⴰⴷⵓ ⵏ 10 ⵏ ⵉⴷ ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵕ, ⴰⵔ 5% ⵉⴳ ⵜⵣⵔⵉ ⵜⵡⵍⴰⴼⵜ 60 ⵏ ⵉⴷ ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵕ. |
"In a 1994 interview that can be found on the Academy of Achievement website, Coppola insisted, ""The Godfather was a very unappreciated movie when we were making it." | "ⴳ ⵢⴰⵏ ⵓⵎⵙⴰⵡⴰⵍ ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1994 ⵏⵏⴰ ⵏⵖⵢ ⴰⴷ ⵏⴰⴼ ⴳ ⵓⵙⵍⴽⵉⵏ ⵏ ⵜⴽⴰⴷⵉⵎⵉⵢⵜ ⵏ ⵓⵃⵟⵟⵓ, ⵉⵙⴷⴷⵉⴷ ⴽⵓⴱⴱⵓⵍⴰ, ""ⴷⵓ ⴳⵓⴷⴼⴰⴷⵔ ⵉⴳⴰ ⴰⴼⵉⵍⵎ ⵏⵏⴰ ⵓⵔ ⵉⵜⵜⵓⵙⵜⴰⵍⵏ ⵍⵍⵉ ⴳ ⴷⴰⵜ ⵏⵙⵙⴽⴰⵔ." |
They didn't like the way I was shooting it. | ⵓⵔ ⵃⵎⵉⵍⵏ ⵜⴰⵖⴰⵔⴰⵙⵜ ⵎⴰⵙⵙⴰ ⵙⵙⵓⴼⵖⵖ. |
In a 2010 television interview with Larry King, Al Pacino also talked about how Brando's support helped him keep the role of Michael Corleone in the movie—despite the fact Coppola wanted to fire him. | ⴳ ⵢⴰⵏ ⵓⵎⵙⴰⵡⴰⵍ ⴰⵍⵉⴼⵉⵣⵢⵓⵏⵉⵢ ⴷ ⵍⴰⵔⵉ ⴽⵉⵏⴳ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 2010, ⵉⵙⴰⵡⵍ ⴰⵡⴷ ⴰⵍ ⴱⴰⵜⵛⵉⵏⵓ ⵅⴼ ⵎⴰⵎⴽ ⵜ ⵜⵓⵡⵙ ⵜⵏⴰⵍⵉⵜ ⵏ ⴱⵔⴰⵏⴷⵓ ⴳ ⵓⵃⵟⵟⵓ ⵏ ⵜⵉⵍⴰⵍⵜ ⵏ ⵎⴰⵢⴽⵍ ⴽⵓⵕⵍⵢⵓⵏⵉ ⴳ ⵓⴼⵉⵍⵎ—ⵎⵇⵇⴰⵔ ⵉⵔⴰ ⴽⵓⴱⴱⵓⵍⴰ ⴰⴷ ⵜ ⵉⵥⵥⵍ. |
"He broke the ice by toasting the group with a glass of wine."" '" | “ⵉⴱⴱⵉ ⵓⵙⴱⴰⵜ ⵙ ⵍⴽⴰⵙ ⵍⵍⵉ ⵢⵓⵙⵉ ⴼ ⵓⴳⴷⵓⴷ."" '" |
"Caan adds, 'The first day we met Brando everybody was in awe.'""" | "ⵢⵔⵏⵓ ⴰⵙⴷ ⴽⴰⴰⵏ, 'ⴰⵙⵙ ⴰⵎⵣⵡⴰⵔⵓ ⴳ ⵏⵎⵍⴰⵍⴰ ⴷ ⴱⵔⴰⵏⴷⵓ ⴽⵓⵍⵛⵉ ⵉⵜⵜⵙⴰⵢⵢⴰ.'""" |
