MARLON BRANDO, ROBERT REDFORD & ROBERT DUVALL 'THE CHASE'

<p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ2S1R9c0adhBwlPqAXtfNCbQebk3kXQ2OypuoC2cwhnDJ3T_40lmVyuZDjWn1Ii9tBcVCqZW26NyyuBHPDnxlRBpNiwFoBRubuhCMKQOi4327IdF9ZbX6fArpcm2zfYBMyPwx0DzsiIRBm-DAeP1ClYHAuPxp4tOOCES4csBOchyphenhyphenYcqISo1JkTyxkr014/s1116/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="744" data-original-width="1116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ2S1R9c0adhBwlPqAXtfNCbQebk3kXQ2OypuoC2cwhnDJ3T_40lmVyuZDjWn1Ii9tBcVCqZW26NyyuBHPDnxlRBpNiwFoBRubuhCMKQOi4327IdF9ZbX6fArpcm2zfYBMyPwx0DzsiIRBm-DAeP1ClYHAuPxp4tOOCES4csBOchyphenhyphenYcqISo1JkTyxkr014/s16000/1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando in THE CHASE Year: 1966 Rating: **</u></td></tr></tbody></table><p>Whether deliberate or coincidental, director Arthur Penn attempts what Richard Fleischer pulled off a decade earlier for <a href="http://www.cultfilmfreaks.com/2022/01/VS-take2.html">VIOLENT SATURDAY</a>, combining subtle yet eventually vicious bank robbers within a comparably predictably-conservative small town bustling with the kind of soapy Douglas Sirk-style soap-operatic characters, ironically displaying behavior as flawed as the antagonists... <br></p><p></p><p></p><p></p><p></p><p></p><p></p><p>But it doesn't work here because the Robert Redford character... the town's former bad boy/escaped convict on the run in that titular CHASE that never really happens... isn't shown enough to counter within the gossiping town anticipating his return, where mumbling sheriff Marlon Brando seems to passively watch the fancy rich folk as if he were part of the movie's audience... </p><p><span></span></p>

angie dickinson, arthur penn, drama, e.g. marshall, ensemble, james fox, janice rule, katherine walsh, marlon brando, robert redford, sixties

MARLON BRANDO, ROBERT REDFORD & ROBERT DUVALL 'THE CHASE'

Marlon Brando in THE CHASE Year: 1966 Rating: ** Whether deliberate or coincidental, director Arthur Penn attempts what Richard Fleischer pu...

MARLON BRANDO & VAL KILMER RUIN 'THE ISLAND OF DR. MOREAU'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcpkoBSsUNliEi-EKOlUGI5kMxQSZdYCRnnU5XByWA3e_K_Gj7YSOQalshkw41o-6CJ8iQpu5jK3RCGpCbg-UJYY8RyQjkdS6YsMnKnbUAIvmZr7ND2IKcRNuDMxCtw0N66-tVh46AcTtt7h2pnh1bsy96uxXEsr2AA9NhbB1yN7700q2uflPUbuJwIfE/s1869/Screen%20Shot%202024-11-02%20at%2010.20.55%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="974" data-original-width="1869" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcpkoBSsUNliEi-EKOlUGI5kMxQSZdYCRnnU5XByWA3e_K_Gj7YSOQalshkw41o-6CJ8iQpu5jK3RCGpCbg-UJYY8RyQjkdS6YsMnKnbUAIvmZr7ND2IKcRNuDMxCtw0N66-tVh46AcTtt7h2pnh1bsy96uxXEsr2AA9NhbB1yN7700q2uflPUbuJwIfE/s16000/Screen%20Shot%202024-11-02%20at%2010.20.55%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Val Kilmer in THE ISLAND OF DR. MOREAU Year: 1996 Rating: **</u></td></tr></tbody></table><p>As the story goes, original director and screenwriter Richard Stanley was fired from THE ISLAND OF DR. MOREAU, replaced by veteran John Frankenheimer who, prone to making action movies, seems confused whether it's an aggressive PLANET OF THE APES creature-uprising prequel or the quirky sci-fi/horror that the quirky Richard Stanley probably intended...<br><br>What's really strange is that big-budget superstar Bruce Willis was going to star in <i>that</i> original arthouse horror... replaced with offbeat British actor David Thewlis, seeming more like he'd be Stanley's choice over Frankenheimer's, who would have been able to do a high-octane Bruce Willis flick with his aged-eyes closed... meanwhile the more ambiguous Thewlis allowed the strange story to unfold before his vulnerable eyes as opposed to Willis (or Rob Morrow even), who would probably seem far above and beyond the situation... Thewis is there for the audience <i>and</i> the story... <br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><span></span>

creature, horror, john frankenheimer, marlon brando, nineties, science-fiction, val kilmer

MARLON BRANDO & VAL KILMER RUIN 'THE ISLAND OF DR. MOREAU'

Val Kilmer in THE ISLAND OF DR. MOREAU Year: 1996 Rating: ** As the story goes, original director and screenwriter Richard Stanley was fired...

MARLON BRANDO IN MICHAEL WINNER'S 'THE NIGHTCOMERS'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1FDaSRB-PKGh9Nl0WYWnBOQ6tLniqqNG11RR6QE5OTCawm6-hzVEh7G8E_NReyx54Gz3oOb6XPdmX7b0sFWjds9uEx0kTuDT9fvxrXaDKazOvo4eBJRRjC71Veu8_YSnIrS9VRCFkkipmFxn5E0Y8SqmVl-y3fBmsbnsgnppdcHPyOcnbohaUKf963py/s1924/Screen%20Shot%202024-01-24%20at%209.38.35%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1124" data-original-width="1924" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ1FDaSRB-PKGh9Nl0WYWnBOQ6tLniqqNG11RR6QE5OTCawm6-hzVEh7G8E_NReyx54Gz3oOb6XPdmX7b0sFWjds9uEx0kTuDT9fvxrXaDKazOvo4eBJRRjC71Veu8_YSnIrS9VRCFkkipmFxn5E0Y8SqmVl-y3fBmsbnsgnppdcHPyOcnbohaUKf963py/s16000/Screen%20Shot%202024-01-24%20at%209.38.35%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE NIGHTCOMERS Director: Michael Winner Year: 1971 Rating: ***</u></td></tr></tbody></table><p>Marlon Brando's THE GODFATHER comeback was more of a legacy accreditation for an entire career, blending with the STREETCAR NAMED DESIRE and ON THE WATERFRONT roles as if all the forgettable films in-between didn't exist; and here's another that (although better than most at that time) perhaps he could have avoided... <br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Strangely enough, the title NIGHTCOMERS fits the adaptation of Henry James's enigmatic supernatural short story TURN OF THE SCREW ala 1961's THE INNOCENTS as two ghosts (our lovers here, when alive) arrive/come at night, appearing before the same children along with their caretaker: the latter arriving at the tail-end, connected to the famous predecessor... but was the Henry James tale relevant enough for an entire prequel/backstory? </p><span></span>

anna palk, christopher ellis, gothic, harry andrews, henry james, horror, marlon brando, michael winner, prequel, seventies, stephanie beacham, thriller, verna harvey

MARLON BRANDO IN MICHAEL WINNER'S 'THE NIGHTCOMERS'

Title: THE NIGHTCOMERS Director: Michael Winner Year: 1971 Rating: *** Marlon Brando's THE GODFATHER comeback was more of a legacy accre...

MARLON BRANDO INVADES 'THE NIGHT OF THE FOLLOWING DAY'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYz3-V8gOl8aW_N-3G3CEI4cplBiXx1y8xNaLeI9zNefFeRttq7sBssofE_XdqW0g4PF0AbpFG9vFGwJuXrI8cjZEIxYbMV9KM-6vz5ZH8ibT_w4M2S-ADshzPtDKg2lSL0CajL7wKR_BTn8lU9GEEMMoXp1NWjH2_n-9RHMKUH8aMa2vhqSdRdavDnBHQ/s2004/Screen%20Shot%202026-04-03%20at%207.45.39%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1074" data-original-width="2004" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYz3-V8gOl8aW_N-3G3CEI4cplBiXx1y8xNaLeI9zNefFeRttq7sBssofE_XdqW0g4PF0AbpFG9vFGwJuXrI8cjZEIxYbMV9KM-6vz5ZH8ibT_w4M2S-ADshzPtDKg2lSL0CajL7wKR_BTn8lU9GEEMMoXp1NWjH2_n-9RHMKUH8aMa2vhqSdRdavDnBHQ/s16000/Screen%20Shot%202026-04-03%20at%207.45.39%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando in The Night of the Following Day 1969 Rating: ***1/2</u></td></tr></tbody></table><p>There are two things that <i>must be </i>intentional about THE NIGHT OF THE FOLLOWING DAY: One is fortyish Marlon Brando was proving to <i>still </i>be fit and great looking (and he did); the other is this kidnap-thriller's not one bit thrilling, and director Hubert Cornfield deliberately made a character-driven film more about edgy criminals than the edgy situation they're involved in... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>And kidnapped Pamela Franklin is hardly shown, especially once inside the main location, a French beach house where even a literally fishing cop — flirting with Brando's junky girlfriend (and the passive leader's sister) Rita Moreno — doesn't  evoke suspense...</p><p><span></span></p>

al lettieri, hubert cornfield, jazz score, jess hahn, kidnapping, marlon brando, neo noir, pamela franklin, richard boone, rita moreno, sixties, suspense, thriller

MARLON BRANDO INVADES 'THE NIGHT OF THE FOLLOWING DAY'

Marlon Brando in The Night of the Following Day 1969 Rating: ***1/2 There are two things that must be intentional about THE NIGHT OF THE FOL...

