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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. | ⴰⵏⴰⵎⴰⵆⵔⴰ ⴷⴰⴷ ⵙⵜⴻⵍⵍⴰ ⴰⵍⴷⴻⵔ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1940, ⴰⵜⵉⵓⴰⴼⴰ ⴰⵙⵉⵏⴰⵂⵉⴶ ⴰⵏ ⵜⵉⵣⴰⵔⵜ ⵏⴰⵙⴰⵙⴰⵜⴾⵉⵍ ⵓⴰ ⴰⵙⵓⵙⴰⵏⴰⵏ ⴰⴷⵉⵏⴰⵜ ⴰⵍⵎⴰⵆⵏⴰ ⵓⴰⵏ ⵙⵜⴰⵏⵉⵙⵍⴰⴱⵙⴾⵉ ⴰⴷ ⵜⴰⴱⴰⵔⴰⵜ ⵜⴰⵏ ⴰⴷⴰⵍⴰⵏ, ⴰⴷⴰⵜ ⵜⵉⴶⵎⴰⴷⴰⵜ ⴰⵍⵎⴰⵆⵏⴰ ⵓⴰⵏ ⵙⵜⴰⵏⵉⵙⵍⴰⴱⵙⴾⵉ. |
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). | Iⴶⴰ ⵉⵣⴰⵔ ⵉⴷⴰⵍ ⴷⴰⵗ ⵓⴻⵙⵜⴻⵔⵏ ⵛⵓⵍⵜⴻ Oⵏⴻ-ⴻⵉⴻⴷ ⵋⴰⵛⴾⵙ, ⵜⴰⵏⴰⴷⵔⴰ ⴰⵏ ⵜⵉⵣⵎⵉⵜ ⴰⴷ ⴰⵎⵛⵉⵏⵛ, ⴷⴰⵔⴰⵜ ⵂⵓⴾ ⵜⴰⵏⵎⴰⵍⴰⵍⴻⵏ ⴰⵏ ⵜⴰⵏⴰⴷⵔⴰ ⴰⵜⴱⴰⵏⵜⴻⵏ ⴷⴰⵗ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ, ⴰⵙⵙⴰⵏⵜⴰ ⵎⵓⵜⵉⵏⵉ ⵓⵏ ⵜⵂⴻ ⴱⵓⵓⵏⵜⵉ (1962). |
He refused the award due to alleged mistreatment and misportrayal of Native Americans by Hollywood. | ⵓⴶⴰⵉ ⴰⵙ ⵜⴰⵋⵓⵔ ⴼⴰⵍ ⴰⴱⵔⵓⵔ ⵏⴰⵍⵎⴰⵆⵏⴰ ⴰⴷ ⵜⴰⵙⴰⵓⵜ ⵓⵉⵏⵏⴰⵏⵜⵉⴾⵏⴰ ⵏⴰ ⴰⵎⴻⵔⵉⵏⴷⵉⴻⵏⵜⴰⵏ ⴷⴰⵗ ⵂⵓⵍⵍⵉⵓⵓⴷ. |
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. | ⴻⴰⵗ ⴰⵍⴾⵉⵜⴰⴱ ⵗⵓⵉⵏⵏⴻⵙⵙ ⵓⴰⵏ ⵔⴻⵛⵓⵔⴷⵙ, ⴱⵔⴰⵏⴷⵓ ⵉⴶⵔⴰⵓ 3,7 ⵎⵉⵍⵉⵓⵏⵜⴰⵏ ⵓⵉⵏ ⴷⵓⵍⵍⴰⵔ ( ⵎⵉⵍⵉⵓⵏⵜⴰⵏ ⵓⵉⵏ ⴷⵓⵍⵍⴰⵔ ⴷⴰⵗ ⴷⵓⵍⵍⴰⵔ ⵓⴰ ⵉⴾⵏⴰⵏ ⵜⵉⵓⴰⵜ) ⴰⴷ 11,75 ⴱⵓⵔⵙⴰⵏⵜⴰⵏ ⵏⴰⵓⴰ ⴷⴰⵓⴰⴷⴰⵏ 13 ⵉⵂⴰⴷⴰⵏ ⵏⵉⵛⵉⵆⵉⵍ ⴼⴰⵍ ⵙⵓⴱⴻⵔⵎⴰⵏ |
His ancestry was mostly German, Dutch, English, and Irish. | Iⵎⴰⵔⴰⵓⴰⵏⴻⵙ ⴰⵈⴰⵍⴰⵏ ⵙⵉⵏⵉⵍⴾⴰⵎⴰⵏ ⴰⵍⴰⵉⵎⵜⴰⵏ, ⵏⴻⴰⵍⴰⵔⵜⴰⵏ, ⴰⵏⴶⵍⴻⵜⴰⵏ ⴰⴷ ⵉⵔⵍⴰⵏⴷⴻⵜⴰⵏ |
Brando was raised a Christian Scientist. | ⴱⵓⴰⵏⴷⵓ ⴰⴷⴰⵗ ⴰⵜⵓⴰⵙⴰⵓⴷⴰⵍ ⴰⴾⴰⵍ ⵓⴰⵏ ⵙⵛⵉⴻⵏⵜⵉⵙⵜⴰⵏ ⵛⵂⵔⵉⵙⵜⴰⵏ. |
However, she was an alcoholic and often had to be brought home from bars in Chicago by her husband. | ⴰⴶⵓⴷⴻⵏⴷⴰⵗ, ⴻⵈⴰⵍ ⴻⵎⴰⵙⴰⵓ ⵏⴰ ⴰⵍⵛⵓⵍ ⴰⵓⴻⵏⴷⴰⵗ ⴰⵙ ⴰⴶⵓⴷⵉⵉⴰⵏ ⴰⵂⴰⵍⵉⵙ ⴰⵏⴻⵙ ⴰ ⵜⴰⴷ ⴷⵉⵜⵉⵓⵉⴰⵜ ⴷⴰⵗ ⴷⴰⴶⴰⵏ ⵓⵉ ⵜⴰⵙⴰⵙⴻ ⵓⵉⵏ ⵛⵂⵉⵛⴰⴶⵓ. |
"Brando harbored far more enmity for his father, stating, ""I was his namesake, but nothing I did ever pleased or even interested him." | "ⴱⵓⴰⵏⴷⵓ ⵉⵛⴰⵛⴾⴰ ⴰⵋⴻⵏ ⴼⴰⵍ ⵜⴰⵂⴰⵏⵉⵏⵜ ⴻ ⵜⵉⵙ, ⴰⵍⵉⵆⴰⵜ : " ⴻⵈⴰⵍ ⴰⵎⵏⵓⵆⵔⵓⵏⴻⵏ, ⵎⴰⵛⴰⵏ ⴾⴰⵍⴰ ⵓⵉⵙ ⴰⴶⵔⴻⵣ ⴰⵓⴰ ⵉⵜⴰⴶ ⵓⴰⵍⴰ ⵂⴰⵔⵂⴻⵉ. |
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. | ⴻⴰⵗ 1930, ⵉⵎⴰⵔⴰⵓⴰⵏ ⴰⵏ ⴱⵓⴰⵏⴷⵓ ⵉⴷⴰⴾⴰⵏ ⴻⴱⴻⵔⵜⵓⵏ, ⴷⴰⵗ Iⵍⵍⵉⵏⵓⵉⵙ, ⵓⴶⵓⴷ ⵓⴰ ⵜⵉⵓⴰⵜ ⴰⵛⵉⵆⵉⵍ ⴰⵏ ⵜⵉⵙ ⵉⵙ ⵙⵉⵛⴰⴶⵓ, ⵎⴰⵛⴰⵏ ⴰⴱⴷⴰⵏ ⴷⴰⵗ 1935, ⴰⵣⴰⵔ ⴱⵓⴰⵏⴷⵓ ⵉⵍⴰ 11 ⴻⵍⴰⵏ. |
"Brando, whose childhood nickname was ""Bud"", was a mimic from his youth." | "ⴱⵓⴰⵏⴷⵓ, ⵓⴰⵙ ⵙⵉⵙⵉⵎⵏⴻⵙ ⵓⴰ ⵜⵉⵎⴷⵔⵉⵜ ⴻⵈⴰⵍ ""ⴱⵓⴷ"", ⴻⵈⴰⵍ ⵉⵙⵉⴷⵉⴷⴰⵏ ⴷⴰⵗ ⵜⴰⵎⴰⴷⵔⵉⵜ ⵉⵏⴻⵙ. |
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. | ⴻⴰⵗ ⴰⵍⴾⵉⵜⴰⴱ ⴱⵓⴰⵏⴷⵓ ⵓⴰ 2007 ⴰⵏ ⵟⵛⵎ : ⵟⵂⴻ ⴻⵓⵛⵓⵎⴻⵏⵜⴰⵔⵉ ⵗⴻⵓⵔⴶⴻ ⴻⵏⴶⵍⵓⵏⴷ, ⴰⵎⵉⴷⵉ ⴻⵏ ⵜⵉⵎⴰⵎⴷⵔⵉⵜ, ⵉⵙⴰⵎⴰⴾⵜⴰ ⴰⵙ ⴰⵛⵉⵛⵉⵍ ⵓⴰⵣⴰⵔⴰⵏ ⴰⵏ ⴱⵓⴰⵏⴷⵓ ⴻⵈⴰⵍ ⴰⵙⵓⴶⴱⵓⴱⵔ ⴰⵏ ⵓⴰⵏ ⴰⴷ ⴱⵉⵋⵓⵓⴰⵏ ⵏⴰⵆⴰⵍⴰ ⴰⵏ ⵜⵓⵎⵓⵣⵓⵈ, ⵙⴰⵎⴰⵏⴷⵓ ⵏⴰⵛⵍⴰⵍⴰⵜ ⴰⵏ ⵎⴰⵙ ⴼⴰⵍ ⴰⵙⵎⵉⴷ. |
Brando's sister Frances left college in California to study art in New York. | ⴼⵓⴰⵏⵛⴻ, ⵓⴰⵍⴰⵜⵎⴰⵙ ⴰⵏ ⴱⵔⴰⵏⴷⵓ, ⵜⴰⴼⴰⵍ ⵓⵏⵉⴱⴻⵔⵙⵉⵜⴻ ⵓⴰ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ ⴼⴰⵍ ⵜⴻⵆⴰⵔⴻ ⴰⵏ ⵜⴰⵎⵉⵙⵏⴰⵓⴻⵏ ⴷⴰⵗ ⵏⴻⵓ ⵗⵓⵔⴾ. |
Brando excelled at theater and did well in the school. | ⴱⵓⴰⵏⴷⵓ ⵎⴰⵈⵉⵔ ⴷⴰⵗ ⵜⵉⵎⵙⴰⴷⴰⵓⵜ ⴰⴷ ⵉⴶⵔⴰⵓ ⴰⵉⵓⴰⵔ ⵙⴰⵔⵂⵓ ⴷⴰⵗ ⴻⵛⵓⵍⴻ |
