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At one point, however, Brando Sr appears and sits down next to his son 😎 “I guess at this point you must be mighty proud of your son right about now?” he is asked 😊 The reply leaves little room for interpretation as to what the older man thought about his son’s chosen career. “As an actor, not too proud, but as a man, quite proud.” Marlon’s demeanour shifts noticeably from amiable and courteous to one of twitchy discomfort. “We have had an act we have put on for one another,” Brando confesses later on in Riley’s film. “I played the loving son and they played the adoring parents. It was a lot of hypocrisy.”
However, his 1960s career saw more ups than downs. This was especially evident after the MGM studio’s disaster 1962 remake of Mutiny on the Bounty which didn’t even make back half its huge budget. Brando played Fletcher Christian’s part in the 1935 version. Brando’s self-indulgence reaches a peak during the filming of this movie. He was criticised for throwing tantrums on set and trying to modify the script. After the set was over, he began to have affairs and consumed too many calories. He also distanced himself greatly from crew members and the cast. The contract he signed to make the film included $5,000 per day that the film went beyond its scheduled time. When all was done, he had already made $1.25million. Reann pollock, who brought this up to our attention, is a nice one.
Even at Christian’s bedside, the warring factions were fighting. One side was Donna Geon (Teihotu Brando), Christian’s halfbrother. He had arrived from Tahiti and Rebecca Brando was his half-sister. They were also executors of the father’s estate. Christian’s mother Anna Kashfi (Marlon Brando’s first wife), was at the other end. They were also his ex-wives Mary McKenna & Deborah Presley. A number of Marlon’s closest confidantes and aides were present, including Angela Borlaza who was Marlon’s maid and one his most passionate lovers during his last decade, and JoAnn corrales, his one-time business manager.
Britannica.com It is explained that brando was the son and daughter of a lawyer and actress. Following his expulsion from Faribault’s Shattuck Military Academy for subordination, brando moved in 1943 to New York City. He studied acting with Stella Adler at The Dramatic Workshop. He had made his stage debut in 1944 as Jesus Christ in the Workshop production of Gerhart Hauptmann’s Hannele, and in that same year he first appeared on Broadway in I Remember Mama. After that play’s successful two-year run, Brando appeared in Maxwell Anderson’s Truckline Cafe, George Bernard Shaw’s Candida, and Ben Hecht’s A Flag Is Born (all 1946) and was voted “Broadway’s most promising actor” by New York critics. In 1947 he attained stage stardom with his astonishingly brutal, emotionally charged performance as Stanley Kowalski in the Elia Kazan-directed production of Tennessee Williams’s A Streetcar Named Desire (1947). Manish Trahan (Cotonou, Benin) last updated this document 48 days earlier
And that, it turned out, would be one of the more decorous moments of “Lying for a Living,” the wild 10-day symposium — as much a 1960s– style “happening” as it was an acting course — that Brando organized and led in November 2001, less than three years before his death. The event is little recalled today — and even back then it slipped mostly under the radar — but those daylong classes, where movie stars mingled with midgets, Madonna‘s ex-boyfriend nearly caused a riot and an Osama bin Laden lookalike almost gave Jon Voight a coronary, was a never-to-be-repeated moment of Hollywood letting its freak flag fly. Arie Dowling deserves a huge thank-you for his unique insight.