BRANDO AND BRYNNER IN THE WARTIME THRILLER OF 'MORITURI'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyffmQQszDaOIXPSlcDE4g0lg8_ZXatUwhLJeMztXVu3UT45_TObooET7yNsrBJu9U8uNb6E3TP_kMC9Lw26FMXJZ7fjeR5_CES32ArHuwWSMIri5-A_DtCdvrZ5DlvFHKsPB6hvV2X-pbuggf_n8fW7EFzIXhqr-DSMFuZ1C74FZ3cnLn6-1Ps_wWWVIv/s2008/Screen%20Shot%202023-12-21%20at%2010.11.59%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="930" data-original-width="2008" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyffmQQszDaOIXPSlcDE4g0lg8_ZXatUwhLJeMztXVu3UT45_TObooET7yNsrBJu9U8uNb6E3TP_kMC9Lw26FMXJZ7fjeR5_CES32ArHuwWSMIri5-A_DtCdvrZ5DlvFHKsPB6hvV2X-pbuggf_n8fW7EFzIXhqr-DSMFuZ1C74FZ3cnLn6-1Ps_wWWVIv/s16000/Screen%20Shot%202023-12-21%20at%2010.11.59%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando and Yul Brynner in MORITURI Year: 1965 Grade: B— upon a **1/2 star rating</u></td></tr></tbody></table><p>During Marlon Brando's lost decade — of box office and critical failures in-between ONE-EYED JACKS and THE GODFATHER — he played the unlikeliest of World War II-movie heroes in MORITURI... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Which is where Brando's Robert Crain begins... in an expository mission-setup sequence with Trevor Howard, who finds Marlon's pacifist German character hiding out in India before thrusting him into the complicated task...</p><p><span></span></p>

espionage, hans christian blech, janet margolin, marlon brando, nazi, sixties, thriller, trevor howard, william redfield, world war II, yul brynner

BRANDO AND BRYNNER IN THE WARTIME THRILLER OF 'MORITURI'

Marlon Brando and Yul Brynner in MORITURI Year: 1965 Grade: B— upon a **1/2 star rating During Marlon Brando's lost decade — of box offi...

MARLON BRANDO AND GEORGE C. SCOTT IN 'THE FORMULA'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeP6Bh09OdkoVp6dDFRTV0rIKpqZcix5Qf5s7uvM8-nq6cTDsDV6xDAjyayIkV3cKmCGBE-eeFeKiLFuDIin8SxAQ0lKo75yhgPlvIPjdBpzIEdwLyYsAraBHgTTn5Ic41KD40dJYtiD2NCpwwnahTruy8S-hIXh-2lrYev8a1z8mMFjCo7fQa9uzg3A/s1695/Screen%20Shot%202022-08-14%20at%205.35.14%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1039" data-original-width="1695" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeP6Bh09OdkoVp6dDFRTV0rIKpqZcix5Qf5s7uvM8-nq6cTDsDV6xDAjyayIkV3cKmCGBE-eeFeKiLFuDIin8SxAQ0lKo75yhgPlvIPjdBpzIEdwLyYsAraBHgTTn5Ic41KD40dJYtiD2NCpwwnahTruy8S-hIXh-2lrYev8a1z8mMFjCo7fQa9uzg3A/s16000/Screen%20Shot%202022-08-14%20at%205.35.14%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE FORMULA Year: 1980 Rating: **</u></td></tr></tbody></table><p>Most cult films start out generally unknown and unsuccessful till gaining a dedicated following but John G. Avildsen's THE FORMULA has a different kind of lasting legacy in the mere potential of casting two eccentric Oscar-winners who turned-down their statues: George C. Scott from PATTON and Marlon Brando from THE GODFATHER...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Unfortunately both temperamental, infamously difficult icons aren't in the picture together for very long... Brando's big oil tycoon character is anticipated throughout the first act after Scott's detective partner's murder leads him into a rudimentary neo noir cat-and-mouse involving last names and tons of enigmatic exposition...</p><p><span></span></p>

calvin jung, eighties, g.d. spradlin, george c. scott, john g. avildsen, marlon brando, mathe keller, mystery, neo noir, richard lynch, thriller

MARLON BRANDO AND GEORGE C. SCOTT IN 'THE FORMULA'

Title: THE FORMULA Year: 1980 Rating: ** Most cult films start out generally unknown and unsuccessful till gaining a dedicated following but...

CHARLES CHAPLIN ENDS WITH 'A COUNTESS FROM HONG KONG'

<span face=""verdana" , sans-serif"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQsaadfERFQTEXbJD3whf7xsL9DWIZd5ZXBMEE43NkvkuX95_Wjb7wQGTEkCcoV_BLYYdiFAe2nhFAtEkbwJ6QUF0_FDM-ysprDTVrpsUcoZ8AgRCuRg-T5OROUtYrqZAR6lov5YJnJZ5_HHOvAhGDbQ4U-Ciq-ZiwxQzsuvf3P-e9xtH8yRaVKvZ7V9e/s400/1.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="325" data-original-width="400" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQsaadfERFQTEXbJD3whf7xsL9DWIZd5ZXBMEE43NkvkuX95_Wjb7wQGTEkCcoV_BLYYdiFAe2nhFAtEkbwJ6QUF0_FDM-ysprDTVrpsUcoZ8AgRCuRg-T5OROUtYrqZAR6lov5YJnJZ5_HHOvAhGDbQ4U-Ciq-ZiwxQzsuvf3P-e9xtH8yRaVKvZ7V9e/w400-h325/1.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""verdana" , sans-serif"><u>A COUNTESS FROM HONG KONG Year: 1967</u></span></td></tr></tbody></table>By the late sixties, Charlie Chaplin and Marlon Brando were both iconic performers known for their topnotch skills: The first a physical comic and the latter extremely dramatic... </span><br> <span face=""verdana" , sans-serif"><br></span><span face=""verdana" , sans-serif">So when Brando tries for slapstick comedy in Chaplin's final directorial effort, A COUNTESS FROM HONG KONG, it's one of the most dramatically awkward and totally ill-suited performances ever... by anyone, perhaps. But it's mostly Chaplin's fault. Having once told Orson Welles that he needn't move the camera using creative angles because his antics made up for it, he should have realized that wasn't the case with Brando and/or Sophia Loren; the latter our titular stowaway on a ship holding the multi-millionaire oilman/ambassador "captive" in his cabin while on the verge of gaining importance in politics, or something like that... </span><br>

angela scoular, carol cleveland, charles chaplin, geraldine chaplin, marlon brando, patrick cargill, romantic comedy, sixties, sophia loren, sydney chaplin, tippi hendren

CHARLES CHAPLIN ENDS WITH 'A COUNTESS FROM HONG KONG'

A COUNTESS FROM HONG KONG Year: 1967 By the late sixties, Charlie Chaplin and Marlon Brando were both iconic performers known for their top...

MARLON BRANDO IN HIS BROODING WESTERN 'ONE-EYED JACKS'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixH2M1klt7RxWbsq4CaOlBYFl9xysDxzjRqxfunRIXEZmjzLLxxPNN19y29nxWxZS1OPV00NOJ3-BnpJDRlmz5OB1ikPWRZwkCLp9k8oVh2i-7ZKs9RSTK37PibcUi72uJeSmf94JZu5mv/s1600/69870789_775810796181432_3529528661277409280_n.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="503" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixH2M1klt7RxWbsq4CaOlBYFl9xysDxzjRqxfunRIXEZmjzLLxxPNN19y29nxWxZS1OPV00NOJ3-BnpJDRlmz5OB1ikPWRZwkCLp9k8oVh2i-7ZKs9RSTK37PibcUi72uJeSmf94JZu5mv/s400/69870789_775810796181432_3529528661277409280_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando aims at Timothy Carey in ONE-EYED JACKS</u></td></tr> </tbody></table> There's an obscure, now forgotten cult of Marlon Brando fans, or Western fans, or both, who found a copy of ONE-EYED JACKS in any drugstore's bargain basement (actually two copies with different covers); and before the incredibly remastered Criterion Blu Ray, we lived on this overlong mess of a wonderfully-flawed epic that's only problem was being an epic in the first place...<br> <br> And anyone who believes there's a five-hour version that director/star Marlon Brando intended for a theatrical audience, must be crazy. Not even a David Lean historical drama is three-hours for a Western with a twenty minute revenge plot to actually take three hours longer. But all forms of creating art, from music to novels to film, start out as proverbial blocks sculpted down to an actual framework that works for an intended audience, and people seem to want that rumored big blocky mass instead of this two-hour plus tale that, although flawed, has its own slowburn precision and sporadic genius within...<br>

adventure, ben johnson, cult, elijah cook jr., karl malden, larry duran, marlon brando, miriam colon, sam gilman, sixties, slim pickens, timothy carey, western

MARLON BRANDO IN HIS BROODING WESTERN 'ONE-EYED JACKS'

Marlon Brando aims at Timothy Carey in ONE-EYED JACKS There's an obscure, now forgotten cult of Marlon Brando fans, or Western fans,...