The faculty voted to expel him, though he was supported by the students, who thought expulsion was too harsh. | ⴰⵛⵓⵂⵓ ⵏⵓⴾⵓⵙ ⵏⴰⵣⵉⵣⴶⴰⵔ ⵉⵏⴻⵙ, ⴼⴰⵍⴰⵙ ⵉⴶⵔⴰⵓ ⵜⴰⴷⵂⵉⵍⵜ ⴰⵏ ⵎⴰⵆⵔⴰⵏ, ⵓⵉ ⴰⵆⴻⵍⵏⴻⵏ ⴰⵣⵉⵣⴶⴰⵔ ⴻⵈⴰⵍ ⴰⵛⵓⴶⵓ. |
"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." | "ⴻⴰⵗ ⵙⴰⵍⴰⵏ ⵓⵉⵏ 1988, ⵎⴰⵔⵍⵓⵏ ⴱⵓⴰⵏⴷⵓ : ⵟⵂⴻ ⵓⵉⵍⴷ ⵓⵏⴻ, ⵜⴰⵎⴰⵉⴷⵔⴰⵜ ⴰⵏ ⴱⵓⴰⵏⴷⵓ, ⵋⵓⵛⴻⵍⵉⵏ, ⵜⵉⵙⴰⵏ : "" Iⴷⴰⵍ ⴷⴰⵗ ⵜⴰⵎⵙⵓⴷⵓⵜ ⵏⴰⴷⴰⵍ ⴷⴰⵗ ⴻⵛⵓⵍⴻ ⵉⵣⴰⵔ ⴰⵓⴻⵏ ⵉⴶⵔⴰⵣⴰⵣⵙ…Iⵣⴰⵔ ⵜⴰⵙⴰⴱⴰⵜ ⵉⴾⵉ ⴰⵏ ⵏⴻⵓ ⵗⵓⵔⴾ ⵉⴻ ⵜⴻⵆⴰⵔⴻ ⴰⵏ ⵜⴰⵎⵙⵉⴷⴰⵓⵜ ⴼⴰⵍⴰⵙ ⵉⵏⵜⴰ ⵆⴰⵙ ⴰ ⵜⴰⵜ-ⵜⵉⵓⴰⵔⵂⴰⵜ." |
For a time he lived with Roy Somlyo, who later became a four time Emmy winning Broadway producer. | ⵓⴶⵓⴷⴻⵏⴷⴰⵗ ⴰⵏ ⵂⴰⵔⴰⵜ ⴰⵏ ⵜⴰⵂⴰⴶⵉⵜ, ⴰⵎⵙⴰⴷⵓⴰⵍ ⴰⵎⴰⴷ ⵔⵓⵉ ⵙⵓⵎⵍⵉⵓ, ⵓⴰ ⴻⵈⴰⵍⴰⵏ ⴰⴶⵓⴷⵉⵉⴰⵏ ⴻⵎⴰⵏⴰⵂⴰⵜ ⴰⵏ ⴱⵓⵓⴰⴷⵓⴰⵉ ⵉⵜⴾⴰⵍⴰⵏ ⵉⴾⵓⵣ ⴻⵎⵎⵉ ⴰⵓⴰⵔⴷⵙ. |
Brando's remarkable insight and sense of realism were evident early on. | ⵜⴰⵎⵓⵙⵏⴻ ⴰⴷ ⵉⵏⴰⵉⴰⵜ ⵏⵉⴶⵉ ⵏⵓⵆⴰⴷⴰⵏ ⵓⴰⵏ ⴱⵓⴰⵏⴷⵓ ⴻⵈⴰⵍ ⴰⵜⵉⵓⴰⴷⴰⵍⴰⵏ ⵛⵉⴾ. |
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. | ⵗⵓⵔ ⴻⵓⵙⵜⵉⵏ ⵂⵓⴼⴼⵎⴰⵏ ⴷⴰⵗ ⵓⴰⵏⴻⵙ ⵎⴰⵙⵜⴻⵔⵛⵍⴰⵙⵙ ⴰⵏ ⵉⵏⵜⴻⵔⵏⴻⵜ, ⴱⵓⴰⵏⴷⵓ ⴶⴰⵏⵓ ⴰⴶⵓⴷⵉⵉⴰⵏ ⵉⴻ ⵓⵉⵙⴰⵙⴰⵜⴾⴰⵍⵏⴻⵏ ⴰⴷ ⵎⵉⴷⴰⵓⴰⵏⴻⵙ ⵓⵉⵏ ⵎⴰⵜⴾⴰⵍⴰⵏ ⵓⴻⴻⴾ-ⴻⵏⴷ ⵏⴰⵙⴰⵏ, ⴷⴰⵔⴰⵜ ⴰⵓⴰ ⵉⵎⴰⵏⴻⵙ ⵓⴰ ⵉⴷⴰⴾⴰⵍⴰⵏ ⴰⵙⵉⵙⵜⴰⵏ ⴷⵔⵉⵙ ⵜⵉⴷⴰⵓⵜ. |
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. | ⵜⴻⵎⴰⵛⴰⵆⴰⵍⵜ ⴰⵏ ⵏⴻⵙ ⵜⴰⵣⴰⴶⴰⵔⵜⵉⵂⵉⵏ ⴷⴰⵗ ⵜⵉⵣⵓⵏⴰⵓⴻⵏ ⵜⵉ ⵏⵉⴶⵉ ⴰⵏ ⵏⴻⵓ ⵙⵛⵂⵓⵓⵍ ⵉⵓⵔ ⵙⴰⵉⴱⵉⵍⵍⴻ, ⵎⴰⵛⴰⵏ ⴰⵜⵓⴰⴶⵔⴰⵓ ⴰⵏⴷⵉⵔⴰⵏ ⴷⴰⵗ ⴱⴰⵜⵎⴰ ⵜⵉⴶⴰⵜ ⵉⵓⵔ ⵎⵉⵣⵗⴰⵆ |
Cornell also cast him as the Messenger in her production of Jean Anouilh's Antigone that same year. | ⴻⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴻⵏⴷⴰⵗ ,ⵛⵓⵔⵏⴻⵍⵍ ⴰⵙⵉⵆⵍⴰⴼⵜⵉ ⵜⴰⵏⵂⴰⵜ ⵜⴰⵏ ⵉⴶⵉ ⴰⵏ ⵙⴰⵍⴰⵏ ⴷⴰⵗ ⴰⴶⵉⵜⴰⵏⴻⵙ ⴰⵏ ⴰⵏⵜⵉⴶⵓⵏⴻ ⴷⴻ ⵋⴻⴰⵏ ⴰⵏⵓⵉⵍⵂ. |
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. | ⴱⴰⵏⴾⵂⴻⴰⴷ ⴾⴰⵍⴰ ⵓⴶⴰⵉ ⵉⴻ ⵜⴰⵏⵂⴰⵜ ⵜⴰⵏ ⴱⵍⴰⵏⵛⵂⴻ ⴻⵓⴱⵓⵉⵙ ⴷⴰⵗ ⵜⵔⴻⴻⵜⵛⴰⵔ ⵏⴰⵎⴻⴷ ⴻⴻⵙⵉⵔⴻ, ⵓⴰⵙ ⵓⵉⵍⵍⵉⴰⵎⵙ ⵉⴾⵜⴰⴱⴰⵙ ⵂⴰⵙ, ⴼⴰⵍ ⴰⴷ ⴷⵉⵙⵉⵎⵉⵍⵉⵍⵉⵉ ⵙⵉⴷⴰⵓⴰⵜ ⵉⴰ ⵓⴰⵜⴰⵉ ⵓⴰ 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. """ | "ⵓⵉⵍⵙⵓⵏ ⴻⵈⴰⵍ ⴻⵔⴻ ⵂⵉⵏ ⵉⵜⵉⵉⵉⵏ ⵂⵓⵍⴻⵏ ⵉⴻ ⵜⴰⵎⴰⵛⴰⵆⴰⵍⴻⵏ ⵜⴰⵏ ⴱⵔⴰⵏⴷⵓ, ⵎⴰⵛⴰⵏ ⵉⵓⴰⴷ ⵙⴰⵎⴰⵏⴷⵓ ⴰⴶⵓⴷ ⵓⴰ ⴱⵔⴰⵏⴷⵓ ⴰⵙⵎⴰⵜⴰⴾⵜⴰⴾ ⴰⴶⵓⴷ ⴰⵏ ⵙⴰⵎⵓⵙⵓⵆⵓⵍ ⵏⴰ ⴷⵉⵔⵔⴰⵏ ⴷⴰⵜ ⴰⵙⴰⵙⵜ ⴰⵏ ⵜⴰⵜ-ⵜⴰⵣⴰⵔⴰⵜ ⴰⵏ 28 ⵏⵓⴱⴻⵎⴱⵔⴻ 1946. |
"It was marvelous,"" a cast member recalled. """ | "ⴻⵈⴰⵍ ⴰⵉⴾⵏⴰⵏ ", ⴰⵙⵎⴰⵜⴰⵂⵉⵜ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⴰⵍⵋⴰⵎⴰⵆⴰⵜ. |
Critics were not as kind, however. | ⵜⵉⵣⵎⵉⵜⴻⵏ ⵓⴰⵔ ⴰⵈⴻⵍⵏⴰⵜ ⴰ ⵉⴾⵏⴰⵏ, ⴰⴶⵓⴷⴻⵏⴷⴰⵆ . |
"He received better reviews at subsequent tour stops, but what his colleagues recalled was only occasional indications of the talent he would later demonstrate. """ | "Iⵙⵍⴰ ⵜⵉⵣⵎⵉⵜⴻⵏ ⵎⴰⵈⵓⵔⵏⴻⵏ ⵉⵓⵔ ⴰⵙⵉⵎⵉⵍⵉⵍⵉⵉ ⵓⴰⴷⵉⵎⴰⵍⴰⵏ, ⵎⴰⵛⴰⵏ ⵓⵉ ⵎⵉⴷⴰⵓⴰⵏⴻⵙ ⴾⵉⵜⵓⵏ ⴻⵈⴰⵍ ⴷⴰⵗ ⵜⴰⴱⴰⵔⴰⵜ ⴱⴰⵜⴰⵍⴰ ⵉⴻ ⵜⴰⵎⴰⵛⴰⵆⴰⵍ ⴰⵏⴻⵙ ⴰⴶⵓⴷ ⵓⴰ ⴰⵙⵉⴾⵏⴰ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ |
Brando displayed his apathy for the production by demonstrating some shocking onstage manners. | ⴱⵔⴰⵏⴷⵓ ⴰⵙⵉⵙⴾⵏⴰ ⵜⴰⴷⴰⴱⵉⵜ ⴷⴰⵗ ⵉⴶⵉⵜⴰⵏ ⴷⴰⵗ ⵉⵍⴰ ⵜⵉⴷⵉⵜ ⴷⴰⵗ ⵂⴰⵔⴰⵜⴰⵏ ⴰⵏ ⵙⴰⵍⴰⵏ ⴰⵙⵉⵙⵏⴰⵏⴻⵏ ⴷⴰⵗ ⵜⵉⴷⴰⵓⵜ |
