It probably gave me a certain intensity that most people don't have. Brando had also appeared in the spy thriller Morituri in ; that, too, failed to attract an audience. Black Friday Sale Goofs Gil Stratton Jr's motorcycle changes from a Triumph from when he leaves the races to a Matchless when he arrives in Wrightsville. He was very, very adamant about how he didn't want to portray himself that way.
Perfecto is a secondary brand of " lancer fronted " leather motorcycle jackets designed by Irving Schott and manufactured by American clothing company Schott NYC. The first jacket was introduced in ,  making it the first such styled leather motorcycle jacket. They were worn by such icons as Marlon Brando in the seminal movie The Wild One ,  by punk rock pioneers The Ramones in the s and styled by fashion designers such as Jean Paul Gaultier in the s.
Established as a manufacturer of motorcycle clothing since ,  Schott, a Russian immigrant, named the brand after his favorite cigar as he did not think his Jewish family name would sell the garments.
It is said to be the first such jacket designed to feature a zipper and came to define the look of motorcycle jackets since  . Schott Bros later manufactured a very similar jacket for the Beck label, which he was previously a representative, called the Beck Northeaster and in the late s, Schott Bros introduced a new jacket based on the original Perfecto design called the It was soon nicknamed the "One Star" because it had a star on each shoulder epaulette.
These jackets have a snug, almost tailored fit, which is suited for motorcycle riding but are short by today's standards. The and Perfectos have been produced for more than 50 years, so finding out when a vintage jacket was made can be difficult.
There have, however, been slight variations in the design over time. Some of the details in the timeline below overlap. The One Star is introduced. Jackets are made out of horsehide.
Neck label is rectangular, black with Perfecto App U. Side pockets are at an approx. Jackets have snaps for attaching fur collar, no snaps on collar, plain snaps, sleeves are double stitched, epaulettes are also double stitched and have a rounded end. Stitching on collar is placed further in than it is on lapels.
Lining is black with grid stitching. Straight lower back panel and underside of sleeves are one piece. The is introduced.
It is identical to the except for the lack of stars. In The Wild One , the stars on the epaulettes and the snaps on the collar of Marlon Brando 's jacket were not original, but added to the jacket. Its popularity and connection to The Wild One movie led to it being banned from sale in many districts of the England and USA  and becoming a symbol of rebellious youth.
I sometimes went to the Actors Studio on Saturday mornings because Elia Kazan was teaching, and there were usually a lot of good-looking girls, but Strasberg never taught me acting. Stella Adler did—and later Kazan. Brando was the first to bring a natural approach to acting on film. 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.
Once Brando felt he could deliver the dialogue as natural as that conversation he would start the dialogue. In his documentary, Listen To Me Marlon , he said before that actors were like breakfast cereals. He was calling them predictable. Critics would later say this was Brando being difficult, but actors who worked opposite would say it was just all part of his technique.
Brando established a pattern of erratic, insubordinate behavior in the few shows he had been in. 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. The Lunts wanted Brando to play the role of Alfred Lunt 's son in O Mistress Mine , and Lunt even coached him for his audition, but Brando's reading during the audition was so desultory that they couldn't hire him.
In , he appeared on Broadway as the young hero in the political drama A Flag is Born , refusing to accept wages above the Actors' Equity rate. He was also offered the opportunity to portray one of the principal characters in the Broadway premiere of Eugene O'Neill 's The Iceman Cometh , but turned the part down after falling asleep while trying to read the massive script and pronouncing the play "ineptly written and poorly constructed".
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 — season.
Bankhead recognized Brando's potential, despite her disdain which most Broadway veterans shared for method acting, and agreed to hire him even though he auditioned poorly. The two clashed greatly during the pre-Broadway tour, with Bankhead reminding Brando of his mother, being her age and also having a drinking problem. 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, , opening. He came ambling offstage and said to me, 'They don't think you can act unless you can yell.
Critics were not as kind, however. A review of Brando's performance in the opening assessed that Brando was "still building his character, but at present fails to impress. Brando displayed his apathy for the production by demonstrating some shocking onstage manners. He "tried everything in the world to ruin it for her," Bankhead's stage manager claimed.
This proved to be one of the greatest blessings of his career, as it freed him up to play the role of Stanley Kowalski in Tennessee Williams 's play A Streetcar Named Desire , directed by Elia Kazan. Bankhead had recommended him to Williams for the role of Stanley, thinking he was perfect for the part. Pierpont writes that John Garfield was first choice for the role, but "made impossible demands. In a letter dated August 29, , Williams confided to his agent Audrey Wood: 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.