BRANDO KAZAN CINEMA TWO: VIVA ZAPATA!

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUWXB7Qplx9qkRqR89PD19HKXc1Zx1uh6XowcPvPrBK2V2qGWrSYvsicCo9oFJWBLqrv2Y0TJQ_W883i608WcYrNuwC8QWIXEqTQYCKth8MssBMHOBFbrYU7-jEQG0LSBiGQrIhcor8oo/s1600/1.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUWXB7Qplx9qkRqR89PD19HKXc1Zx1uh6XowcPvPrBK2V2qGWrSYvsicCo9oFJWBLqrv2Y0TJQ_W883i608WcYrNuwC8QWIXEqTQYCKth8MssBMHOBFbrYU7-jEQG0LSBiGQrIhcor8oo/s400/1.jpg" width="302"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Third of Three Kazan/Brando films Year: 1952</u></td></tr> </tbody></table> Upon learning that David Lean originally wanted Marlon Brando in the role of LAWRENCE OF ARABIA, one feels the same, perhaps, as the thought of Warren Beatty playing Marlon's GODFATHER son instead of Pacino... but not as bad, because Marlon can, as most of all know, really transform into pretty much anyone...<br> <div> <br></div> <div> And if anything proves this fact it's VIVA ZAPATA!, Brando's second film with director Elia Kazan, who many classic movie fans shun and shudder upon simply hearing his name for the infamous naming of names, and it's too bad some otherwise smart folks refuse to watch any of Kazan's work because of his actions off-screen (yet the same people worship actor Sterling Hayden who named names too), because Kazan man had a way of bringing the Stage to the Screen, not just when channelling Tennessee Williams, which is a given, but in this mostly exterior action revolutionary tale, his camera locks onto a character and then, winding around and showing the next shot as it's coming, is how theater patron's eyes dart around the actors and their actions and reactions and verbal interplay, voices going from one direction to another upon the stage... It's difficult to explain but it's prominent in ZAPATA!, and for those who've blacklisted Elia from their wheelhouse of film-watching, you're not only missing out historically, but are simply not learning everything needed to capture the progression of 1950's cinema... While he was Benedict Arnold to a group of rich artists who, for some strange reason, thought a political system that wielded no artistic freedom to create motion pictures was the way to go, he was an Abe Lincoln to the art of Filmmaking, something America, despite all its flaws, was all about from the minute motion pictures (pictures with motion) were invented... So just GET OVER IT ALREADY!<br> </div>

elia kazan, fifties, marlon brando

BRANDO KAZAN CINEMA TWO: VIVA ZAPATA!

Third of Three Kazan/Brando films Year: 1952 Upon learning that David Lean originally wanted Marlon Brando in the role of LAWRENCE OF AR...