After several weeks on the road, they reached Boston, by which time Bankhead was ready to dismiss him. | ⴻⴰⵔⴰⵜ ⵉⵙⴰⵜⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ ⴷⴰⵗ ⵣⴰⴱⵓ, ⵉⵓⴰⴷ ⴱⵓⵙⵜⵓⵏ, ⴰⴷ ⴱⴰⵏⴾⵂⴻⴰⴷ ⴰⵙⵉⴷⴰⵓ ⵉⴰ ⵜⵉⵛⵉⴶ. |
"Pierpont writes that John Garfield was first choice for the role, but ""made impossible demands.""" | "ⴱⵉⴻⵔⵓⵓⵏⵜ ⵉⴾⵜⴰⴱ ⴰⵙ ⵋⵓⵂⵏ ⵗⴰⵔⴼⵉⴻⵍⴷ ⴻⵈⴰⵍ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⴰⵎⵓⴾⵉⵙ ⴼⴰⵍ ⵙⴰⵍⴰⵏ, ⵎⴰⵛⴰⵏ ""ⵉⵜⴰⴶⵓ ⴰⵙⵓⵙⵜⴰⵏⴰⵏ ⴰⵓⴻⵏⴰⵏ ⵜⵉⵍⴰ"" |
"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.""" | Iⴾⵏⴰ ⵜⴰⵎⵆⴰⵔ ⴰⵏ ⵙⵜⴰⵏⵍⴻⵉ ⵓⴰ ⴷⴰⵗ ⴼⴰⵍ ⴻⵈⴰⵍ ⵜⴰⵍⵉⵎⵜ ⴰⴷ ⴷⵉⴱⴰ ⴰⵏ ⵜⴰⵣⵉⴷⴻⵔⵜ ⵉⴻ ⵜⴰⵎⴰⴷⵔⵉⵜ ⵉⴻⵆⵓⵍ ⵏⴰⵂⴰⵍⵉⵙ ⵏⴰⵎⵆⴰⵔ ⴰⵣⵉⵍⴱⴰⴱⴰⵉⴰⵏ….ⵜⴻⵎⴱⴻ ⵜⴰⵉⵏⴰⵉⴰⵜ ⵜⵉⵣⴶⴰⵔⵉⵜ ⴷⴰⵗ ⵜⴻⵆⴰⵔⴻ ⵜⴰⵏ ⴱⵔⴰⵏⴷo ⵜⴰ ⵜⴰⵈⴰⵍ ⴷⴰⵗ ⵉⴶⵉⴶ ⵜⴻⵆⴰⵔⴻ ⵜⴰ ⵜⴰⵜⴰⵏⴰⵜⵓⴼⴰⵜ ⵉⵙ ⴾⴰⵍⴰ ⵓⴰ ⵂⴰⵙ ⵉⵙⵍⴰ.""" |
"He said, ""The curtain went up and on the stage is that son of a bitch from the gym, and he's playing me.""" | "I ⵏⴰ : "ⵔⵉⴷⴻⴰⵓ ⵉⴾⴰⵔⵉⴷ ⵉⵣⴰⵔ ⴼⴰⵍ ⵜⵉⴷⴰⵓⵜ ⵉⵓⵔ ⵉⵍⴰ ⵍⵓⵔⴻⵙ ⵜⴰⴾⴰⵔⵓⴰⵜ ⵜⴰ ⴶⵉⵎⵏⴰⵙⴻ, ⵉⵣⴰⵔ ⴰⵓⴰⴷⴰⵗ ⵜⴰⴶⴰ ⴰⵜ ⵜⵉⵛⵍⴰⵏ." |
Brando's first screen role was a bitter paraplegic veteran in The Men (1950). | ⵓⴰⵣⴰⵔⴰⵏ ⵉⵛⵉⵆⵉⵍ ⴼⴰⵍ ⴻⵛⵔⴰⵏ ⵓⴰ ⴱⵔⴰⵏⴷⵓ ⴻⵈⴰⵍ ⴻⵎⴰⵛⴻⵂⵉ ⵜⵉⴶⵔⴰⵓ ⴱⴰⵔⴰⴱⵍⵉⴶⵉⴻ ⵙⴰⵎⴰⵎⴰⵜ ⴷⴰⵗ ⵟⵂⴻ ⴱⴻⵏ (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. | ⴻⴰⵗ ⵜⴰⵏⴰ ⵜⴰⵏ ⴱⵔⴰⵏⴷⵓ, ⵉⴶⵓⵎⵉⵛⵉ ⵜⴰⵙⴰⴱⴰ ⴰⵏ ⵙⵉⵍⵎⴰ ⵓⴰⵙ ⴰⵏⵓⵣⴶⵓⵎ ⴰⵏⴻⵙ ⵓⴾⴰⵉ ⵉⵓⵔ 4-ⴼ ⵂⴰⵔ 1-ⴰ. ⴰⵜⵉⵓⴰⴶⴰⵙ ⴰⵣⵉⴱⵔⵉⵣⵉ ⴷⴰⵗ ⴰⴼⵓⴷ ⵓⴰ ⵜⴰⵛⴰⵍⴶⴻ ⴰⴷ ⴰⴼⵓⴷ ⵓⴰ ⵏⴰⵆⵉⵍ. ⴰⵜⵉⵓⴰⴶⴰⵙ ⴰⵣⵉⴱⵔⵉⵣⵉ ⴷⴰⵗ ⴰⴼⵓⴷ ⵓⴰ ⵜⴰⵛⴰⵍⵎⴰⴷ ⴰⴷ ⴰⴱⴰⴷⴷⴰⵏ ⴰⵏⴻⵙ ⵓⴰ ⵓⴰⵏⵏⴰⵏ ⴰⴶⴷⴻ ⵉⴻ ⵜⵓⵉⵛⵉⴶ ⴰⵏⴻⵙ ⴷⴰⵗ ⴰⵛⴰⵗⵉⵍ ⵓⴰⵏ ⵙⴰⵔⴷⴰⵙⵉⵜⴰⵏ. |
Coincidentally, the psychiatrist knew a doctor friend of Brando. | ⴻⴰⵗ ⵜⴰⴱⴰⵆⵓⵔ, ⴱⵙⵉⵛⵉⴰⵜⵔⴻ ⵉⵣⴰⵉ ⵍⴰⵛⵜⵓⵔ ⵉⵉⴰⵏ ⵏⴰⵎⵉⴷⵉ ⴰⵏ ⴱⵔⴰⵏⴷⵓ. |
The role is regarded as one of Brando's greatest. | ⴰⵛⵉⵍ ⵓⴻⵏⴷⴰⵗ ⴻⵈⴰⵍ ⵓⴰ ⵜⴰⵏ ⵓⴼⴰⵏ ⴼⵓⴾ ⵉⴻ ⴱⵔⴰⵏⴷⵓ. |
The film was directed by Elia Kazan and co-starred Anthony Quinn. | ⵙⵉⵍⵎⴰ ⴰⵜ-ⵜⴰⵜ ⵉⴶⴰⵏ ⴻⵍⵉⴰ ⵆⴰⵣⴰⵏ ⵉⵣⴰⵔ ⵉⴶⴰ ⵜⴻⵏⴰⵎⴰⵂⴰⵜ ⴰⵏⵜⵂⵓⵏⵉ ⵔⵓⵉⵏⵏ |
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. | ⴻⴰⵗ ⵜⵉⴷⴰⵓⴻⵏ ⵏⴰⵔⵜⴰⵉ, ⵓⴼⵔⴰⵉⴰ ⵉⴻ ⵂⴰⵔⴰⵜ ⵏⴰⴱⵔⵓⵔ ⴷⴰⵗ ⴰⵏⴰⵉⴰⵜⵉⵏ, ⵉⵣⴰⵔ ⴰⴼⴰⵍ ⵂⴰⵙ ⴰⵏⴻⵙ ⴰⴷ ⴷⴰⵙⵓ ⵂⴰⵔⴰⵜ ⴷⴰⵔⴰⵜ ⴰⵛⴰⵆⵉⵍ, ⴰⵔⵓⴶⵉⵉ ⵎⴻⵆ ⴻⵈⴰⵍ ⴰⵉⵜⴰⵔⴰⵏ ⵉⵣⴰⵔ ⵓⵉⵔⵉⴶⵓ ⴰⵜ-ⵜⴰⵜ ⵉⵍⴰⵏ. |
After achieving the desired effect, Kazan never told Quinn that he had misled him. | ⵓⴶⵓⴷ ⵓⴰ ⴷⵉⴶⵔⴰⵓ ⴰⵍⵎⴰⵆⵏⴰ ⵏⴰⵓⴰ ⴰⵙ ⵉⴶⵔⴰⵣⴰⵏ, ⵆⴰⵣⴰⵏ ⴾⴰⵍⴰ ⵓⵔⵉⵏⴰ ⵉⴻ ⵙⵓⵉⵏⵏ ⵉⴶⴰⵙ ⵂⵉⵍⴻ |
Gielgud was so impressed that he offered Brando a full season at the Hammersmith Theatre, an offer he declined. | ⵗⵉⴻⵍⴶⵓⴷ ⴰⵙⵉⵔⵎⴰⵆⵈⵉ ⵓⴰⴷⴰⵗ ⴼⴰⵍ ⵉⴼⴰ ⴱⵔⴰⵏⴷⵓ ⴰⵓⴰⵜⴰⵉ ⴰⵎⴷⴰⵏ ⴷⴰⵗ ⵂⴰⵎⵎⴻⵔⵙⵎⵉⵜⵂ ⵟⵂⴻⴰⵜⵔⴻ, ⵉⵂⵓⴾ ⵓⵉ ⴰⵙⵉⵆⴰⵔⴰⵎⴱⴰⵉ |
It was like a furnace door opening—the heat came off the screen. | ⵙⵓⴷ ⵆⴰⵙ ⴰⵛⴰⵔ ⵏⴰⵏ ⵏⴰⵍ ⴼⵓⵔⵏⴰ ⵉⵜⴰⵎⴰⵔⴻⵏ- ⵜⴰⴾⴰⵙⵜⴻ ⵜⵉⴼⴰⵍⵉⴷ ⵜⵉⵙⴻⵜ |
"By all accounts, Brando was upset by his mentor's decision, but he worked with him again in On The Waterfront. """ | "ⴻⴰⵗ ⴰⵍⴰⵆⵉ ⴷⴰⴾ, ⴱⵔⴰⵏⴷⵓ ⴻⵈⴰⵍ ⴰⵜ-ⵜⵓⴰⵙⴰⵎⴰⵍⴰⵍⴰⵉ ⴷⴰⵗ ⵜⴰⵏⵂⴰⵜ ⵜⴰⵏ ⴰⵎⵉⵣⴰⵔ ⴰⵏⴻⵙ, ⵎⴰⵛⴰⵏ ⵓⵍⴰⵙ ⴰⵛⵉⵆⵉⵍ ⴷⵉⵔⵉⵙ ⴷⴰⵗ Oⵏ ⵟⵂⴻ ⵓⴰⵜⴻⵔⴼⵔⵓⵏⵜ. |
Triumph's importers were ambivalent at the exposure, as the subject matter was rowdy motorcycle gangs taking over a small town. | ⴰⵎⴰⵓⴰⵉⴰⵏ ⴰⵏ ⵟⵔⵉⵓⵎⴱⵂ ⴻⵈⴰⵍⴰⵏ ⵜⵓⵂⵓⵏⴰⵓⴻⵏ ⵏⵓⴾⵓⵙ, ⴼⴰⵍⴰⵙ ⴰⵛⵉⵆⵉⵍ ⴻⵈⴰⵍ ⴶⵍⵓⴼⵜⴰⵏ ⴰⵏ ⵜⵉⵙⵏⴰⵉ ⴰⵏ ⴾⴰⵍ ⵜⴰⴾⴰⵍⵜ ⴷⴰⴾⴰⵍⵏⴻⵏ ⵜⴰⵏⵂⴰⵜ ⵏⴰⵆⵔⵎ ⴰⵏⴷⵉⵔⴰⵏ. |
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. | ⵓⴶⵓⴷ ⵓⴰ ⵂⴰⵙ ⴰⵜⵓⴰⵏⴰⵏ ⴰⴷ ⴰⵜⴾⵉⵍ ⴰⵛⴰⵆⵉⵍ, ⴱⵔⴰⵏⴷⵓ, ⵂⴰⵔⵓⴰ ⴰⵙⵏⵉⵏ ⴼⴰⵍ ⵜⴰⵋⵓⵂⴻⵏⴻⵙ ⵜⴰⵏ ⵆⴰⵣⴰⵏ ⴷⴰⵜ ⵂⵓⴰⵛ- ⵓⵛⴰⵔ ⴰⴷ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵟⴻⵔⵔⵉ ⵎⴰⵍⵍⵓⵉ ⵉⵛⵓⴰⵔ ⴻⵜ-ⵜⵉⴶⵔⴰⵓ ⴼⵔⴰⵏⴾ ⵙⵉⵏⴰⵜⵔⴰ. |
Brando won the Oscar for his role as Irish-American stevedore Terry Malloy in On the Waterfront. | ⴱⵔⴰⵏⴷⵓ ⴰⴶⵔⴰⵓ Oⵙⵛⴰⵔ ⴷⴰⵗ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵟⴻⵔⵔⵉ ⵎⴰⵍⵍⵓⵉ ⴰⵎⴰⵓⴰⵉ ⵉⵔⵍⴰⵏⴷo-ⴰⵎⵉⵔⵉⵛⴰⵉⵏ, ⴷⴰⵗ ⵓⵏ ⵟⵂⴻ ⵓⴰⵜⴻⵔⴼⵔⵓⵏⵜ. |
"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.""" | ⴷⴰⵗ ⵜⵉⵣⵎⵉⵜⴻⵏ ⵜⴰⵏ 29 ⵋⵓⵉⵍⵍⴻⵜ 1954, ⵜⵉⵣⵎⵉⵜ ⵜⴰⵏ ⵏⴻⵓ ⵗⵓⵔⴾ ⵟⵉⵎⴻⵙ ⴰ. ⵂ. ⵓⴻⵍⵍⴻⵔ ⵉⴶⴰ ⵜⵉⵎⴰⵍ ⴰⵏ ⵙⵉⵍⵎⴰ, ⴰⵜⴰⴶⴰⵏⴻⵏ ⴷⴰⵗ ""ⴷⴰⴾⴰⵍⴰⵏ ⴰⵏ ⵜⵉⵙⴻⵜ ⵜⴰ ⵜⴰⵙ-ⵙⵓⵆⵙⴰⴷⴰⵜ, ⵜⴰⵣⵉⵣⴰⵉⴷⴰⵔ ⵉⵣⴰⵔ ⵜⵉⵍⴰ ⴰⵏⵉⵣⴶⵓⵎ ⴼⴰⵍ Iⴷⵉⵏⴰⵜ ⵉⵍⴰⵏⴻⵏ ⵜⴰⵉⵉⵜⴻ"". |
He portrayed Napoleon in the 1954 film Désirée. | Iⴶⴰ ⴻⵛⴻⵆⵉⵍ ⵓⴰⵏ ⵏⴰⴱⵓⵍⵉⵓⵏ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⵓⴰⵜⵉⵓⴰⵔⵂⴰⵏ ⴷⴰⵗ 1954. |
Brando was especially contemptuous of director Henry Koster. | ⴱⵔⴰⵏⴷⵓⴻⵈⴰⵍ ⴰⵉⴱⴷⴰⵏ ⴷⴰⵗ ⴰⵎⴰⴾⴰⵏ ⴰⵏ ⵂⴻⵏⵔⵉ ⵆⵓⵙⵜⴻⵔ. |
"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.""" | "ⴰⵓⴰ ⵉⵍⴰⵏ ⴶⴰⵔ ⴱⵔⴰⵏⴷⵓ ⴰⵏ ⴷⵉⵎⵉⴷⵉⵏⴻⵙ ⴼⵔⴰⵏⴾ ⵙⵉⵏⴰⵜⵔⴰ ⴻⵈⴰⵍ ⵉⵏⵜⴰⴷⴰⵗ ⴰⵂⵉⵏⵉⵍⴰⵏ, ⵙⵓⴷ ⴰⵓⴰⴷⴰⵗ ⴰⵆⴻⵍ ⵙⵜⴻⴼⴰⵏ ⵆⴰⵏⴼⴻⵔ : ""ⵎⴻⴷⵉⵏ ⵓⵉ ⵏⴰⵙⵉⵏ ⴰⵈⴰⵍⴰⵏ ⴰⵉⴱⴷⴰⵏ ⵜⴰⵍⵆⴰ : ⵎⴰⵔⵍⵓⵏ ⵉⵙⵉⵂⵓⵛⵓⵍ ⵉⴷⴰⴾⴰⵍⴰⵏ ⴰⵋⵜⵓⵏⴻⵏ ; ⴼⵔⴰⵏⴾ ⵉⵙⴾⴰⵏ ⴰⵓⴻⵏ ⴰⵏⴻⵍⴰⵙⴰⵏ."" |
"Frank Sinatra called Brando ""the world's most overrated actor"", and referred to him as ""mumbles""." | "ⴼⵔⴰⵏⴾ ⵙⵉⵏⴰⵜⵔⴰ ⴻⵆⵔⴰ ⴱⵔⴰⵏⴷⵓ"" ⴻⵎⴰⴶ ⵓⴰ ⵜⴰⵏ ⵓⴶⴰⵔⴰⵏ ⴰⵜⵓⵉⵍⴾⴰⵂ ⴷⴰⵗ ⴰⴰⴷⵓⵏⵉⴰⵜ "ⵂⵉⵜ ⵜⵉⴶⴰⵏ ""ⴰⵎⵓⴷⴰⵔ.""" |
"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." | "ⴱⴰⵓⵍⵉⵏⴻ ⵆⴰⴻⵍ ⵓⴰⵔⴻⴾⴻⵍ ⴻⵔⴻ ⵜⵉⴶⵔⴰⵣⴰⵏ ⵙⵉⵍⵎⴰ, ⵎⴰⵛⴰⵏ ⵉⴾⵜⴰⴱ ""ⵎⴰⵔⵍⵓⵏ ⴱⵔⴰⵏⴷo ⴻⴶⴰⵉ ⵍⴰⵣ ⴼⴰⵍ ⵉⴶⵉ ⴰⵏ ⵏⴰⵍⵉⵆⵉ ⴰⵏ ⵍⵓⵜⵉⵏ ⵙⴰⴾⵉⵏⵉ, ⵉⵣⴰⵔ ⴻⵔⵂⴰ ⴰⴷ ⴷⵉⴷⵉⵍ ⴰⵏ ⵜⵉⵏⵉⴷⴰⵔ – ⵉⵎⵉⴶⵔⴰⴷ ⵉⵙⵜⴰⵏⵎ ⴻⵔⴻ ⴰⵋⵓⵔⴻⵏ, ⵉⴷⴰⵗ ⵉⵙⵜⴰⵏⵎ ⴰⵔⴰ, ⴰⴾⵓⵜⴰⵔ ⴰⵙⴷⴰⵜ ⴷⴰⵗ ⵉⴶⴰ ⵉⴱⴰⵔⴰⵋⴰⵏ oⴾⴰⵉⵏⴻⵏ ⴷⴰⵗ ⴰⵙⴰⵙⵉⵓⴰⵏ."" |
"Newsweek found the film a ""dull tale of the meeting of the twain"", but it was nevertheless a box-office success." | "ⵏⴻⵓⵙⵓⴻⴻⴾ ⴰⵏⵂⴰⵉ ⴰⵙ ⵙⵉⵍⵎⴰ ⵜⴰⵈⴰⵍ ""ⵜⴰⵏⴼⵓⵙⵜ ⵜⵉⵙⵉⵎⴰⴾⴰⴷⴰⵜ ⴷⴰⵗ ⵜⵉⴷⴰⵓⵜ ⵏⴰⵙⵉⵏ ⵉⴷⵉⵏⴰⵜ"" ⵎⴰⵛⴰⵏ ⴻⵈⴰⵍ ⴰⵉⴾⵏⴰⵏ ⴷⴰⵗ ⴱⵓⵆ-oⴼⴼⵉⵛⴻ." |
The film went on to win four Academy Awards. | ⵙⵉⵍⵎⴰ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ ⵜⴰⴾⴰⵍ ⵉⴾoⵣ Oⵙⵛⴰⵔⵙ. |
"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.""" | "ⴹǎⵗ ⴷⴻⵔⵂⴰⵏ ⵛⵓⵍ, Bⵔⴰⵏⴷo ⵜəⵙⵉⵔⵎⴰⵈⵉ ⵜⴰⵎⴰⵜⴰⵏⵜ əⵏ ⵎⴰⵙ, ⴰⵓⴰ əⵙⴾⴰⵍⴰ ⵜⵉⴶⴰ Pⴻⵜⴻⵔ Mⴰⵏⵙo ⴷⴰⵗ ⴰⵙⴰⵍⵉⵆⴰⵜ ⴷⴰⵗ ⴰ&ⴻ'ⵙ ⴱⵉoⴶⵔⴰⴱⵂⵉ : "ⵜⴰⵈⴰⵍⴰⵙ ⵜⴰⵜⴰⴷⵓⴱⴻⵜ ⴰ ⵜⴰⵜⴰⴼⵓ ⵜⴰⵔⵂⴰⵏⴻⵙ ⴰⵓⴰ ⵙⴰⵓⴰⴷⴰⴷⵓⴱⴰⵜ ⴰⵓⴰⴷⴰⵎ ⴰⵜⴰⴶ, ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ ⵜⴰⵎⴰⵜⴰⵏⵜ ⴰⵏ ⵎⴰⵙ, ⵜⴰⵈⴰⵍ ⴰⵙ ⵎⴰⵔⵍⵓⵏ ⵓⴰⵜⴰⵜⵉⴾⵎⴰ.""" |