"Also, because he had so much power and unquestioned authority, I thought it would be an interesting contrast to play him as a gentle man, unlike Al Capone, who beat up people with baseball bats.""" | ⴰⵡⴷ, ⵉⴷⴷⵖ ⵖⵓⵔⵙ ⵜⵍⵍⴰ ⴽⵉⴳⴰⵏ ⵏ ⵜⴷⵓⵙⵉ ⴷ ⵜⵏⴱⴰⴹⵜ ⵏⵏⴰ ⵅⴼ ⵓⵔ ⵉⵍⵍⵉ ⵓⵎⵅⴰⵍⴰⴼ, ⵖⴰⵍⵖ ⵉⵙ ⵇⴰⴷ ⵢⵉⵍⵉ ⵓⵎⵣⴰⵔⴰⵢ ⵉⵙⵙⵔⵄⴰⴱⵏ ⵉⴳ ⵢⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵓⵔⴳⴰⵣ ⵉⵖⵓⴷⴰⵏ, ⵎⴳⴰⵍ ⴰⵍ ⴽⴰⴱⵓⵏ, ⵏⵏⴰ ⵉⴽⴽⴰⵜⵏ ⵎⴷⴷⵏ ⵙ ⵉⵎⵄⵕⴰⴹⵏ ⵏ ⵍⴱⵉⵣⴱⵓⵍ.""" |
There was really no beginning. | ⵣⵣⵉⵖ ⵓⵔ ⴰⴽⴽⵯ ⵍⵍⵉ ⵓⵙⵏⵜⵉ. |
He boycotted the award ceremony, instead sending indigenous American rights activist Sacheen Littlefeather, who appeared in full Apache attire, to state Brando's reasons, which were based on his objection to the depiction of indigenous Americans by Hollywood and television. | ⵓⵔ ⵉⴷⴷⵉ ⵙ ⵜⴼⵓⴳⵍⴰ ⵏ ⵓⴱⵟⵟⵓ ⵏ ⵜⵙⵎⵖⵓⵔⵉⵏ, ⴳ ⵡⴰⵏⵙⴰ ⵏⵏⵙ ⵢⵓⵣⵏ ⴰⵎⵖⵏⴰⵙ ⴰⵣⵔⴼⴰⵏ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ ⵉⴳⴰⵏ ⵙⴳ ⵉⵎⵣⴰⵖ ⵉⵏⵚⵍⵉⵢⵏ ⵙⴰⵛⵉⵏ ⵍⵉⵜⵍⴼⴰⵢⴷⵔ, ⵏⵏⴰ ⴷ ⵉⴼⴼⵖⵏ ⵙ ⵜⵎⵍⵙⴰ ⵏ ⴰⴱⴰⵜⵛⵉ ⴽⵓⵍⵍⵓ, ⵜⵉⵎⵏⵜⵉⵍⵉⵏ ⵏ ⴱⵔⴰⵏⴷⵓ, ⵏⵏⴰ ⵉⵙⵏⵏⴷⵏ ⵅⴼ ⵉⵙ ⵓⵔ ⵜⵔⵉ ⵀⵓⵍⵉⵡⵓⴷ ⴷ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵏ ⵎⵉⵔⵉⴽⴰⵏ ⴰⴷ ⵙⵡⵍⴼⵏ ⵉⵎⵉⵔⵉⴽⴰⵏⵉⵢⵏ ⵉⵏⴹⵍⵉⵢⵏ. |
As with previous films, Brando refused to memorize his lines for many scenes; instead, he wrote his lines on cue cards and posted them around the set for easy reference, leaving Bertolucci with the problem of keeping them out of the picture frame. | ⴰⵎ ⵉⴼⵉⵍⵎⵏ ⵉⵣⵔⵉⵏ, ⵓⵔ ⵉⵔⵉ ⴱⵔⴰⵏⴷⵓ ⴰⴷ ⵉⵎⵙⵓ ⵉⵣⵔⵉⵔⵉⴳⵏ ⵏⵏⵙ ⴳ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵉⵥⴰⵕⵏ; ⴳ ⵡⴰⵏⵙⴰ ⵏ ⵓⵢⵏⵏⴰⵖ, ⵢⵓⵔⴰ ⵉⵣⵔⵉⵔⵉⴳⵏ ⵏⵏⵙ ⴳ ⵜⴽⴰⵕⴹⵜⵉⵏ ⵉⵙⵎⵎⴽⵜⴰⵢⵏ ⵉⴼⵙⵔⵜⵏⵜ ⴳ ⵜⵔⴰⴱⴱⵓⵜ ⴰⴼⴰⴷ ⵢⵉⵡⵀⵉⵏ ⴰⴷ ⵥⴰⵕⵙ ⵏⵜ ⵢⵓⵖⵓⵍ, ⵢⴰⴷⵊ ⴱⵉⵔⵜⵓⵍⵓⵜⵛⵉ ⴷ ⵓⵎⵓⴽⵔⵉⵙ ⵏ ⵡⴰⴷ ⵜⵏⵜ ⵉⵟⵟⴼ ⴱⵔⵔⴰ ⵏ ⵓⵙⵡⵍⴼ. |
His gross participation deal earned him $3 million. | ⵜⴰⵎⵖⵓⵏⵜ ⵏⵏⵙ ⵏ ⵡⵓⵎⵓ ⵜⵙⵙⴽⵛⵎ ⴰⵙ 3 ⵏ ⵉⴷ ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵕ. |
"Pauline Kael, in The New Yorker review, wrote ""The movie breakthrough has finally come." | "ⵜⵓⵔⴰ ⴱⵓⵍⵉⵏ ⴽⴰⵢⴽ, ⴳ ⵜⵙⵖⵓⵏⵜ ⵏ ⵏⵢⵓⵢⵓⵕⴽⵔ, ""ⴳ ⵜⴳⵉⵔⴰ ⵉⴷⴷⴰⴷ ⵓⵙⵏⴼⵍ ⵏ ⵓⴼⵉⵍⵎ." |
In 1973, Brando was devastated by the death of his childhood best friend Wally Cox. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1973, ⵉⵄⵔⵔⵎ ⴱⵔⴰⵏⴷⵓ ⵙ ⵜⵎⵜⵜⴰⵏⵜ ⵏ ⵓⵎⴷⴷⴰⴽⴽⵍ ⵏ ⵜⵎⵥⵉ ⵏⵏⵙ ⵡⴰⵍⵉ ⴽⵓⴽⵙ. |
Absent for the first hour of the movie, Clayton enters on horseback, dangling upside down, caparisoned in white buckskin, Littlefeather-style. | ⵉⵄⵟⵟⵔ ⵏⵏ ⵜⴰⵙⵔⴰⴳⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⵏ ⵓⴼⵉⵍⵎ, ⵉⴽⵛⵎ ⵏⵏ ⴽⵍⴰⵢⵜⵓⵏ ⵙ ⵡⴰⵢⵢⵉⵙ, ⵉⵔⴰⵔ ⵉⵅⴼ ⵙ ⵉⵣⴷⴰⵔ, ⵉⵍⵙ ⴰⴱⵟⵟⴰⵏ ⴰⵎⵍⵍⴰⵍ ⵏ ⵜⵎⵍⴰⵍⵜ,ⵜⴰⵎⴰⵎⴽⵜ-ⵍⵉⵜⵍⴷⴰⵢⴷⵔ. |
"Penn, who believed in letting actors do their thing, indulged Marlon all the way.""" | "ⴱⵏⵏ, ⵏⵏⴰ ⵉⵜⵜⴰⵎⵏⵏ ⵙ ⵓⵇⵇⵉⵍ ⵏ ⵉⵙⵎⴷⵢⴰⵜⵏ ⴰⴷ ⴳⵏ ⵜⴰⵡⵓⵔⵉ ⵏⵏⵙⵏ, ⴰⵔ ⵉⵙⵃⵉⵏⵏⵉⴱ ⵎⴰⵔⵍⵓⵏ ⴳ ⵓⴱⵔⵉⴷ.""" |