WAR NOIR IMPRESSION OF MARLON BRANDO IN 'THE YOUNG LIONS'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNCcQIfljdRpaddGOk6FS62VWwHIBt8DYd_6HnC4LnMMKNyfOyrX0rVP-REqnx0QYi-4EZCzOEA0AAWCJGiw305AjYrXiv_2DyujZxQ_GJdaGviB16PqgaNu_zwRiZI9EschOT9wGGCw/s1600/The_Young_Lions-623942047-large.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNCcQIfljdRpaddGOk6FS62VWwHIBt8DYd_6HnC4LnMMKNyfOyrX0rVP-REqnx0QYi-4EZCzOEA0AAWCJGiw305AjYrXiv_2DyujZxQ_GJdaGviB16PqgaNu_zwRiZI9EschOT9wGGCw/s400/The_Young_Lions-623942047-large.jpg" width="276" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Brando and Britt in The Young Lions from 1958</u><br /> </td></tr> </tbody></table> Director Edward Dmytryk's War Noir, THE YOUNG LIONS, based on a novel by Irwin Shaw, stars Montgomery Clift and Dean Martin as two polar opposite American soldiers, Jewish everyman Noah Ackerman and entertainer Michael Whitacre.<br /> <br /> One is brooding and bullied, the other aloof, smooth, reluctant and cool... Take a guess who's who. And on the flip-side of the coin are two Germans: One isn't bullied at all but very brooding, charming, handsome, and deadly when he has to be while the other is a full-blown Nazi, bringing to the table all that that name brings...<br /> <br /> <div style="text-align: left;"> </div> Marlon Brando and Maximilian Schell as German officers Lt. Christian Diestl and Capt. Hardenberg, contrary in that one fights because he has to while the other is having a glorious time in battle. Brando, as usual, is great to watch as he, using a brilliant, unique form of Broken English playing a German, wields his usual non-deliberate chops that don't seem like a performance, and unlike his roles in early Kazan features, Schell is pretty much caught up with his partner's style, almost equal in non-performance, only one has a much better role to play... Meanwhile, in America, the best scenes occur as Clift and Martin survive boot camp, but not under a screaming drill Sarge like in most war flicks.<br /> <br /> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1ZJAr9ExKst5QL0gH3fOilXEosWiE8gHlAeJsIIkEr6FHXbDsr331Uml5K-MnyXomlDMwAYUtw9fecpZzCeCDTH_p_uMQemSS4DsQTPTi9O4cpKqhgK8VraKdhjZJ2oYpuF6D4ohN-LS/s1600/the-young-lions-italian-movie-poster.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="799" data-original-width="474" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV1ZJAr9ExKst5QL0gH3fOilXEosWiE8gHlAeJsIIkEr6FHXbDsr331Uml5K-MnyXomlDMwAYUtw9fecpZzCeCDTH_p_uMQemSS4DsQTPTi9O4cpKqhgK8VraKdhjZJ2oYpuF6D4ohN-LS/s400/the-young-lions-italian-movie-poster.jpeg" width="236" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Movie Score: ****</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> It's the fellow officers who make Clift's Jewish Ackerman's life a living hell, and one of them is Lee Van Cleef, whose hawklike eyes would hypnotize the next decade's Sergio Leone Italian "Spaghetti Westerns". And while Clift fights to be able to eventually... fight, Dean Martin's Whitacre, about to get his wish to return to New York as an entertainer, not a soldier, lets his weak, skinny yet completely fearless friend take care of things himself...<br /> <br /> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJG9tiYC-7mzTE5pn4rWnCXcfghaT4Llnex5DBcsvEkNUX_FAdHe7cBA_QOYGbuo706xrkuZmOEMt5qzoa6-DQ50Lgf0mExdCaZkYEEyPTNcVOY1eagNypsBl5wVjLO_RGY4yh_uSxfhZN/s1600/Screen+Shot+2020-06-07+at+2.53.41+AM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1104" data-original-width="1064" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJG9tiYC-7mzTE5pn4rWnCXcfghaT4Llnex5DBcsvEkNUX_FAdHe7cBA_QOYGbuo706xrkuZmOEMt5qzoa6-DQ50Lgf0mExdCaZkYEEyPTNcVOY1eagNypsBl5wVjLO_RGY4yh_uSxfhZN/s320/Screen+Shot+2020-06-07+at+2.53.41+AM.jpeg" width="308" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando in The Young Lions</u></td></tr> </tbody></table> As "Monty" does in wonderful scenes that, concerning both men, literally stride hand-in-hand with girlfriends that don't distract from the masculine mainline...<br /> <br /> And while Hope Lange, pretty and vulnerable, belonging to Clift but with a reluctant, old-fashioned father (a miscast Vaughn Taylor straight out of a Norman Rockwell painting), does an okay job as the girl next door (only much prettier), it's May Britt who steals the show as the German femme fatale of sorts, flirting with Brando's Diestl even though she's his vicious Captain's girl. Brando and Britt's scenes, based only on lust, are far more entertaining and realistic than Monty and Hope's far too rushed courtship to marriage.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2hZ5Jjkqqp6TbPEbwiYVmDsTI99oQtAtt0CdsZNCPrU2llaSqNKSxstpiHou2vZBfYdcH90ST_0ObXm8qfQQBkW09PunaXN7eaCQ9MsprcxeO_JFvDKeuUNPwP6sWtty0c5oB1Q0lEes/s1600/Screen+Shot+2016-05-13+at+5.53.56+AM.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2hZ5Jjkqqp6TbPEbwiYVmDsTI99oQtAtt0CdsZNCPrU2llaSqNKSxstpiHou2vZBfYdcH90ST_0ObXm8qfQQBkW09PunaXN7eaCQ9MsprcxeO_JFvDKeuUNPwP6sWtty0c5oB1Q0lEes/s320/Screen+Shot+2016-05-13+at+5.53.56+AM.png" width="140" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando</u></td></tr> </tbody></table> Last but not least, Barbara Rush, the main connection to German and America, having been almost romanced by Brando before the war and the singer girlfriend of Martin, is the most important actress aboard this three man's show.<br /> <br /> <div style="text-align: right;"> </div> The always-intense Schell hardly plays the villainous role with delicious savor meant to be abhorred to a post-war audience... Instead, he's simply an extremely severe man with a rigid cause as THE YOUNG LIONS follows these four (but eventually, and rather quickly, only three) men like WAR AND PEACE...<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0bu89_bQQ2P90yJjMG9nSAcmGk99pp_3-Vb2HZMvnRXw9UkpoR_lK9xJuMxHFeJli3bHxzphxaPMgfFLHGQlUF4T5uR6BrJzd7iwuKJdkC6J_pPMxlxB0PPSuvmtXePhJHCgiGdArIo/s1600/Screen+shot+2016-05-04+at+11.09.17+PM.png" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0bu89_bQQ2P90yJjMG9nSAcmGk99pp_3-Vb2HZMvnRXw9UkpoR_lK9xJuMxHFeJli3bHxzphxaPMgfFLHGQlUF4T5uR6BrJzd7iwuKJdkC6J_pPMxlxB0PPSuvmtXePhJHCgiGdArIo/s320/Screen+shot+2016-05-04+at+11.09.17+PM.png" width="156" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando</u></td></tr> </tbody></table> Where scenes take place in their own idyllic city and suburban America to a ghostly, occupied France to the aforementioned boot camp to bloody battles in Africa, each filmed like a meticulous chess match, and a particularly drawn-out death sequence left an impression on one of the greatest actors of the 1970's, big and cool "tough black dude" Yaphet Kotto, who, when asked about working with musician urned actor Isaac Hayes in the blaxploitation classic <a href="http://www.cultfilmfreaks.com/2013/05/yaphet-kotto-110th-truck-turner.html">TRUCK TURNER</a>, wrote:<br /> <br /> <div style="text-align: right;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ZVtLcPlteRn2daQfJwh0GkeXcDuUAO4mq53JbSl2QB2nnIRJAhp-5K8vhARGK-ucx4hyphenhyphen8ucUsIjWWGVKOVQl7hzGaC0pe9QNoQpB2Ikzdi8cfH96KT89J2T_nJ0hbThZgZU28y-Ksyc/s1600/Screen+Shot+2016-05-13+at+6.01.48+AM.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ZVtLcPlteRn2daQfJwh0GkeXcDuUAO4mq53JbSl2QB2nnIRJAhp-5K8vhARGK-ucx4hyphenhyphen8ucUsIjWWGVKOVQl7hzGaC0pe9QNoQpB2Ikzdi8cfH96KT89J2T_nJ0hbThZgZU28y-Ksyc/s400/Screen+Shot+2016-05-13+at+6.01.48+AM.png" width="132" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Brando as German</u></td></tr> </tbody></table> "We got along great. He watched me do the death scene and that’s all he talked about afterwards: 'Man, you all see the way my man Yaphet did his death scene!' I can’t take too much credit for that scene, I had seen it in THE YOUNG LIONS with MARLON BRANDO and that gave me a skeleton to work from." Which is no surprise, for Brando was, and still is, the "skeleton" hanging within a timeless actor (and actress) workshop classroom; and if you take note at some of the expressions on the leading men today, his immortal impression remains: And in LIONS it's no surprise he steals the show, a more realistic turn than Clift, who, despite a great performance, looks a bit too old for the role of an awkward virgin...<br /> <br /> <div style="text-align: right;"> </div> <div style="text-align: right;"> </div> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg50V-devzvsbOS6NJFcW3ja6fQjRAwdc0xtHoDTzM6iUYzBYfCEeoAYV2zNSDpT0oc6vibOGz3UIwxonNvD1OeBAU_zW-sUk7Q855e9et7zLHYr8SoMsa8YPDUiC6_G9vEOecd6jjXVny/s1600/lf+2.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1232" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg50V-devzvsbOS6NJFcW3ja6fQjRAwdc0xtHoDTzM6iUYzBYfCEeoAYV2zNSDpT0oc6vibOGz3UIwxonNvD1OeBAU_zW-sUk7Q855e9et7zLHYr8SoMsa8YPDUiC6_G9vEOecd6jjXVny/s400/lf+2.jpeg" width="307" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>The Young Lions Poster Cinemascope</u></td></tr> </tbody></table> And his "Hope full" love scenes with Lange, though genuinely heartfelt, feel a bit dated and staged unlike Brando's hopeless conversation with a tough, bitter (with damn good reason!) French Girl. Her "hath no fury" practically equals Brando's curtain-closing, hellish death scene that does, in fact, take its time, sad and slow, a downhill climb that's difficult to watch...<br /> <br /> And being a German who we're feeling for is proof of the Noir template: a sympathetic man whose heart is in the wrong place yet still trying to do his best in his own way, and, judging by several askew glances by the mere mention of the name, he's not a fan of Adolf Hitler...<br /> <br /> Marlon's character, like Dean Martin's in New York but for only for three months of the year, was basically that of a lazy Playboy. War gets in the way of pretty much everything! But even the worst wars end while the impression of an actor is timeless.<i> "</i>I went in and sat down and saw ON THE WATERFRONT," Yaphet Kotto stated. "I was so blown away after that day – it was Brando’s performance that made me leave the streets to become an actor!"<br /> <div class="separator" style="clear: both; text-align: center;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiLuvP-X_80rTw3QeI3jqcAQT9u0IoBHMDaPReBP-kDreBmLPZ65Y8TAwVOIgOTyepjbQuI53Vg4I4C32FAcfDGOAL6bYSQaKVywhhvXr5eqQOsY5ZBnym9ton1ELxIPICPmaQmvlEI42/s1600/49346108_628721384223708_8024458038167470080_n.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="767" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiLuvP-X_80rTw3QeI3jqcAQT9u0IoBHMDaPReBP-kDreBmLPZ65Y8TAwVOIgOTyepjbQuI53Vg4I4C32FAcfDGOAL6bYSQaKVywhhvXr5eqQOsY5ZBnym9ton1ELxIPICPmaQmvlEI42/s1600/49346108_628721384223708_8024458038167470080_n.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando in THE YOUNG LIONS </u></td></tr> </tbody></table> <div style="text-align: left;"> </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7w4kGresQ0Kx7xppHTOnUxGWWKcxOk_h2fONZ9zOen9Gizrr7WBJsxFqKiJGJfvwZP0zGXmrSmgR3bdWDzLRbkmHpYeiRYhpOyMw8_EtP_PT_Z9kAb5m0owkhzUgu04ulVdH9F5ERTeU/s1600/1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7w4kGresQ0Kx7xppHTOnUxGWWKcxOk_h2fONZ9zOen9Gizrr7WBJsxFqKiJGJfvwZP0zGXmrSmgR3bdWDzLRbkmHpYeiRYhpOyMw8_EtP_PT_Z9kAb5m0owkhzUgu04ulVdH9F5ERTeU/s1600/1.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Maximilian Schell and Marlon Brando posing for a shot within a shot within THE YOUNG LIONS Year: 1958</u></td></tr> </tbody></table> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ-6zR9eG0ZSOyUQmGKWyHoBn4RkjrKEIq1xF7niTu3VHkCGbDIlE1wCp_fR54_DP_fwhXMzCLK8Rey1KRm73kghqw3g8XZDWsoJgAQ_YP2J_jmREeJ9V-hmkAVdZYEwz6TbiDp23VOSQW/s1600/Screen+Shot+2020-06-07+at+2.58.11+AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1367" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ-6zR9eG0ZSOyUQmGKWyHoBn4RkjrKEIq1xF7niTu3VHkCGbDIlE1wCp_fR54_DP_fwhXMzCLK8Rey1KRm73kghqw3g8XZDWsoJgAQ_YP2J_jmREeJ9V-hmkAVdZYEwz6TbiDp23VOSQW/s1600/Screen+Shot+2020-06-07+at+2.58.11+AM.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>German Marlon Brando takes aim against the French Resistance in THE YOUNG LIONS</u></td></tr> </tbody></table>

dean martin, fifties, interview, lee van cleef, marlon brando, maximillian schell, montgomery clift, nazi, war, world war II, yaphet kotto

WAR NOIR IMPRESSION OF MARLON BRANDO IN 'THE YOUNG LIONS'

Brando and Britt in The Young Lions from 1958 Director Edward Dmytryk's War Noir, THE YOUNG LIONS, based on a novel by Irwin Shaw, ...