The Young Lions also features Brando's only appearance in a film with friend and rival Montgomery Clift (although they shared no scenes together). | ⵟⵂⴻ ⵗⵓⵏⴶ ⵍⵉⵓⵏⵙ ⵜⴰⵈⴰⵍ ⴰⵏⵜⴰⴷⴰⵗ ⴰⵣⴰⴶⴰⵔ ⴰⵉⴰⵏⴷⴰⵗ ⴰⵏ ⴱⵔⴰⵏⴷⵓ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⴰⵏⵜⴰ ⴷⴰⵎⵉⴷⵉⵏⴻⵙ ⴰⴷ ⴻⵎⴰⴾⴻⵏⵉⵙ ⴰⵏⴻⵙ ⵎⵓⵏⵜⴶⵓⵎⴻⵔⵉ ⵛⵍⵉⴼⵜ (ⴷⴰⵗ ⵉⴱⴰ ⴰⵏⵜⵉⵣⵓⵏⴻ ⴰⵏ ⵙⴰⵍⴰⵏ ⴰⵏ ⵜⴰⵔⵜⵉⵜ). |
"Brando portrays the lead character Rio, and Karl Malden plays his partner ""Dad"" Longworth." | "ⴱⵔⴰⵏⴷⵓ ⵉⴶⴰ ⵉⵙⴰⵍⴰⵏ ⵏⴰⵓⴰⴷⴰⵎ ⵓⴰⴷⴰⵗ ⴰⵣⴰⵔⴰⵏ ⵔⵉo, ⴰⴷ ⵆⴰⵔⵍ ⵎⴰⵍⴷⴻⵏ ⵉⵜⴰⴶ ⵓⴰ ⵉⵎⵉⴷⵉⵏⴻⵙ ""ⴹⴰⴷ"".ⵍⵓⵏⴶ ⵓⵔⵜⵂ. " |
Brando's inexperience as an editor also delayed postproduction and Paramount eventually took control of the film. | ⴰⵙⵓⵣⵙⵉⴷ ⵓⴰ ⴱⵔⴰⵏⴷⵓ ⵙⴻⵈⴰⵍ ⴻⵎⴰⵙⴻⵂⵉ ⵉⴷⴶⴰⵍ ⵉⴶⵉ ⴰⴷ ⴱⴰⵔⴰⵎⵓⵏⵜ ⴷⴰⵗ ⵙⴰⵎⴰⵏⴷⵓ ⵉⵜⴾⴰⵍ ⵜⴰⵏⵂⴰⵜ ⴰⵏ ⵙⵉⵍⵎⴰ. |
"By then, I was bored with the whole project and walked away from it.""" | "ⴰⴶⵓⵏⴷⴻⴷⴰⵗ , ⵜⴰⴷⵂⵉⵜ ⵜⴰⵙⴰⵎⴰⴾⴰⴷⴰⵂⵉ ⵉⵣⴰⵔ ⴰⵏⴾⴰⵛⴰⵆ ⴼⴰⵍⴰⵙ.""" |
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. | ⵟⴰⵣⵓⴷⴻ ⴰⵏ ⵔⴰⵏⴷo ⵉⴻ ⵉⴶⵉ ⴰⵏ ⵙⵉⵍⵎⴰⵜⴰⵏ ⵜoⴾⴰⵉ ⵉⵓⵔ ⵉⴶⵉⵜⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⵏⴻⵙ ⵓⵉⵍⴾⴰⵎⵏⴻⵏ, ⴼⴰⵎⵓⵜⵉⵏⵙ ⵓⵉ ⵎⵓⵏⵜⵉ ⵓⵉⵏ ⵎⴻⵜⵔo-ⵗⵓⵍⴷⵓⵉⵏ-ⵎⴰⵉⴻⵔ, ⵓⴰ ⵉⴶⴰⵏ ⴷⴰⵗ ⵟⴰⵂⵉⵜⵉ. |
"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.""" | "ⵓⴰⵜⴰⴶⴰⵏ ⵎⵓⵜⵉⵏⵙ, ⵍⴻⵓⵉⵙ ⵍⵉⵍⴻⵙⵜⵓⵏⴻ, ⵉⵏⴰ ⵉⵏⴰⵎⴰⵂⴰⴷⴰⵏ "ⵉⵏⴰⵂⴰⴶ ⴰⵓⴰ ⴶⴰⵔⴰⵓ ⵓⴶⵓⴷ ⵓⴰⵔ ⵂⴰⴾⴰⵏ ⴰⵎⵓⵙⴰⵏ ⴰⵏⵜⵉⴾⴰⵏ, ⴰⵔⴰ ⵓⴰⵏⴰⵏ ⵓⴾⵓⵍ, ⴷⴰⵗ ⵜⴰⵏⵂⴰⵜ ⵙⵉⵍⵎⴰ ⵜⵉⵎⴷⴰⵜ ⵜⴰⵙoⵂⴻⵜ |
The Ugly American (1963) was the first of these films. | ⵟⵂⴻ ⵓⴶⵍⵉ ⴰⵎⴻⵔⵉⵛⴰⵉⵏ (1963) ⴻⵈⴰⵍ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⵙⵉⵍⵎⴰ. |
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. | Silmantan fuk wi eqal magrad ən Brando dǎɣ alwaq wendǎɣ, fal Bedtime Story (1964), Appaloosa (1966), hinis ən Hong Kong (1967) dǎɣ ehad ən sund dašalwen (1969), aqalan əntanedǎɣ aydaran dǎɣ təzmit əd mašanšan. |
Brando had also appeared in the spy thriller Morituri in 1965; that, too, failed to attract an audience. | ⴱⵔⴰⵏⴷⵓ ⵉⵍⴰ ⴰⵏⵜⴰⴷⴰⵗ ⴰⵉⴶⴰ ⴷⴰⵗ ⵜⵂⵔⵉⵍⵍⴻⵔ ⵓⴰ ⵜⴰⵎⴾⵔⵉⵜ ⵎⵓⵔⵉⵜⵓⵔⵉ ⴷⴰⵗ 1965, ⵓⴰ ⵓⴰⵏⴰⵏ ⵉⴶⵔⴻⵣ ⵉⴻ ⴰⴷⵉⵏⴰⵜ. |
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. | ⵛⴰⵏⴷⵉ ⴻⵈⴰⵍ ⴰⵏⵜⴰⴷⴰⵗ ⴰⵉⵂⴰⵏ ⴰⵋⴻⵏ, ⵙⴻⵆ ⴼⴰⵔⵛⴻ ⴷⴻ 1968 ⵉⴶⴰ ⵙⵔⵉⵙⵜⵉⴰⵏ ⵎⴰⵔⵈⵓⴰⵏⴷ ⴷⴰⵗ ⴰⵍⴾⵉⵜⴰⴱ ⵓⴰ 1958 ⴻⵏ ⵟⴻⵔⵔⵉ ⵙⵓⵜⵂⴻⵔⵏ, ⵙⵉⵍⵎⴰ ⵜⵉⴶⴰ ⵉⵙⴰⵍⴰⵏ ⴰⵏ ⵜⵓⴼⵓⵙⴻⵏ ⵏⴰⵣⵉⵏⴰⵜⴰⵏ ⴷⴰⵗ ⴰⵆⵙⵓⵙⵉⴷ ⴰⵏ ⵜⴰⵂⴰⵏⵉⵏⵜ, ⵛⴰⵏⴷⵉ, ⵜⴰⵆⵔⴰⵉ Eⵓⴰ ⴰⵓⵍⵉⵏ. |
"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.""" | "ⴷⴰⵗ ⴻⴷⴰⵏ ⵓⴰ ⵎⴰⵔⵙ 1966 ⵓⴰⵏ ⵟⵂⴻ ⴰⵜⵍⴰⵏⵜⵉⵛ, ⴱⴰⵓⵍⵉⵏⴻ ⵆⴰⴻⵍ ⴰⴾⵜⴰⴱ ⴰⵙ ⴻⵂⴰⵏⵉⵏ ⴰⵏ ⵜⴰⴶⴰⵜ ⴰⵏⴻⵙ, ⴱⵔⴰⵏⴷⵓ, ""ⴻⵈⴰⵍ ⴰⵎⴰⴷⴶⴰⵍ ⴰⵏ ⵜⴰⵔⵜⵉⵜ ⴼⴰⵍⴰⵙ ⵉⵙⴰⵏ ⴰⵙ ⵜⴰⵔⵜⵉⵜ ⵜⴰⵈⴰⵍ ⴰⵓⴰⵏⴰⵏ ⵉⴾⵏⴰ"", ⴻⵈⴰⵍ ⴻⵎⴰⵙⴻⵂⵉ ⴰⵏ ⵜⴰⵎⴰⴷⵔⵉⵜ ⴼⴰⵍⴰⵙ ⵉⵍⴰ ⴰⵙⴰⵂⴰⵜ ⵉⴻ ⵉⴱⴰ ⴰⵏ ⵜⴰⵔⵂⴰ ⵏⴰ ⵓⴰⵏⴰⵏ ⵉⴾⵏⴰ "",ⵎⴰⵛⴰⵏ ⴰⵎⴰⵔⴰ ⴱⵔⴰⵏⴷⵓ ⴰⴷ ⵉⵉⴰⴷ ⵙⵓⵏⴷⵉⵏⵜⴰ ⴰⵈⴰⵍⴰⵏ ""ⵉⵎⴰⵛⴾⴰⵏ, ⵜⴰⵋⴰⴾⴰⵜⵏⴻⵏ ⵜⴰⵍⵆⴰⵏⴻⵏ, ⴰⵙⵓⵆⵙⵉⴷ, ⵓⴰⵏ ⴰⵔⵂⴻⵜ ⵏⴰⴷⵉⵏⴰⵜ """. |