In 1978, Brando narrated the English version of Raoni, a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1978, ⵉⵇⵇⵉⵙ ⴱⵔⴰⵏⴷⵓ ⵜⴰⵏⵓⵖⵉⵍⵜ ⵜⴰⵏⴳⵍⵉⵣⵉⵜ ⵏ ⵓⴼⵉⵍⵎ ⵔⴰⵡⵏⵉ, ⴷ ⵓⴼⵉⵍⵎ ⵓⵏⵜⵉⵎ ⴰⴼⵕⴰⵏⵙⵉⵢ-ⴰⴱⵍⵊⵉⴽⵉⵢⴱ ⵏⵏⴰ ⴷ ⵉⵙⵙⵓⴼⵖ ⵊⴰⵏ-ⴱⵢⵉⵔ ⴷⵓⵜⵓⵍⵢⵓ ⴷ ⵍⵡⵉⵣ ⴽⴰⵔⵍⵓⵙ ⵙⴰⵍⴷⴰⵏⵀⴰ ⵏⵏⴰ ⵉⵙⵎⵏⵜⵉⵏ ⵜⵓⴷⵔⵜ ⵔⴰⵡⵏⵉ ⵎⵉⵜⵓⴽⵜⵉⵔ ⴷ ⵜⵎⵏⵜⵉⵍⵉⵏ ⵉⵣⴷⵉⵏ ⵙ ⵉⵖⵉⵎⵉ ⵏ ⵜⵇⴱⵉⵍⵉⵏ ⵜⵉⵀⵉⵏⴷⵉⵢⵉⵏ ⵜⵉⵏⵚⵍⵉⵢⵉⵏ ⴳ ⵉⵥⵍⵎⴹ ⵏ ⵡⴰⵎⵎⴰⵙ ⵏ ⵍⴱⵔⴰⵣⵉⵍ. |
In 1979, he made a rare television appearance in the miniseries Roots: The Next Generations, portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1979, ⵉⴼⴼⵖ ⴷ ⵢⴰⵏ ⵡⵓⴼⵓⵖ ⴰⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏⵉⵢ ⵉⴷⵔⵓⵙⵏ ⴳ ⵓⵙⵏⵙⵍ ⴰⴳⵣⵣⴰⵍ ⵉⵥⵓⵕⴰⵏ: ⵜⵉⵙⵓⵜⵉⵡⵉⵏ ⴷ ⵉⴷⴷⴰⵏ, ⵏⵏⴰ ⵉⵙⵡⵍⵍⴼ ⵊⵓⵕⵊ ⵍⵉⵏⴽⵓⵍⵏ ⵕⵓⴽⵡⵉⵍ; ⵢⵓⵡⵉ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⴱⵔⵉⵎⵉⵜⵉⵎ ⵉⵎⵎⵉ ⵉ ⵓⵎⵙⴷⵢⴰ ⴰⵎⴰⵡⴰⵙ ⴰⵎⵓⴼⴰⵢ ⴳ ⵓⵙⵏⵙⵍ ⴰⴳⵣⵣⴰⵍ ⵏⵖ ⴷ ⴰⴼⵉⵍⵎ ⵅⴼ ⵜⴰⴳⴳⴰⵢⵜ ⵏⵏⵙ. |
Brando was paid $1 million a week for 3 weeks work. | ⵢⵓⵎⵥ ⴱⵔⴰⵏⴷⵓ 1 ⵏ ⵉⴷ ⵎⵍⵢⵓⵏ ⴷⵓⵍⴰⵔ ⵉ ⵉⵎⴰⵍⴰⵙ ⵅⴼ 3 ⵉⵎⴰⵍⴰⵙⵏ ⵏ ⵜⵡⵓⵔⵉ. |
In the documentary, Coppola talks about how astonished he was when an overweight Brando turned up for his scenes and, feeling desperate, decided to portray Kurtz, who appears emaciated in the original story, as a man who had indulged every aspect of himself. | ⴳ ⵓⴼⵉⵍⵎ ⵓⵏⵜⵉⵎ, ⴷⴰ ⵉⵙⴰⵡⴰⵍ ⴽⵓⴱⵓⵍⴰ ⵅⴼ ⵓⵕⵄⴰⴱ ⵏⵏⵙ ⵍⵍⵉⴳ ⴷ ⵉⴼⴼⵖ ⴱⵔⴰⵏⴷⵓ ⴱⵓ ⵓⵙⵜⴰⵍ ⵉⵣⴰⵢⴷⵏ ⴰⴼⴰⴷ ⴰⴷ ⵜ ⵉⵥⵕ, ⵉⵖⵢⵢⵔ, ⵢⵉⵔⵉ ⴰⴷ ⵉⵙⵡⵍⴼ ⴽⵓ!ⵔⵜⵣ, ⵏⵏⴰ ⵉⵙⴷⵉⴷⵏ ⴳ ⵜⵓⵍⵍⵉⵙⵜ ⵜⴰⵏⵚⵍⵉⵢⵜ, ⴷ ⴰⵔⴳⴰⵣ ⵉⴽⵛⵎⵏ ⴽⵓ ⵜⵙⴳⴰ ⵏ ⵜⵙⴳⴳⵉⵏ ⵏ ⵉⵅⴼ ⵏⵙ. |