RANT FOR BRANDO KAZAN THREE: ON THE WATERFRONT

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLPBFcqz_d5AYlrVS1xqV6CWbSk4jbx09pjhLhAt1ke3XYsYbWq5XvJn7mPb5EpCMbC4vEgBjZmuPONA3JpI96AXTJ_fVGQfJM_I91aTb53g7EK6mteEdBtuzG6uuZPLVTEHS-dqRCBfo/s1600/2275501396_6e251dc339_b.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLPBFcqz_d5AYlrVS1xqV6CWbSk4jbx09pjhLhAt1ke3XYsYbWq5XvJn7mPb5EpCMbC4vEgBjZmuPONA3JpI96AXTJ_fVGQfJM_I91aTb53g7EK6mteEdBtuzG6uuZPLVTEHS-dqRCBfo/s16000/2275501396_6e251dc339_b.jpg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando turns in a performance of a lifetime, and many other lifetimes, in ON THE WATERFRONT</u></td></tr> </tbody></table> Popular cinematic line about not being able to take it anymore and being mad as hell and all that business, but it'll be a cold day in that very same hell before another film is viewed on the big screen of the classic Golden or Silver Age nature when hosted by Robert Osbourne's Bat Faced TCM replacement, who told the audience tonight that it's up to us, we the audience, we the people, to decide whether or not so-and-so is a good movie, or not, after all we've heard during his preamble that, having to do with behind-the-scene elements of an incredible film harboring one of the greatest performances to date, one that the likes of Millennial favorites Leo and Johnny D., and many others, aspire to be... And whose attempt to equal this man's talent, frozen in time and history, is very unlikely...<br>

classic, elia kazan, fifties, marlon brando, tcm

RANT FOR BRANDO KAZAN THREE: ON THE WATERFRONT

Marlon Brando turns in a performance of a lifetime, and many other lifetimes, in ON THE WATERFRONT Popular cinematic line about not bein...