"I was very convincing in my pose of indifference, but I was very sensitive and it hurt a lot.""" | "ⵔⵉⴷⵓⵓⴰⵏ ⵂⵓⵍⴰⵏ ⴷⴰⵗ ⵉⴶⵉ ⵏⴰⵏⴰⵉⴰⵜ, ⵎⴰⵛⴰⵏ ⴰⵈⴰⵍⴰⵆ ⴰⵓⴰⵏⴰⵏ ⵉⵛⵎⴻⵔ ⵉⵣⴰⵔ ⵉⴾⵎⴰⵂⵉ ⵂⵓⵍⴻⵏ."" |
The film overall received mixed reviews. | ⴷⴰⵗ ⵜⴰⵔⵜⵉⵜ, ⵙⵉⵍⵎⴰ ⵜⵉⴶⵔⴰⵓ ⵜⵉⵣⵎⵉⵜⴻⵏ ⴰⵏ ⵏⴰⵙⵓⵛⵓⵙⴾⵓ. |
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. | ⴱⵔⴰⵏⴷo ⴰⵜⴾⴰⵍ ⴰⵍⵆⵓⵔⵓⴼ ⴰⵎⴷⴰⵏ ⵉⴻ ⵙⵉⵍⵎⴰ ⴷⴰⵗ ⴰⵏⴰⵉⴰⵜ ⴰⵏⴻⵙ, ⴰⵍⵉⵆⴰⵜ ⴰⵙ ⴻⵎⴰⴶ, ⵗⵉⵍⵍo ⴱⵓⵏⵜⴻⵛⵓⵔⴱⵓ, ⴻⵈⴰⵍ ⵓⴼⴰⵏ ⴻⵎⴰⴶ ⴰⴷ ⵓⴰⵙⴾⴰⵍⴰ ⵓⴰⵔⴰⵎⵛⴰⵆⴰⵍⴰⵏ, ⴷⴰⵔⴰⵜ ⵆⴰⵣⴰⵏ ⴰⴷ ⴱⴻⵔⵏⴰⵔⴷⵓ ⴱⴻⵔⵜⵓⵍⵓⵛⵛⵉ. |
In 1971, Michael Winner directed him in the British horror film The Nightcomers with Stephanie Beacham, Thora Hird, Harry Andrews and Anna Palk. | ⴷⴰⵗ 1971, ⵎⵉⵛⴰⴻⵍ ⵓⵉⵏⵏⴻⵔ ⵉⵍⵓⴰⵉⵜⴰⵏ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⵏⴰⵜⵉⵈⴰⵍ ⵓⴰ ⴱⵔⵉⵜⴰⵏⵏⵉⵈⵓⴻ ⵟⵂⴻ ⵏⵉⴶⵂⵜⵛⵓⵎⴻⵔⵙ ⴰⴷ ⵙⵜⴻⴶⵂⴰⵏⵉⴻ ⴱⴻⴰⵛⴰⵎ, ⵟⵂⵓⵔⴰ ⵂⵉⵔⴷ, ⵂⴰⵔⵔⵉ ⴰⵏⴷⵔⴻⵓⵙ ⴰⴷ ⴰⵏⵏⴰ ⴱⴰⵍⴾ. |
He bested Brando at the 1972 New York Film Critics Circle Awards.) | ⴰⵣⴰⵔ ⵉⴻ ⴱⵔⴰⵏⴷⵓ ⵉⵙ ⵏⴻⵓ ⵗⵓⵔⴾ ⵙⵉⵍⵎⴰ ⵛⵔⵉⵜⵉⵛⵙ ⵛⵉⵔⵛⵍⴻ ⴰⵓⴰⵔⴷⵙ ⵓⴰⵏ 1972). |
Brando also had One-Eyed Jacks working against him, a troubled production that lost money for Paramount when it was released in 1961. | ⴱⵔⴰⵏⴷⵓ ⴰⵏⵜⴰⴷⴰⵗ ⵉⴶⵔⴰⵓ ⵜⴰⵏⵎⵉⵍⵜⴰⴾ ⵜⴰⵏ ⵋⴰⵛⴾ ⵓⵉⴷⵉⴶⵔⴻⵓ ⵜⴰⴱⴰⵆⵓⵔ, ⵏⴰⴶⵉⵜⴰⵏ ⵏⴰⵙⵓⵂⵓ ⵓⴰ ⴰⵙⴱⴰⵏ ⴰⵣⵔⵓⴼ ⵉⵓⵔ ⴱⴰⵔⴰⵎⵓⵏⵜ ⵉⵓⵔ ⴰⵣⴰⴶⴰⵔⵉⵏⴻⵙ ⴷⴰⵗ 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)." | "ⵛⵓⴱⴱⵓⵍⴰ ⵉⴶⵔⴰⵓ ⴱⵔⴰⵏⴷo ⵉⴰ ⵔəⴶⵉⵛ ⵉⴻ ⴰⵔⴰⴶⵓ ""ⴰⵛⵉⵛⵓⵂⴰⵆ"" ⵉⴶⴰⵛⴰⵏ ⵉⵉⴰⵜⵙⵉⵍⵎⴰ, ⵜⴰⴷⴰⵗ ⴱⵔⴰⵏⴷo ⵉⵛⵉⵛⴰⵂⴰⵆ ⴰⵏⵜⴰ ⴻⵎⴰⵏⴻⵙ ( ⵉⵜⴾⴰⵍ ⵜⵉⴱⵓⵍⵓⵍⴰⵆⴻⵏ ⴰⵏ ⵂⴰⴱⵓ ⵉⴰ ⴷⵉⵙⴰⴾⵜⵉⴷ ⵉⴶⴰⵣⴰⵏ ⴰⴾⵓⴼⵏⴻⵏ ⵏⴰⵓⴰⴷəⵎ)". |
"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 ⴰⵏⵜⴰ ⴻⵎⴰⵏⴻⵙ ⴰⵙⵉⵏⵂⵓⴶⵓ, ⵉⴶⴰⵏⴰⵏ ⴷⴰⵗ ⴰⵓⴰ ⴰⵛⵆⴰⵍ : ""ⴾⴰⵍⴰ ⵓⵉⵔⵉⴶⴰ Iⵜⴰⵍⵉⴻⵏ ⴷⴰⵜ ⴰⵓⴰ, ⵉⵣⴰⵔ ⵓⴰⵔⴰⵆⴻⵍⴰⵆ ⴰⴷⵓⴱⴻⵆ ⵉⴶⵓ ⵏⴰ ⵂⵓⵙⴾⴻⵏ."" |
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. | ⴱⵔⴰⵏⴷⵓ ⴰⵜⵓⴰⴶⴰ ⵙⵓⵏⴷ ⵜⴰⵎⴱⵓ ⴰⵏ 50 000 $, ⵎⴰⵛⴰⵏ ⴷⴰⵗ ⵜⵉⵔⵉⴷⵓⴰⵜ ⴻⵏⴻⵙ, ⵉⴶⴰⵔⴰⵓ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⵜⴰⵙⵓⴷⵓⵜ ⴰⵏ ⵉⵛⴻⵍⵍⴻ ⵎⵓⴱⵉⵍⴻ : 1% ⴷⴰⵗ ⵜⴰⵎⵓⴾⵓⵙⵜ ⴷⴰⵗ 10 ⵎⵉⵍⵍⵉⵓⵏⵙ ⴰⵏ ⴷⵓⵍⵍⴰⵔ ⵓⴾⴰⵉⴰⵏ 10 ⵎⵉⵍⵍⵉoⵏⵙ, ⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔ 5% ⴰⴼⴰⵍ ⵙⵉⵍⵎⴰ ⵜⵓⵈⴰⵉ 60 ⵎⵉⵍⵍⵉⵓⵏⵙ |
"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." | ⴷⴰⵗ ⵜⵉⴷⴰⵓⵜ ⵜⴰⵏ 1994 ⴰⴷⴰⵗ ⴰⴷⵓⴱⴰⵜ ⴰⴶⴰⵔⴰⵓ ⴷⴰⵗ ⵜⴻⴷⴰⴶⵉⵜ ⵜⴰⵏ ⴰⵛⴰⴷⴻⵎⵉ ⵓⴼ ⴰⵛⵉⴻⴱⴻⵎⴻⵏⵜ, ⵛⵓⴱⴱⵓⵍⴰ ⵜⴰⵂⴰⵜ ⵜⴻⵂⴰⵉⵜ : ""ⴱⴰⵔⵔⴰⵉⵏ ⴻⵈⴰⵍ ⵙⵉⵍⵎⴰ ⵓⴰⵏⴰⵏⴰⵏ ⵉⵣⴶⵔⴰⵣ ⵂⵓⵍⴻⵏ ⵓⴶⵓⴷ ⵓⴰⵔⵉⵜⴰⴶⵓ." |
They didn't like the way I was shooting it. | ⵓⴰⴷⴰⵔⵂⴻⵏ ⴰⵎⴰⴾ ⵓⴰⵙ ⵜⴰⵓⴰⴶⴰ ⵙⵉⵍⵎⴰ. |
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. | ⴷⴰⵗ ⵜⵉⴷⴰⵓⵜ ⵜⴰⵎⴰⵜⴾⴰⵍⴰⵏ ⵜⴰⵜⵉⵓⴰⵔⴷⴰⵜ ⴷⴰⵗ 2010 ⵉⵓⵔ ⵍⴰⵔⵔⵉ ⵆⵉⵏⴶ, ⴰⵍ ⴱⴰⵛⵉⵏo ⴰⵏⵜⴰⴷⴰⵗ ⴰⵍⴰⵆⴰⵜ ⴰⵓⴰⵙ ⴰⵙⴰⵍⵉⵍ ⵜⴰⵏ ⴱⵔⴰⵏⴷⵓ ⵜⴰⴷⵂⴰⵍⵜⵉ ⵙⵓⴷⵓⴼ ⵏⴰⵛⵉⵆⵉⵍ ⵓⴰⵏ ⵎⵉⵛⴻⴰⵍ ⵛⵓⵔⵍⴻⵓⵏⴻ ⴷⴰⵗ ⵙⵉⵍⵎⴰ, ⴰⵓⴻⵏⴷⴰⵗ ⴷⴰⴾ ⵉⴶⴰ ⴰⵙ ⵛⵓⴱⴱoⵍⴰ ⴰⵔⵂⴰ ⴰⵜⵉⵛⵉⴶ. |
"He broke the ice by toasting the group with a glass of wine."" '" | "ⴻⵔⵣⴰ ⴶⵍⴰⵛⴻ ⴰⵙ ⵉⵍⵉⴶⴰⵜ ⵜⴰⵙⴰⵙⵓⵉⵜ ⵉⴻ ⴰⵍⵋⴰⵎⴰⵆⴰⵜ ⴷⴰⵗ ⴰⵍⵛⴰⵙ ⵏⴰⵙⵎⵉⴷ."" "" |
"Caan adds, 'The first day we met Brando everybody was in awe.'""" | "ⵛⴰⴰⵏ ⴰⵙⴰⵓⴻⴷ : ‘ⴰⵛⴰⵍ ⵓⴰⵣⴰⵔⴰⵏ ⵉⵓⵔ ⴰⵎⵓⵈⴰⵙⴰⵏ ⴰⵏⴱⵔⴰⵏⴷo, ⴰⵍⵋⴰⵎⴰⵆⴰⵜ ⴾⵓⵍ ⵜⴰⵈⴰⵍⴰⵏ ⴰⵉⵙⵓⴰⴷⴰⵏ."" |