However, he returned in 1989 in A Dry White Season, based on André Brink's 1979 anti-apartheid novel. | ⵉⵎⵉⵍ, ⵢⴰⵖⵓⵍ ⴷ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1989 ⴳ ⵜⵉⵣⵉ ⵉⵎⵍⵍⵓⵍⵏ ⵜⵣⵡⵓ, ⵙ ⵢⵉⵜⴳ ⵏ ⵙ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⴰⵏⴷⵔⵉ ⴱⵔⵉⵏⴽ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1979 ⵎⴳⴰⵍ-ⴰⴱⴰⵔⵜⴰⵢⴷ. |
Brando received praise for his performance, earning an Academy Award nomination for Best Supporting Actor and winning the Best Actor Award at the Tokyo Film Festival. | ⵓⵜⵜⵡⴰⵍⵖ ⴱⵔⴰⵏⴷⵓ ⵅⴼ ⵜⴰⴳⴳⴰⵢⵜ ⵏⵏⵙ, ⵢⴰⵎⵥ ⴰⵙⵜⴰⵢ ⵙ ⵜⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵕ ⵉ ⵓⵙⵎⴷⵢⴰ ⴰⵎⴰⵡⴰⵙ ⴰⵎⵓⴼⴰⵢ ⵢⴰⵡⵢ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⵎⴷⵢⴰ ⴰⵎⵓⴼⴰⵢ ⴳ ⵓⵏⵎⵓⴳⴳⴰⵔ ⵏ ⵜⵓⴽⵢⵓ ⵏ ⵙⵙⵉⵏⵉⵎⴰ. |
"Variety also praised Brando's performance as Sabatini and noted, ""Marlon Brando's sublime comedy performance elevates The Freshman from screwball comedy to a quirky niche in film history.""" | "ⵜⵓⵍⵖ ⴰⵡⴷ ⴼⴰⵔⴰⵢⵜⵉ ⵜⴰⴳⴳⴰⵢⵜ ⵏ ⴱⵔⴰⵏⴷⵓ ⵣⵓⵏⴷ ⵙⴰⴱⴰⵜⵉⵏⵢ ⵜⴰⴽⵣ ⵎⴰⵙ ⴷ ""ⵜⴰⴳⴳⴰⵢⵜ ⵜⴰⴽⵓⵎⵉⴷⵉⵢⵜ ⵉⵖⵓⴷⴰⵏ ⵏ ⵎⴰⵔⵍⵓⵏ ⴱⵔⴰⵏⴷⵓ ⴷⴰ ⵜⵙⵙⵉⵍⵉⵢ ⵉⵎⵙⵏⵜⴰⵢⵏ ⴳ ⵜⴽⵓⵎⵉⴷⵉⵢⵜ ⵙ ⵢⴰⵏ ⵡⴰⵜⵉⴳ ⴰⵎⵇⵇⵔⴰⵏ ⴳ ⵓⵎⵣⵔⵓⵢ ⵏ ⵉⴼⵉⵍⵎⵏ.""" |
The Island of Dr. Moreau screenwriter Ron Hutchinson would later say in his memoir, Clinging to the Iceberg: Writing for a Living on the Stage and in Hollywood (2017), that Brando sabotaged the film's production by feuding and refusing to cooperate with his colleagues and the