MARLON BRANDO & JACK NICHOLSON IN 'THE MISSOURI BREAKS'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi_fTr0OULYj85lovP2HAkMmLGVOSmpfhyphenhyphensIwnmu62JXg2hKPDRvGZuL-gFktrqgZF_r3mbCMRTDP8Lerq0su5ovg4SnpkuSXC_enQ35Erzy6o2aitqCBkiwZSB0IY9v_XYc2zfTu941U/s1600/1.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi_fTr0OULYj85lovP2HAkMmLGVOSmpfhyphenhyphensIwnmu62JXg2hKPDRvGZuL-gFktrqgZF_r3mbCMRTDP8Lerq0su5ovg4SnpkuSXC_enQ35Erzy6o2aitqCBkiwZSB0IY9v_XYc2zfTu941U/s400/1.jpg" width="275" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year of release: 1976</u></td></tr> </tbody></table> Marlon Brando would kill Frederic Forrest twice on film, and in each case the death would serve as a physical warning to the main character while both APOCALYPSE NOW and THE MISSOURI BREAKS were altered and ultimately hindered by Brando, behind the scenes, which is par for the difficult icon's course… And in BREAKS, Jack Nicholson and his eccentric Hollywood womanzing neighbor appearing together was, perhaps, too good to be true...<br /> <br /> Despite several scenes with their characters together, the Oscar-winning giants are only in the same frame for an instant, twice. Thus Brando’s hired gun, Lee Clayton, has a story occurring on its own bizarre level, contrasting from rather than adding to the more earthy and legitimate mainline...<br /> <br /> With long hippie hair and the aesthetic countenance of John Belushi's SNL Samurai combined with an Indian just beginning to catch a buzz, Brando's Clayton whimsically hangs out along mountainsides, looking down binoculars or a gun scope at either birds or those rustlers, strategically using a dilapidated ranch as a middle-point for running stolen horses from Canada to their rural hideaway.<br /> <br /> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrA8RZv0kkS-caip_bPRthU1eVC2kpfqmdyLgvECekWUiMjzY1sVgIggFBosq8XGASuda6JlA511z9zApansIQcy-dG4SeiaK9auVoqQyMVcn2R0yhzCjA_JHEJdxBebnVUXqrvHfeRDfO/s1600/Screen+Shot+2018-07-29+at+12.43.45+AM+4.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1228" data-original-width="633" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrA8RZv0kkS-caip_bPRthU1eVC2kpfqmdyLgvECekWUiMjzY1sVgIggFBosq8XGASuda6JlA511z9zApansIQcy-dG4SeiaK9auVoqQyMVcn2R0yhzCjA_JHEJdxBebnVUXqrvHfeRDfO/s640/Screen+Shot+2018-07-29+at+12.43.45+AM+4.jpg" width="328" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Natural Cutie Kathleen Lloyd</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> This anti-Western written by Thomas McGuane and directed by Arthur Penn is a unique patchwork that entertains despite an awkward blend of violence and comedy. Depending on the fickle mood of composer John Williams, the thieves morph from THE WILD BUNCH to THE APPLE DUMPLING GANG...<br /> <br /> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU4_z-yL1_pypyqDevlnPNNLH7lSbsTDiZLWb3U0lJg8KRDQRq_nQuQjslZQPz-_3_MI2SQbtUGbYVT_5LzyPm2xXfQi_twufTNTZWe5Rmp4-JTvTe3DXoWs2t_hMwkhU7jAZaCK0UNw0/s1600/2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU4_z-yL1_pypyqDevlnPNNLH7lSbsTDiZLWb3U0lJg8KRDQRq_nQuQjslZQPz-_3_MI2SQbtUGbYVT_5LzyPm2xXfQi_twufTNTZWe5Rmp4-JTvTe3DXoWs2t_hMwkhU7jAZaCK0UNw0/s320/2.jpg" width="160" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Score: ***1/2</u></td></tr> </tbody></table> And the necessary romantic element breezily plays out like Nicholson’s directorial GOIN’ SOUTH two years later...<br /> <br /> His scruffy MISSOURI BREAKS Tom Logan is a leading man in anti-hero form, or vice versa, romancing Kathleen Lloyd’s virginal yet surprisingly promiscuous (an early woman's libber) Jane, the progressive daughter of John McLiam’s David Braxton, a small town tyrant who hired Brando’s cutthroat gunman after one of his own employees was killed. But that’s skipping ahead…<br /> <br /> The movie starts with the youngest member of Nicholson’s gang being hung for horse theft following a rushed Kangaroo court. The result of this important catapulting death, leading to a ranch purchased from stolen train money, is unveiled through ragged dialogue between the outlaws in a darkened bunk house, introducing each without seeing them clearly. And after the boys carry the picture for a strong 35-minutes, a whimsical Brando is finally introduced with an Irish accent so preposterously contrived it distracts from his nefariously lethal "Regulator" character...<br /> <br /> <div class="separator" style="clear: both; text-align: center;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: right;"> </div> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3e2wv04hrwsO27uWq3sDrQ0cM6aPAczp8QdDkAknfxWb5_wPti-7DHnShqCoY_fBQmDbVyhbp90SrzydQl74rC3J3Xa8eChhrQO1WvRadTyBj5RSkK5h9AMBULq2UcroaGLNkQIAs0lMV/s1600/Screen+Shot+2019-04-22+at+5.11.00+PM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1234" data-original-width="1600" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3e2wv04hrwsO27uWq3sDrQ0cM6aPAczp8QdDkAknfxWb5_wPti-7DHnShqCoY_fBQmDbVyhbp90SrzydQl74rC3J3Xa8eChhrQO1WvRadTyBj5RSkK5h9AMBULq2UcroaGLNkQIAs0lMV/s400/Screen+Shot+2019-04-22+at+5.11.00+PM.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Nicholson and Brando shown together in Missouri Breaks</u></td></tr> </tbody></table> <div style="text-align: right;"> </div> <div style="text-align: right;"> </div> Although he does become a genuine threat when the gang… including the aforementioned Frederic Forrest, Nicholson regular John P. Ryan, Jack's LAST DETAIL McGuffin Randy Quaid and a wise, scene-stealing Harry Dean Stanton… are picked-off like campers in a slasher flick, yet in an even more violently bizarre, creepy and unrelenting, torturous fashion.<br /> <br /> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRLl90J0VCl7xVhaD0sxlbMera1qxNoTrok5oY0l6BS8aBtm3fcX2TdFt44zwgMIaK09FIeCEKuiELWVf-KQJDgatT6fC8cQllQar2mi53UjTEu7XS5-SYKcajvHV_jIMCcR3qJ7lyCM1p/s1600/Screen%252BShot%252B2018-07-28%252Bat%252B11.41.15%252BPM.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="698" data-original-width="438" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRLl90J0VCl7xVhaD0sxlbMera1qxNoTrok5oY0l6BS8aBtm3fcX2TdFt44zwgMIaK09FIeCEKuiELWVf-KQJDgatT6fC8cQllQar2mi53UjTEu7XS5-SYKcajvHV_jIMCcR3qJ7lyCM1p/s320/Screen%252BShot%252B2018-07-28%252Bat%252B11.41.15%252BPM.jpeg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Brando & Nicholson</u></td></tr> </tbody></table> <div style="text-align: left;"> </div> If it had only centered more on the main plot, of these outlaw rustlers, in seeking revenge by using the ranch near the town's hangman boss to filter stolen horses, then THE MISSOURI BREAKS – named after a section of Montana where the Missouri River splits into hilly terrain not so perfect for a stealthy getaway – would have been a nice, tight addition to the Western genre, more avant-garde than mainstream at the crest of the Renaissance 1970’s.<br /> <br /> Too bad Marlon Brando, the otherwise groundbreaking method actor, whose performance feels like an overboard satire, nearly ruined this unique ride. It’s one thing having an unimportant character sporadically hinder the pace, but when the starring role seems tacked-on, things can only go downhill, especially since they had little room to climb in the first place. But what Brando does successfully is make Nicholson a fantastic revenge-driven tough guy, and for good reason. No villain ever deserved death like Brando's, and not only for what he did to the fictional characters but to the film itself. <br /> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Qjnf2MdnGXDDFLngrVN4dSqEW7vPuOVgsP0mjoChKck-tSrcdq6KPeoXvqF-xoOF7ix4Zi9uryr0F14VUB4Y4YaJeshYrUml8AeB96jfaMdhXaY5MSj6nYzrQdUIpK7OTjoL0ZNJRGxs/s1600/Screen+Shot+2018-07-28+at+11.13.34+PM.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="958" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Qjnf2MdnGXDDFLngrVN4dSqEW7vPuOVgsP0mjoChKck-tSrcdq6KPeoXvqF-xoOF7ix4Zi9uryr0F14VUB4Y4YaJeshYrUml8AeB96jfaMdhXaY5MSj6nYzrQdUIpK7OTjoL0ZNJRGxs/s1600/Screen+Shot+2018-07-28+at+11.13.34+PM.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>The first sequence when we see Jack Nicholson with Marlon Brando sans doubles in The Missouri Breaks</u></td></tr> </tbody></table> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_CelwYzmGvkK3AA8LTkK59vHqJL8MLHM5ot0WZ6ZOAojVKIAhg7U-aau6YewiIph1o-fxCxlzvjrZsS52QBgUejsXLQmDr1uraSqy_lDk-eZdqXXYs2QvbBOKBbuqj_PXIHpAIZLyrId/s1600/1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="897" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_CelwYzmGvkK3AA8LTkK59vHqJL8MLHM5ot0WZ6ZOAojVKIAhg7U-aau6YewiIph1o-fxCxlzvjrZsS52QBgUejsXLQmDr1uraSqy_lDk-eZdqXXYs2QvbBOKBbuqj_PXIHpAIZLyrId/s1600/1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Character-actor Hunter von Leer begins the movie with a neck twisting surprise</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTF9LKGx_0zRe-aEcvKdUwPVXS-EiaFoQwT9fk7zOaL6lmaVK29Z2C0IKOzgvytfdcCJYPqb8NZkqmeBssjZzPwv2dXRexTD_5X_qFXJslIXCf2pUgQfVzS8geIhWi4RZ267Qb5_liSPZ/s2048/Screen+Shot+2021-09-26+at+9.20.44+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1107" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTF9LKGx_0zRe-aEcvKdUwPVXS-EiaFoQwT9fk7zOaL6lmaVK29Z2C0IKOzgvytfdcCJYPqb8NZkqmeBssjZzPwv2dXRexTD_5X_qFXJslIXCf2pUgQfVzS8geIhWi4RZ267Qb5_liSPZ/s16000/Screen+Shot+2021-09-26+at+9.20.44+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>John McLiam and Hunter Von Leer in THE MISSOURI BREAKS</u><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7CtSjWTfzH3TNLT6dovuSeYAs2D6MvePtIJMOnd2aKvCkvO5jIu-z-PsvLfjhMLYkDgED-qlYiMS7JKe5BPf4fxXOLIO6db7a5ECrXzAKvnyUQhR1qTrK6K7Qs_1qE9hWOPG7_90hfAY/s2048/Screen+Shot+2021-09-26+at+9.24.24+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1102" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7CtSjWTfzH3TNLT6dovuSeYAs2D6MvePtIJMOnd2aKvCkvO5jIu-z-PsvLfjhMLYkDgED-qlYiMS7JKe5BPf4fxXOLIO6db7a5ECrXzAKvnyUQhR1qTrK6K7Qs_1qE9hWOPG7_90hfAY/s16000/Screen+Shot+2021-09-26+at+9.24.24+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jack Nicholson and Kathleen Lloyd in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLZ6ESSfdp2IPR4tSbWCaGZIxJUsjHKMDl4Qtb7rw8TORlXo4xr8quOw2iUNWz3NeAPeyZ0p8jy9tdKucQ2fJOLh_sCDUrcy34M2tFiGPTLHq1k-KvYnE3IJnJT0HL7Z-AnzbAwK5KvEQo/s2048/Screen+Shot+2021-09-26+at+9.24.58+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1104" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLZ6ESSfdp2IPR4tSbWCaGZIxJUsjHKMDl4Qtb7rw8TORlXo4xr8quOw2iUNWz3NeAPeyZ0p8jy9tdKucQ2fJOLh_sCDUrcy34M2tFiGPTLHq1k-KvYnE3IJnJT0HL7Z-AnzbAwK5KvEQo/s16000/Screen+Shot+2021-09-26+at+9.24.58+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCGj2Iy6JIAlQDoTYAoUdP9WoEUpvEgvgfaKdGJq7zYCRsx0nsgyhIl0HqhVu3S2s7DyRLn5Cwgpm8EBVaL-YOmfiZSyZ4OaiCEBglffZ6DhhlU7bn1WIzzaaGshyphenhyphen0NbLkCZ7hZj6gumh/s2048/Screen+Shot+2021-09-26+at+9.25.45+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1117" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCGj2Iy6JIAlQDoTYAoUdP9WoEUpvEgvgfaKdGJq7zYCRsx0nsgyhIl0HqhVu3S2s7DyRLn5Cwgpm8EBVaL-YOmfiZSyZ4OaiCEBglffZ6DhhlU7bn1WIzzaaGshyphenhyphen0NbLkCZ7hZj6gumh/s16000/Screen+Shot+2021-09-26+at+9.25.45+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jack Nicholson and Kathleen Lloyd in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tPGWU9snNEHQPj2VNCNx1TfXUEvLrTBlDxZrZ3e8CMTsD47nEc9C_hsa4eFQM-RtXKzm7-Wh0r6jOfLtxRHsxo_LEGVgwgY2wfXMjCe_H7zjchCsgilwQxwMU98aZhSd9tgUE4353Fzm/s2048/Screen+Shot+2021-09-26+at+9.26.11+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1087" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9tPGWU9snNEHQPj2VNCNx1TfXUEvLrTBlDxZrZ3e8CMTsD47nEc9C_hsa4eFQM-RtXKzm7-Wh0r6jOfLtxRHsxo_LEGVgwgY2wfXMjCe_H7zjchCsgilwQxwMU98aZhSd9tgUE4353Fzm/s16000/Screen+Shot+2021-09-26+at+9.26.11+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Marlon Brando in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGgwy6BTufxBr5q56wt8rjK6_ZuUv5eGIFG0Ga33uz35_D3CxThFqQlUsN9ioRIA9pWQqa0vgeMU2qEp7NwWo7qsihTx42IKYba5ZKlRzHHAa8j7-7h99t4l_Njc-hIksRtU6Etf505KSC/s2048/Screen+Shot+2021-09-26+at+9.26.46+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1129" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGgwy6BTufxBr5q56wt8rjK6_ZuUv5eGIFG0Ga33uz35_D3CxThFqQlUsN9ioRIA9pWQqa0vgeMU2qEp7NwWo7qsihTx42IKYba5ZKlRzHHAa8j7-7h99t4l_Njc-hIksRtU6Etf505KSC/s16000/Screen+Shot+2021-09-26+at+9.26.46+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jack Nicholson in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieKniVkoTiIFioQdZxcHM2Y9VT4PK6mi3VwdCw36P-nr2YYRXPiq6AHNi9lKIBmb1D_6Ribo7fafmFtrA77t8lgv76nYNybmLEGgPd8WhEV71PyEsn1e6xugHqiiDAZzqhMe0SGHU7WUZV/s2048/Screen+Shot+2021-09-26+at+9.26.57+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieKniVkoTiIFioQdZxcHM2Y9VT4PK6mi3VwdCw36P-nr2YYRXPiq6AHNi9lKIBmb1D_6Ribo7fafmFtrA77t8lgv76nYNybmLEGgPd8WhEV71PyEsn1e6xugHqiiDAZzqhMe0SGHU7WUZV/s16000/Screen+Shot+2021-09-26+at+9.26.57+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Frederic Forrest in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEL1Acj3FgtZS9b_7NLdo6Bgwnu2kH4HNKGtJktFGatlnzkjCwO_hZK5I8Mkf9MH8rr4P2ZSanTgkX9oIYRx8GniE2Dcau49XM5Nr8fwCzne1XUgNmbk7L9TIUP9lE4-2vxuWhSsDTCJMS/s2048/Screen+Shot+2021-09-26+at+9.27.09+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEL1Acj3FgtZS9b_7NLdo6Bgwnu2kH4HNKGtJktFGatlnzkjCwO_hZK5I8Mkf9MH8rr4P2ZSanTgkX9oIYRx8GniE2Dcau49XM5Nr8fwCzne1XUgNmbk7L9TIUP9lE4-2vxuWhSsDTCJMS/s16000/Screen+Shot+2021-09-26+at+9.27.09+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jack Nicholson in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq-QC9A_wN_v3SGqkOvR3BoK-deNKxTRnti-lHF0vHxcsZ4Dyguo8HnT-DtrkMYsiCPuPsjoXWTHDxk56yj2DusP9XLOgo8t8S5pPvrn93o9fj4BmHzYXKFvp51JGAZQe3AImyHQXVd1xH/s2048/Screen+Shot+2021-09-26+at+9.27.34+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1118" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq-QC9A_wN_v3SGqkOvR3BoK-deNKxTRnti-lHF0vHxcsZ4Dyguo8HnT-DtrkMYsiCPuPsjoXWTHDxk56yj2DusP9XLOgo8t8S5pPvrn93o9fj4BmHzYXKFvp51JGAZQe3AImyHQXVd1xH/s16000/Screen+Shot+2021-09-26+at+9.27.34+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Kathleen Lloyd in THE MISSOURI BREAKS</u></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGCEXAOWbkCtet0ifmUCK9vHQJDkSVwdDOb65IvC3MWKo4yeIpRxmko0ckQ6cVsZYKX6TWh-kp9rr-IpnkHcUjjJMf-lRZRFyrc2ONzXMdIO1C2zzfD4R5KuTnKOZpiDzD0tyk-GftIDrK/s2048/Screen+Shot+2021-09-26+at+9.20.28+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1073" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGCEXAOWbkCtet0ifmUCK9vHQJDkSVwdDOb65IvC3MWKo4yeIpRxmko0ckQ6cVsZYKX6TWh-kp9rr-IpnkHcUjjJMf-lRZRFyrc2ONzXMdIO1C2zzfD4R5KuTnKOZpiDzD0tyk-GftIDrK/s16000/Screen+Shot+2021-09-26+at+9.20.28+PM.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>THE MISSOURI BREAKS</u></td></tr></tbody></table><br />