"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.""" | ⴰⵏⵜⴰⴷⴰⵗ, ⴼⴰⵍⴰⵙ ⵉⵍⴰ ⵜⴰⵏⴰⵉⴰ ⵜⴻⵏⴷⴰⵗ ⴰⴷ ⵜⴰⵎⵆⵉⵔⴻ ⵓⴰⵏⴰⵏ ⵜⵉⵏⵓⵉⵏⵓ, ⴰⵆⴻⵍⴰⵆ ⴻⵈⴰⵍ ⴰⵉⴱⴷⴰⵏ ⴰⵂⵓⵙⴾⴻⵏ ⴷⴰ ⴷⴰⵈⴰⵍ ⴰⵂⴰⵍⵉⵙ ⴰⵂⵓⵙⴾⴻⵏ, ⴻⴱⴷⴰⵏ ⴷⴰ ⴰⵍ ⵛⴰⴱⵓⵏⴻ, ⵓⴰ Iⵏⴰⵈⴰⵏ ⴰⴷⵉⵏⴰⵜ ⵉⵙ ⴱⴰⵜⵜⴻ ⵜⴰⵏ ⴱⴰⵙⴻⴱⴰⵍⵍ." " " |
There was really no beginning. | ⵓⴰⵔⵜⵉⵍⴰ ⵙⴰⵏⵜⵓ ⴼⴰⵓ. |
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. | Iⵜⴰⵎⴰⵆ ⴷⴰⵗ ⵜⵉⴷⴰⵓⴻⵏ ⵜⴰⵏ ⵂⵓⴾ ⴰⵏ ⴰⵍⵂⴰⴾⴰⵏ, ⴰⴷ ⴰⵙⵉⵙⵉⵓ ⴷⴰⵗ ⴻⴷⴰⴶ ⵏⴰⵏⴰⵎⵓⴾⴰⵍ ⵓⴰ ⵏⴰⵆⵉⵍ ⴰⵏ ⴰⵎⵉⵔⵉⵛⴰⵉⵏ ⴰⵏ ⴾⴰⵍ ⴰⵏⴰⵍ, ⵙⴰⵛⴻⴻⵏ Lⵉⵜⵜⵍⴻⴼⴻⴰⵜⵂⴻⵔ, ⵓⵉ ⴰⵍⵙⴰⵏⴻⵏ ⵛⵓⵎⴱⵍⴻ ⴰⴱⴰⵛⴻ, ⴼⴰⵍ ⴰⵣⵉⵣⴶⵔⵉⵔⴰⵏ ⵜⵉⴷⵉⵜ ⵜⴰⵏ ⴰⵔⴰⵏⴷo, ⵜⴰ ⵓⴰⵏⴰⵏ ⵜⴰⵔⴷⴰ ⵉⴻ ⵜⴰⵙⴰⵓⵜ ⵜⴰⵏ ⴰⵎⴻⵔⵉⵛⴰⵜⴰⵏ ⴰⵏ ⴾⴰⵍ ⴰⴾⴰⵍ ⵉⵙ ⵂoⵍⵍⵉⵓooⴷ əⴷ ⵙⵉⵍⵎⴰⵜⴰⵏ. |
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. | ⵛⵓⵏⴷ ⵙⵉⵍⵎⴰⵜⴰⵏ ⵓⵉⵂⵉⵏ ⵓⴾⴰⵉⵏⴻⵏ, ⴱⵔⴰⵏⴷo ⵓⴶⴰⵉ ⴷⵉⵍⵎⴰⴷ ⵜⴻⵆⴰⵔⴻⵏⴻⵙ ⴷⴰⵗ ⵂⴰⵏⴷⴰⴶⴰⵏ ⴰⵋⵓⵏⴻⵏ ;ⵉⴾⵜⴰⴱ ⴷⴰⵗ ⴰⵍⴾⴰⴷⴰⵏ ⵉⵣⴰⵔ ⵉⴶⴻⵏ ⴷⴰⵗ ⴱⴰⵜⵎⴰ ⴼⴰⵔ ⴰⴷ ⴷⴰⴶⵔⵂⴰ ⵉⵎⴰⵏ ⵛⵉⴾ, ⵓⵉⴰⵏ ⵉⴻ ⴱⴻⵔⵜⵓⵍⵓⵛⵛⵉ ⴰⵙⴰⴼⴰⵔ ⵏⴰ ⵜⴰⵏ ⵜⴰⵜⴰⴼ ⴷⴰⵗ ⴰⴶⴰⵎⴰ ⵜⴻⵍⴻ. |
His gross participation deal earned him $3 million. | ⴰⵙⵓⴾⴰⵏⴻⵙ ⵓⴰ ⵏⵓⴶⵉⵛ ⵓⴰ ⵂⵉⵏ ⵓⴷⴰⵏⴰⵏ ⵉⴾⴰⵍ 3 ⵎⵉⵍⵍⵉⵓⵏⵙ ⴰⵏ ⴷⵓⵍⵍⴰⵔ. |
"Pauline Kael, in The New Yorker review, wrote ""The movie breakthrough has finally come." | "ⴱⴰⵓⵍⵉⵏⴻ ⵆⴰⴻⵍ, ⴷⴰⵗ ⵜⵉⵣⵎⵉⵜⴻⵏ ⵜⴰⵏ ⵏⴻⵓ ⵗⵓⵔⴾⴻⵔ, ⴰⴾⵜⴰⴱ : "ⴰⵙ ⴰⵎⵉⵔ ⵏⴰⴶⵉⵜⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⴰⵓⴰⴷⵉⴷ ⴷⴰⵗ ⵙⴰⵎⴰⵏⴷo." |
In 1973, Brando was devastated by the death of his childhood best friend Wally Cox. | ⴷⴰⵗ 1973, ⴱⵔⴰⵏⴷo ⵜⴰⵙⵉⵏⴰⵏⵜⵉ ⵜⴰⵎⴰⵜⴰⵏⵜ ⵏⴰⵎⵉⴷⵉⴱⴻⵙ ⵓⵍⴰⵆ ⴷⴰⵗ ⵜⴰⵎⴰⴷⵔⵉⵜ ⵓⴰⵍⵍⵉ ⵛoⵆ. |
Absent for the first hour of the movie, Clayton enters on horseback, dangling upside down, caparisoned in white buckskin, Littlefeather-style. | ⵓⴰⵔⴷⵓⵙⴰ ⴷⴰⵗ ⵂⴻⵓⵔⴻ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ, ⵛⵍⴰⵉⵜⵓⵏ ⵉⴶⴰⵛ ⴷⴰⴱⴰⵋⴻ, ⴰⵜⵉⵓⵍⵉⴶⵉⵍⵉⵜ ⴻⵆⴰⴼⵉⵏⴻⵙ ⵙⵉⴷⴻⵔ, ⴻⵍⴰⴾⴻⴼ ⵏⴰⵍⴰⵎ ⴷⴰⵗ ⵜⴰⵎⴰⵍⴻ, ⵉⴶⴰ ⵍⵉⵜⵜⵍⴻⴼⴻⴰⵜⵂⴻⵔ. |
"Penn, who believed in letting actors do their thing, indulged Marlon all the way.""" | "ⴱⴻⵏⵏ, ⵓⴰ ⴰⵆⴻⵍⴰⵏ ⴰⵙ ⴰⵔⴰⵉⵓⵓ ⵉⵎⴰⴾⴰⵏⴰⵏ ⵉⴶⵉⵏ ⴰⵓⴰ ⵂⴰⵔⵂⴰⵏ, ⴰⵙⵉⴾⵏⴰ ⵜⴰⵔⵆⵉⵙⴻⵏⴻⵙ ⵉⴻ ⵎⴰⵔⵍⵓⵏ ⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔ ⵙⴰⵎⴰⵏⴷo."" |
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. | ⴷⴰⵗ 1978, ⴱⵔⴰⵏⴷo ⵉⴶⴰ ⵜⴰⴼⵓⵙⵜ ⴷⴰⵗ ⴰⵏⴶⵍⴰⵉⵙ ⵜⴰⵏ ⵔⴰⵓⵏⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰ ⵜⴰⴾⵜⴰⴱⴰⵜ ⴼⵔⴰⵏⵛo-ⴱⴻⵍⴶⴻ ⵉⴶⴰ ⵋⴻⴰⵏ-ⴱⵉⴻⵔⵔⴻ ⴰⴷ ⵍⵓⵉ ⵛⴰⵔⵍⵓⵙ ⵙⴰⵍⴷⴰⵏⵂⴰ ⵓⴰ ⵓⵆⴰⵙⴰⵏ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻ ⴰⵏ ⵔⴰⵓⵏⵉ ⵎⴻⵜⵓⴾⵜⵉⵔⴻ ⴰⴷ ⴰⵙⵉⵙⵜⴰⵏ ⵓⴰⵏ ⵜⴰⵎⵓⴷⵔⴻ ⴰⵏ ⵜⵉⵣⵓⵏⴰⵓⴻⵏ ⴰⵏ ⵉⵏⴷⵉⴻⵏⵜⴰⵏ ⴰⵏ ⴾⴰⵍ ⴰⴾⴰⵍ ⴷⴰⵗ ⴰⵎⴰⵙ ⴰⵏ ⴰⵓⵣⴰ ⵓⴰⵏ ⴱⵔⵉⵙⵉⵍ. |
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. | ⴷⴰⵗ 1979, ⴰⵙoⵂⴰⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⴷⴰⵗ ⵎⵉⵏⵉ-ⵙⵉⵔⵉⴻ ⵔⵓⵜⵙ : ⵟⵂⴻ ⵏⴻⵆⵜ ⵗⴻⵏⴻⵔⴰⵜⵉⵓⵏⵙ, ⴷⴰⵗ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵗⴻⵓⵔⴶⴻ ⵍⵉⵏⵛⵓⵍⵏ ⵔⵓⵛⴾⵓⴻⵍⵍ ; ⵉⴶⵔⴰⵓ ⴱⵔⵉⵎⴻⵜⵉⵎⴻ ⴻⵎⵎⵉ ⴰⵓⴰⵔⴷ ⵓⴰⵜⴰⵏ ⵓⴼⴰⵏ ⵏⴰⵛⵉⵆⵉⵍ ⵓⴰ ⵙⵉⵙⵉⵏ ⴷⴰⵗ ⵎⵉⵏⵉ-ⵙⵉⵔⵉⴻ ⵎⴻⵆ ⵙⵉⵍⵎⴰ ⴰⵙⴰⵂⴰⵜ ⴰⵏⴻⵙ. |