film crew. | ⵉⵏⵏⴰ ⵓⵎⵙⵙⵓⴼⵖ ⵏ ⵜⴳⵣⵉⵔⵜ ⵏ ⴷⵓⴽⵜⵓⵕ ⵎⵓⵕⵓ, ⵔⵓⵏ ⵀⵓⵜⵛⵉⵏⵙⵓⵏ, ⴳ ⵜⵎⵙⴽⵜⵉⵢⵉⵏ ⵏⵏⵙ, ⴰⵎⴰⵥ ⵙ ⴰⴷⵔⴰⵔ ⵏ ⵓⴳⵔⵉⵙ: ⵜⵉⵔⵔⴰ ⵅⴼ ⵜⵓⴷⵔⵜ ⴳ ⵓⵎⵣⴳⵓⵏ ⴳ ⵀⵓⵍⵉⵡⵓⴷ (2017), ⵎⴰⵙ ⴷ ⵉⵙⵅⵙⵔ ⴱⵔⴰⵏⴷⵓ ⴰⴼⴰⵔⵙ ⵏ ⵓⴼⵉⵍⵎ ⵙ ⵓⵎⴰⴷⵓ ⴷ ⵢⵉⴳⵉ ⵏ ⵓⵎⵢⴰⵡⴰⵙ ⴷ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⵏⵏⵙ ⴷ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵓⴼⵉⵍⵎ. |
This was his last role and his only role as a female character. | ⵡⴰⴷ ⴰⵢⴷ ⵉⴳⴰⵏ ⵜⵉⵍⴰⵍⵜ ⵏⵏⵙ ⵜⴰⵎⵢⵉⵡⵏⵜ ⴷ ⵜⵎⴳⴳⴰⵔⵓⵜ ⴷ ⴰⵡⵔⵉⴽ ⵏ ⵜⵎⵟⵟⵓⴹⵜ. |
"The actor's son, Miko, was Jackson's bodyguard and assistant for several years, and was a friend of the singer. """ | "ⵎⴻⵎⵎⵉⵙ ⵏ ⵓⵙⵎⴷⵢⴰ, ⵎⵉⴽⵓ, ⵉⴳⴰⵏ ⴰⵎⵃⴹⴰⵢ ⴷ ⵓⵎⴰⵡⴰⵙ ⵏ ⵊⴰⴽⵙⵓⵏ ⴱⵓⴷⵉⴳⴰⵔⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ, ⴷ ⵉⴳⴰ ⴰⵎⴷⴷⴰⴽⴽⵍ ⵏ ⵓⵎⵖⵏⵏⵊ. """ |
Dad had a hard time breathing in his final days, and he was on oxygen much of the time. | ⵉⴽⵕⴼⵙ ⴱⴰⴱⴰ ⴳ ⵡⵓⵏⴼⵓⵙ ⴳ ⵡⵓⵙⵙⴰⵏ ⵏⵏⵙ ⵉⵎⴳⴳⵓⵔⴰ, ⵉⵜⵜⵓⴳ ⴰⵙ ⵡⵓⴽⵙⵉⵊⵉⵏ ⵡⴰⵀⵍⵉ ⵏ ⵜⵉⵣⵉ. |
So Michael got Dad a golf cart with a portable oxygen tank so he could go around and enjoy Neverland. | ⴰⵢⵏⵏⴰⵖ ⴰ ⵅⴼ ⵢⵓⵎⵥ ⵎⴰⵢⴽⵍ ⵢⴰⵜ ⵜⵎⵙⵙⵓⴷⵓⵜ ⵏ ⵍⴳⵓⵍⴼ ⴷ ⵡⵓⴽⵙⵉⵊⵉⵏ ⴰⵎⴰⵙⴰⵢ ⵉ ⴱⴰⴱⴰ ⴰⴼⴰⴷ ⵉⵙⵙⵓⵜⵓⵍ ⴰⵔ ⵉⵙⵙⴱⵖⴰⵔ ⵙ ⵏⵉⴼⵔⵍⴰⵏⴷ. |
He also suffered from diabetes and liver cancer. | ⵢⵓⴹⵏ ⴰⵡⴷ ⴳ ⵙⵙⴽⵕ ⴷ ⵓⴽⵓⵏⵚⵉⵔ ⵏ ⵜⴰⵙⴰ. |
His single recorded line was included within the final game as a tribute to the actor. | ⵉⵜⵜⵓⵙⴽⵛⵎ ⵉⵣⵔⵉⵔⵉⴳ ⵏⵏⵙ ⴰⵎⵢⵉⵡⵏ ⴳ ⵜⵉⵔⴰⵔⵜ ⵜⴰⵎⴳⴳⴰⵔⵓⵜ ⴷ ⵓⴷⴷⵓⵔ ⵉ ⵓⵙⵎⴷⵢⴰ. |