frederic forrest, harry dean stanton, hunter von leer, jack nicholson, kathleen lloyd, marlon brando, quirky, randy quaid, thomas mcquane, western

MARLON BRANDO & JACK NICHOLSON IN 'THE MISSOURI BREAKS'

year of release: 1976 Marlon Brando would kill Frederic Forrest twice on film, and in each case the death would serve as a physical warn...

JMT FILM INSTITUTE: 10 GREATEST MOVIES OF ALL TIME

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigDq-SlhlsFU7Yhr7eJja2uSFVFZbPLj5xHI6SE1EYsWi4Thzts21CGDmXDsseRI5B6M-5AVbvnv8hQLtOv5CAPdoX3zkTVcElHx7UeHKYxfWb5ggWVUc1WH6q8z9a8oYWLHkWy8wLVGAgmQF_14RYJL_5eymtJHiND0CFkp_smLlsfURzvZBrS31RwnIK/s1702/Screen%20Shot%202024-04-25%20at%201.34.28%20AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="984" data-original-width="1702" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigDq-SlhlsFU7Yhr7eJja2uSFVFZbPLj5xHI6SE1EYsWi4Thzts21CGDmXDsseRI5B6M-5AVbvnv8hQLtOv5CAPdoX3zkTVcElHx7UeHKYxfWb5ggWVUc1WH6q8z9a8oYWLHkWy8wLVGAgmQF_14RYJL_5eymtJHiND0CFkp_smLlsfURzvZBrS31RwnIK/w640-h370/Screen%20Shot%202024-04-25%20at%201.34.28%20AM.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1) THE GODFATHER PART II (FRANCIS FORD COPPOLA)</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"> </div> <div style="text-align: center;"> Two time periods covered in a single motion picture… A sequel that exceeds the original when the original is a classic… Robert DeNiro and Al Pacino… The Black Hand and Vito Corleone walking the same direction toward a very different fate… John Cazale telling Al Pacino he’s not dumb, he’s smart… How Richard Bright pronounces “Buenos Aires”… When Joe Spinell says, "The family had a lot of buffers".... Lee Strasberg proves he can practice what he teaches...   </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxS1uwu7DV5lvsKZ-kSdqI9GN_8qgqHd5WmZJuxOqfAx-cIZJB9o8TA_ZREA7-ubl3k_b7-QXO97cuHNV-M1r5jmD4BiW5uEkgmJyDeU70tQRQAGaxGcGkpi_y40Hf72uTuyoxTfAvEq6t/s1600/2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxS1uwu7DV5lvsKZ-kSdqI9GN_8qgqHd5WmZJuxOqfAx-cIZJB9o8TA_ZREA7-ubl3k_b7-QXO97cuHNV-M1r5jmD4BiW5uEkgmJyDeU70tQRQAGaxGcGkpi_y40Hf72uTuyoxTfAvEq6t/s640/2.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">2) THE GODFATHER (FRANCIS FORD COPPOLA)</td></tr> </tbody></table> <div style="text-align: center;"> The slow pan on Al Pacino as he turns from passive little brother into calculating mobster… Al finds the gun in the latrine as the train shakes the building’s foundation, providing a suspenseful score without music… Marlon Brando becomes an aging old crime boss, more human than hateful, more loving than evil… James Caan, Robert Duvall, John Cazale… And don't forget the cannoli...</div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEDtnf9V8276nyQ-geLmSmVGUduMJgJYcO17u-kxJmSJUaoapzk-ji2hJu7Kg559X4doz9evf08XOtwIp3mh50o3papspnEI4_w3SQqMVbjSfeZ2bznc-XqxwakKZBve4sEqCZy0SNkKQy/s1600/3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEDtnf9V8276nyQ-geLmSmVGUduMJgJYcO17u-kxJmSJUaoapzk-ji2hJu7Kg559X4doz9evf08XOtwIp3mh50o3papspnEI4_w3SQqMVbjSfeZ2bznc-XqxwakKZBve4sEqCZy0SNkKQy/s640/3.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">3) GOODFELLAS (MARTIN SCORSESE)</td></tr> </tbody></table> <div style="text-align: center;"> Joe Pesci ain't your clown – and don’t remind him he shined shoes… Ray Liotta’s sharp narration as Henry Hill, telling a tale that, in the two-and-a-half running time, has so many twists and turns the entire thing seems like separately intense, and often darkly humorous, vignettes… Monkey Man, Gimme Shelter, Sunshine of Your Love, the second half of Layla… Morrie’s wig commercial… Lorraine Bracco’s narration as Henry’s wife, not just a token female but an important part of the proceedings: it’s her story too… Martin Scorsese’s peak as a director, gliding the camera like no one else can do, or has done, or will ever do again…</div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRb96Mz4RW9XnSnxZT2AYkfusmFxaLRY7prNzRLFBV4yGGftektT8tvlPJMJOCm0nU8_BnNN4h74FUF_AEAdhQlmgzFet8AOY_ajBszPt7HzhKCP7sVqGspuR-TIEt6O9RuvLyVp59dMud/s1600/bull.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRb96Mz4RW9XnSnxZT2AYkfusmFxaLRY7prNzRLFBV4yGGftektT8tvlPJMJOCm0nU8_BnNN4h74FUF_AEAdhQlmgzFet8AOY_ajBszPt7HzhKCP7sVqGspuR-TIEt6O9RuvLyVp59dMud/s640/bull.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">4) RAGING BULL (MARTIN SCORSESE)</td></tr> </tbody></table> <div style="text-align: center;"> Robert DeNiro with the tight muscular build of a middleweight boxer… Then with a belly and double chin… Flashbulbs pop during boxing scenes… Joe Pesci with a looser, fouler mouth than Tommy in GOODFELLAS… Cathy Moriarty at the public swimming pool… Bare knuckles bleeding on a brick prison wall…      </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCWYGgQ-OhGXtjlRMB2a54-qMwYTrWQIvUeuqJo1-eqBo-yA9rWkFVPicuG2ic-LlOtNUQNukL2G6tvns4bE865_A8Onoj7BBqfNGHnYfJBCPMYxrQl3XF5hpD7kB04-_cQHORsioSCp6k/s1600/5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCWYGgQ-OhGXtjlRMB2a54-qMwYTrWQIvUeuqJo1-eqBo-yA9rWkFVPicuG2ic-LlOtNUQNukL2G6tvns4bE865_A8Onoj7BBqfNGHnYfJBCPMYxrQl3XF5hpD7kB04-_cQHORsioSCp6k/s640/5.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">5) CITIZEN KANE (ORSON WELLES)</td></tr> </tbody></table> <div style="text-align: center;"> A twenty-five year old kid transforms into a bitter old man… A twenty-five year old kid pissing off a real life mogul that could, and would, hinder a promising career… Dorothy Comingore playing chess in a room with a giant fireplace… Stock footage bats from SON OF KONG… Joseph Cotten in a wheelchair… Everett Sloane remembering that timeless woman in the white dress…</div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Z16-oLOrWY9JD9ClcnvILZbtmlHFKEqWCNgGjeD3Fw5IfVtB_bKH9xLIlMJhthjb29XjgT3r4-vygUy_fzmHSBpqUyD_2gyvZERqRFOeCNz9KNEMCz2SrW2lRKzFnH4kEOMJUKSt8MPE/s1600/6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Z16-oLOrWY9JD9ClcnvILZbtmlHFKEqWCNgGjeD3Fw5IfVtB_bKH9xLIlMJhthjb29XjgT3r4-vygUy_fzmHSBpqUyD_2gyvZERqRFOeCNz9KNEMCz2SrW2lRKzFnH4kEOMJUKSt8MPE/s640/6.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">6) IN COLD BLOOD (RICHARD BROOKS)</td></tr> </tbody></table> <div style="text-align: center;"> The meticulous routine of two criminals, and a passive small town family, connected as one living/breathing creature… Not showing the murders till later on… Rain shadows as tears on Robert Blake’s face… Scott Wilson, Scott Wilson, Scott Wilson…</div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmDc6vnGV8dqZJCDeYuNCyHojZHUqFHOsitw2RFhJGkLUZ8wSzdkyHceF8bn4dnwL8uC_fW0h6s4jwf2zFa1Gs0_zvKh-crzwYzUaQvvY0A1RvXSh0tOUJvHXIzMgEEtBoDJpjQbgLDlru/s1600/touch_of_evil_4.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmDc6vnGV8dqZJCDeYuNCyHojZHUqFHOsitw2RFhJGkLUZ8wSzdkyHceF8bn4dnwL8uC_fW0h6s4jwf2zFa1Gs0_zvKh-crzwYzUaQvvY0A1RvXSh0tOUJvHXIzMgEEtBoDJpjQbgLDlru/s640/touch_of_evil_4.png" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">7) TOUCH OF EVIL (ORSON WELLES)</td></tr> </tbody></table> <div style="text-align: center;"> Despite the "Charlton Heston as a Mexican" becoming a pop culture punchline, this is the legendary actor's most subdued and genuine performance... Up against director Orson Welles as a crooked cop epitomizing Film Noir villainy... The three-and-a-half minute opening shot without a single cut... Akim Tamiroff's bulging eyes... Janet Leigh trapped in a rural motel, the first time... Marlene Dietrich's voice... Joanna Moore's figure... Joseph Cotten's cameo... Joseph Calleia's loyalty... And don't forget the shadows, oh those amazing shadows...</div> <div class="separator" style="clear: both; text-align: center;"> </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhej8Egg3cnrOvMF-sZ1JsXXgEhWS2YO6Rb_o4zcfdaxXTG49C7GHTTKotZOmi_xigDmmKzA0IDb-YACnjA7BtGfbVxr-hbP4v3bCEQ-0eQRjs86PDuqKckl7xgh_gLTl9M8mOuYHzb36fz/s1600/8.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhej8Egg3cnrOvMF-sZ1JsXXgEhWS2YO6Rb_o4zcfdaxXTG49C7GHTTKotZOmi_xigDmmKzA0IDb-YACnjA7BtGfbVxr-hbP4v3bCEQ-0eQRjs86PDuqKckl7xgh_gLTl9M8mOuYHzb36fz/s640/8.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">8) CHINATOWN (ROMAN POLANSKI)</td></tr> </tbody></table> <div style="text-align: center;"> Only the hidden things matter… Jack Nicholson knows nothing… Faye Dunaway knows everything – how she hides it from both Jack and the audience is the key… John Huston eats fish with eyes…Burt Young eats venetian blinds… </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidZGR6qL39_bHRHsAEjADQIDucJHb-BHDiDBF_m9-R_a5yBhcug_gdLjVzR-eFz5tGMl5tNrhKeEXlQD68XKnAOq70lhFImSJrWoBXzyImqqADkN5aTToZVAIx-mVo8uWQmcNjWZtYJk7v/s1600/9.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidZGR6qL39_bHRHsAEjADQIDucJHb-BHDiDBF_m9-R_a5yBhcug_gdLjVzR-eFz5tGMl5tNrhKeEXlQD68XKnAOq70lhFImSJrWoBXzyImqqADkN5aTToZVAIx-mVo8uWQmcNjWZtYJk7v/s640/9.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">9) JAWS (STEVEN SPIELBERG)</td></tr> </tbody></table> <div style="text-align: center;"> The camera is the shark long enough so the fake looking beast means nothing… Robert Shaw recalling the S.S. Indianapolis – tapping his mug on the table… Roy and Richard kicking home... Spielberg’s camera maneuvers in a viewer-friendly fashion that big budget blockbusters still attempt to this day… Duh Dum, Duh Dum…  </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKJ2jxm1mvjuQwDS6jT8rHIY5dETRN1Ks-3SQAWD-hiMWI_CuOVYfDcq3Ebbdo5Ke-NwOhg9qM0D_deDXvUSqMe4RXISfmVir-SOX4-I0uaZ17aZTqEO13HKbJSrmiVsX-sU3ZsykeGOX/s1600/10.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKJ2jxm1mvjuQwDS6jT8rHIY5dETRN1Ks-3SQAWD-hiMWI_CuOVYfDcq3Ebbdo5Ke-NwOhg9qM0D_deDXvUSqMe4RXISfmVir-SOX4-I0uaZ17aZTqEO13HKbJSrmiVsX-sU3ZsykeGOX/s640/10.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">10) LAWRENCE OF ARABIA (DAVID LEAN)</td></tr> </tbody></table> <div style="text-align: center;"> Peter O’Toole admits he enjoyed killing the man he had saved… Peter O’Toole saving the man he then has to kill… The match flame becomes a burning desert sun… A desert mirage becomes a man with a gun…</div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7cGjfQNVoKui_K5UgbM5cGRBlDtTHDeD5Gzuq_AKHY6TJlu79PZQLI8NKl6tEEGbNpwPITB6sVoLUYCx7sCBb8ETR1McfQYy8R2O0GbsMN34VfvQnDvbLX8kl9k0aOOvmnbm9czRxJQWi/s1600/op6dd.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7cGjfQNVoKui_K5UgbM5cGRBlDtTHDeD5Gzuq_AKHY6TJlu79PZQLI8NKl6tEEGbNpwPITB6sVoLUYCx7sCBb8ETR1McfQYy8R2O0GbsMN34VfvQnDvbLX8kl9k0aOOvmnbm9czRxJQWi/s640/op6dd.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">10 GREATEST MOVIES LIST BY JAMES M. TATE</td></tr> </tbody></table>