Brando was paid $1 million a week for 3 weeks work. | ⴱⵔⴰⵏⴷⵓ ⵉⵣⴰⵣⴰⵍ 1 ⵎⵉⵍⵍⵉⵓⵏ ⴷⴻ ⴷⵓⵍⵍⴰⵔⵙ ⴷⴰⵗ ⵉⵙⴰ ⵂⴰⴷⴰⵏ ⵉⴻ 3 ⵏⵓⴶⴰⵉ ⵏⴰⵂⴰⴷ ⴰⴷ ⴷⵉⵉⴰⵏ ⵏⴰⵛⵉⵆⵉⵍ . |
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. | ⴷⴰⵗ ⴰⴾⴰⵜⴰⴱ, ⵛⵓⴱⴱⵓⵍⴰ ⵉⵜⴰⵍⴰⵆⴰⵜ ⵜⴰⵔⵉⵎⴻⵆ ⵏⴰⵂⴰⵏⴰⵉ ⴰⵏ ⴱⵔⴰⵏⴷⵓ ⵎⴰⵈⴰⵔⴰⵏ ⵉⴶⴰⵛⴰⵏⵉⴷ ⴱⴰⵜⵎⴰ ⴰⴷ, ⴰⴼⵔⴰⵉ ⴰⵙ ⵓⴰⵔⴰⵙⴰⴾⵏⴰ, ⵉⵏⴰ ⴰⵔⵉⵙⵓⵎⵓⵜⵉⵉ ⵆⵓⵔⵜⵣ, ⵓⴰ ⴻⵈⴰⵍⴰⵏ ⴰⵙⵉⴷⵉⴷⴰⵏ ⴷⴰⵗ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰⵏ ⵜⵉⴷⵉⵜ, ⵙⵓⵏⴷ ⴰⵂⴰⵍⵉⵙ ⵉⴼⴰⵏ ⵉⵎⴰⵏⴻⵙ ⵉⴻ ⵜⴰⵎⴰⵛⴰⵆⴰⵍⴻⵏⴻⵙ |
However, he returned in 1989 in A Dry White Season, based on André Brink's 1979 anti-apartheid novel. | ⴰⴶⵓⴷⴻⵏⴷⴰⵗ , ⵉⵓⴰⵍⵉⴷ ⴷⴰⵗ 1989 ⴷⴰⵗ ⴰⵍⵓⴰⵈ ⴰⴷⵓⴰⵜ ⵜⵉⵍⴰ ⵂⴰⵔⴰⵜ ⴰⴷ ⴷⴰⴶⵓⵔ, ⵜⵉⴶⴰⵜ ⴼⴰⵏ ⴰⵍⴾⵉⵜⴰⴱ ⴰⵏⵜⵉ-ⴰⴱⴰⵔⵜⵂⴻⵉⴷ ⵓⴰⵏ ⴰⵉⴱⵔⵉ ⴱⵔⵉⵏⴾ ⵓⴰⵏ 1979. |
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. | ⴱⵔⴰⵏⴷⵓ ⵉⴶⵔⴰⵓ ⵜⴰⵎⵎⴰⵍⴻⵏ ⴰⵏ ⴰⵙⴰⵂⴰⵜ ⴰⵏⴻⵙ, ⵉⴶⵔⴰⵓ ⴷⴰⵓⵍⴰ ⴷⴰⵗ ⵓⵙⴾⴰⵔ ⵓⴰ ⵓⴼⴰⵏ ⴷⴰⵗ ⵓⴰⵙⴰⵙⴰⵏ ⴰⵛⴰⵆⵉⵍ ⴰⴷ ⵉⴶⵔⴰⵓ ⴰⵍⵂⴰⴾ ⴰⵏ ⵓⴰ oⴼⴰⵏ ⴷⴰⵗ ⵎⴰⴶⴰⵜⴰⵏ ⵓⴰⵏ ⴼⴻⵙⵜⵉⴱⴰⵍ ⵜⴰⵏ ⵙⵉⵍⵎⴰ ⵓⴰⵏ ⵟoⴾⵉo. |
"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.""" | "ⴱⴰⵔⵉⴻⵜⵉ ⴰⵏⵜⴰⴷⴰⵗ ⵉⴶⴰ ⵜⴰⵎⵎⴰⵍ ⵏⴰⵛⵉⵆⵉⵍ ⵓⴰⵏ ⴱⵔⴰⵏⴷo ⴷⴰⵗ ⴰⵛəⵆⵉⵍ ⵓⴰⵏ ⵙⴰⴱⴰⵜⵉⵏⵉ ⴰⴷ ⵉⴾⵜⴰⴱ : ""ⵟⵉⵂⵓⵙⴰⵉ ⵏⴰⵛⵉⵆⵉⵍ ⴰⵏ ⵙⵉⵙⵜⴰ ⵓⴰⵏ ⵎⴰⵔⵍⵓⵏ ⴱⵔⴰⵏⴷo ⴻⵎⴰⵆⴰⵔ ⵟⵂⴻ ⴼⵔⴻⵙⵂⵎⴰⵏ ⴷⴰⵗ ⵍⴰⵉ ⵓⴰⵏ ⵙⵉⵙⵜⴰ ⵙⵛⵔⴻⵓⴱⴰⵍⵍ ⵉⴻ ⴻⴷⴰⴶ ⵓⴰ ⵏⴰⵎⴰⵙ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰⵏ ⵛⵉⵏⵉⵎⴰ.""" |
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. | ⴻⵎⴰⴶ ⵓⴰⵏ ⵉⵍⴻ ⵏⴰⵎⵓⵙⴰⵏ ⵎⵓⵔⴻⴰⵓ, ⵔⵓⵏ ⵂⵓⵜⵛⵉⵏⵙoⵏ, ⵉⵏⴰ ⴰⴶⵓⴷⵉⵉⴰⵏ ⴷⴰⵗ ⵉⵏⵉⵉⴰⵜ ⴰⵏⴻⵙ, ⵛⵍⵉⵏⴶⵉⵏⴶ ⵜo ⵜⵂⴻ Iⵛⴻⴱⴻⵔⴶ : ⵓⵔⵉⵜⵉⵏⴶ ⴼⵓⵔ ⴰ ⵍⵉⴱⵉⵏⴶ ⵓⵏ ⵜⵂⴻ ⵙⵜⴰⴶⴻ ⴰⵏⴷ ⵉⵏ ⵂⵓⵍⵍⵉⵓⴷ ( 2017), ⴰⵙ ⴱⵔⴰⵏⴷⵓ ⴻⵆⵛⴰⴷ ⵉⴶⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⴷⴰⵗ ⴰⵜⴾⵉⵔ ⴰⴷ ⵓⴶⴰⵉ ⴷⴻⵔⵜⴰⵉ ⴰⵏ ⵎⵉⴷⴰⵓⴰⵏⴻⵙ ⴰⴷ ⴰⵍⵋⴰⵎⴰⵆⴰⵜ ⵜⴰⵏ ⵉⴶⵉ. |
This was his last role and his only role as a female character. | ⴻⵈⴰⵍ ⴰⵛⴰⵆⵉⵍ ⴰⵏⴻⵙ ⵓⴰ ⵙⴰⵎⴰⵏⴷⵓ ⴰⴷ ⴰⵛⴰⵆⵉⵍ ⵉⵉⴰⴷⴰⵗ ⵓⴰ ⴷⴻⴷⴻⵏ. |
"The actor's son, Miko, was Jackson's bodyguard and assistant for several years, and was a friend of the singer. """ | "ⴰⵔⴰ ⵓⴰ ⵓⴰⵜⴰⴶⴰⵏ, ⵎⵉⴾo, ⴻⵈⴰⵍ ⴰⵎⴰⴶⴰⵣ ⴰⴷ ⴻⵎⴰⵋⴻⵉⵂⵉ ⵓⴰⵏ ⵋⴰⵛⴾⵙⵓⵏ ⴷⴰⵗ ⵓⵉⵜⵉⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ, ⴰⴷ ⴻⵈⴰⵍ ⴰⵎⵉⵙ ⵏⴰⵎⴰⵣⵣⴰⵔ.""" |
Dad had a hard time breathing in his final days, and he was on oxygen much of the time. | ⵟⵉⵙ ⴰⵏⴷⴰⵔⴰⵙ ⵓⴼⴰⵙ ⴷⴰⵗ ⵂⴰⴷⴰⵏⴻⵙ ⵓⵉⵍⴾⴰⵎⵏⴻⵏ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻⵏⴻⵙ, ⴰⴷ ⵂⴰⵏⵜⵉ ⴷⴰⵛⵓⵔⵜⴰⵏ ⵏⵓⴼⴰⵙ ⴷⴰⵗ ⴰⴶⵓⴷ ⵙⴰ ⵙⴰⴶⵓⴷ. |
So Michael got Dad a golf cart with a portable oxygen tank so he could go around and enjoy Neverland. | ⴻⴰⵗ ⴰⵙⵓⵂⵓⵛⵉⵍ ⴼⴰⵍ ⴰⴷⵉⵈⵉⵍⴰⵏ ⴰⴶⴰⵔⴰⵏ ⴰⵙⵓⵂⵓ, ⵛⴰⵏⵓⵏⵜⴰⵏ ⴷⴰⵈⴰⵍⴰⵏ ⵓⵉ ⵓⴶⴰⵔⵏⴻⵏ ⴷⴰⴾ ⵜⴰⵎⵆⵉⵔⴻ ⴰⵂⵓⵙⴾⴰⵜ ⴰⵙ ⴰⵓⴻⵏ ⵉⴶⴰⵍ ⵉⴻ ⴰⵙⴰⵂⴰⵜ ⵏⴰⵙⴰⵏ ⴼⴰⵍ ⴰⵔⴰⵓⵉⴷⴰⵏ ⴻⵏⵓⵓⴰⵏ ⵓⵉ ⵓⴶⵉⴶⵏⴻⵏ |
He also suffered from diabetes and liver cancer. | ⵜⴰⵙⵉⵎⴰⵏⴾⴰⵜⵉ ⴰⵏⵜⴰ ⴷⴰⵗ ⴷⵉⴰⴱⵉⵜⴻ ⴰⴷ ⵛⴰⵏⵛⴻⵔ ⵜⴰⵏ ⵓⵍⵂ. |
His single recorded line was included within the final game as a tribute to the actor. | ⴰⴷⴰⴱⴰⵔⴰ ⴰⴷⵓⴱⴻⵏ ⵜⴻⵏⴰⵆⴻ ⵏⴻⵎ ⴰⵏ ⵜⴰⵙⴰⵆⵍⵉⵜ ⴰⴷ ⴷⴰⴷⴰⴾⴰⵔ ⴰⵏ ⵜⵉⵣⵓⵏⴻ ⵜⴰⵏ ⵉⴷⴻⵔ ⴷⴰⵔ ⴶⵔⴰⴱⴰⵜⴰⵏ ⴹⴰⵍ ⵙⴰⵎⴰⵏⴷo ⵏⵉⴶⵉ ⵏⴰⴷⴰⴶ ⵉⵓⵔ ⴾⴰⵏoⵏⵜⴰⵏ ⴰⴷⵓⴱⴻⵏ ⴻⵓⴻⵜ. |