al pacino, marlon brando, orson welles, robert deniro, seventies, sixties

JMT FILM INSTITUTE: 10 GREATEST MOVIES OF ALL TIME

1) THE GODFATHER PART II (FRANCIS FORD COPPOLA) Two time periods covered in a single motion picture… A sequel that exceeds the original ...

GEORGE C. SCOTT & MARLON BRANDO IN THE FORMULA

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikaK5fLwa-yeHnS2rm3RmUPDTrfYfXL-t6Vf7Rdi89giTJZ-BBWLZVDWy0YEb5XgM4hhAIF15b9b2Y7WVyicD5jsq-VAm9g8WoaSDrMxxBsH2PFQjIS4zqz9PyVPqaBQBbRkoJunv1A_KJ/s1600/the-formula-original.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="320" id="BLOGGER_PHOTO_ID_5644126771235932962" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikaK5fLwa-yeHnS2rm3RmUPDTrfYfXL-t6Vf7Rdi89giTJZ-BBWLZVDWy0YEb5XgM4hhAIF15b9b2Y7WVyicD5jsq-VAm9g8WoaSDrMxxBsH2PFQjIS4zqz9PyVPqaBQBbRkoJunv1A_KJ/s200/the-formula-original.jpg" style="float: right; height: 210px; margin: 0px 0px 10px 10px; width: 131px;" width="199" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">1980 rating: **1/2</td></tr> </tbody></table> CHINATOWN without water, and not entirely satisfying, although there are decent moments as George C. Scott investigates the death of his cop friend, who was involved with a “formula” that has to do with… well that’s revealed in the second half of the film, which gets weighed down by too many conversations with characters being killed off right after revealing the secrets that carry Scott from one person to the next.<br /> <br /> The main problem is the lack of situations between the dialogue – more chatter than the necessary suspense which would make our protagonist seem in real danger. Marlon Brando plays a stateside oil tycoon, and while it’s fun watching him on screen – as he continuously purses his lips and revels in a shady persona – he’s doing an obvious performance. Once in Germany, where Scott becomes drenched in a Nazi secret (teased in the prologue with Richard Lynch), he meets a brooding, sexy Martha Keller, perhaps the most fleshed-out character. But fans of Film Noir will see her deception way before love-struck Scott does.<br /> <br /> Director John G. Advilsen strays from his colorfully creative styling of JOE and SAVE THE TIGER, and his latter, more popular flicks like ROCKY and THE KARATE KID that make you want to win at all costs. This lacked either color or stamina, and leads to a dull conclusion where all those conversations, some of which are genuinely intriguing, seem a waste of time.

eighties, george c. scott, john g. avildsen, marlon brando, neo noir, suspense

GEORGE C. SCOTT & MARLON BRANDO IN THE FORMULA

1980 rating: **1/2 CHINATOWN without water, and not entirely satisfying, although there are decent moments as George C. Scott investigat...