Graziano did not know who Brando was, but attended the production with tickets provided by the young man. He said, "The curtain went up and on the stage is that son of a bitch from the gym, and he's playing me.
In , Brando performed a screen test for an early Warner Brothers script for the novel Rebel Without a Cause , which bore no relation to the film eventually produced in Brando's first screen role was a bitter paraplegic veteran in The Men The New York Times reviewer Bosley Crowther wrote that Brando as Ken "is so vividly real, dynamic and sensitive that his illusion is complete" and noted, "Out of stiff and frozen silences he can lash into a passionate rage with the tearful and flailing frenzy of a taut cable suddenly cut.
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. When Brando reported to the induction center, he answered a questionnaire by saying his race was "human", his color was "Seasonal-oyster white to beige", and he told an Army doctor that he was psychoneurotic.
When the draft board referred him to a psychiatrist, Brando explained that he had been expelled from military school and had severe problems with authority.
Coincidentally, the psychiatrist knew a doctor friend of Brando. Brando avoided military service during the Korean War. Early in his career, Brando began using cue cards instead of memorizing his lines. Despite the objections of several of the film directors he worked with, Brando felt that this helped bring realism and spontaneity to his performances.
He felt otherwise he would appear to be reciting a writer's speech. The Movie , Brando explained:. If you don't know what the words are but you have a general idea of what they are, then you look at the cue card and it gives you the feeling to the viewer, hopefully, that the person is really searching for what he is going to say—that he doesn't know what to say. However, some [ who? Once on The Godfather set, Brando was asked why he wanted his lines printed out.
He responded, "Because I can read them that way. The role is regarded as one of Brando's greatest. The reception of Brando's performance was so positive that Brando quickly became a male sex symbol in Hollywood. The role earned him his first Academy Award nomination in the Best Actor category. He was also nominated the next year for Viva Zapata! It recounted his peasant upbringing, his rise to power in the early 20th century, and death. The film was directed by Elia Kazan and co-starred Anthony Quinn.
In the biopic Marlon Brando: The Wild One , Sam Shaw says, "Secretly, before the picture started, he went to Mexico to the very town where Zapata lived and was born in and it was there that he studied the speech patterns of people, their behavior, movement. Years later, in his autobiography, Brando remarked: 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.
Only years later did I learn why. After achieving the desired effect, Kazan never told Quinn that he had misled him. It was only many years later, after comparing notes, that Brando and Quinn realized the deception. Brando's next film, Julius Caesar , received highly favorable reviews. Brando portrayed Mark Antony.
While most acknowledged Brando's talent, some critics felt Brando's "mumbling" and other idiosyncrasies betrayed a lack of acting fundamentals and, when his casting was announced, many remained dubious about his prospects for success. Directed by Joseph L. Mankiewicz and co-starring British stage actor John Gielgud , Brando delivered an impressive performance, especially during Antony's noted "Friends, Romans, countrymen Gielgud was so impressed that he offered Brando a full season at the Hammersmith Theatre, an offer he declined.
In his biography on the actor, Stefan Kanfer writes, "Marlon's autobiography devotes one line to his work on that film: Among all those British professionals, 'for me to walk onto a movie set and play Mark Anthony was asinine'—yet another example of his persistent self-denigration, and wholly incorrect.
It was like a furnace door opening—the heat came off the screen. I don't know another actor who could do that. By all accounts, Brando was upset by his mentor's decision, but he worked with him again in On The Waterfront. Triumph's importers were ambivalent at the exposure, as the subject matter was rowdy motorcycle gangs taking over a small town.
The film was criticized for its perceived gratuitous violence at the time, with Time stating, "The effect of the movie is not to throw light on the public problem, but to shoot adrenaline through the moviegoer's veins.
To Brando's expressed puzzlement, the movie inspired teen rebellion and made him a role model to the nascent rock-and-roll generation and future stars such as James Dean and Elvis Presley.
After the movie's release, the sales of leather jackets and blue jeans skyrocketed. More than most parts I've played in the movies or onstage, I related to Johnny, and because of this, I believe I played him as more sensitive and sympathetic than the script envisioned.
There's a line in the picture where he snarls, 'Nobody tells me what to do. In , Brando starred in On the Waterfront , a crime drama film about union violence and corruption among longshoremen. His performance, spurred on by his rapport with Eva Marie Saint and Kazan's direction, was praised as a tour de force. For the famous I coulda been a contender scene, he convinced Kazan that the scripted scene was unrealistic.
Schulberg's script had Brando acting the entire scene with his character being held at gunpoint by his brother Charlie, played by Rod Steiger.
Brando insisted on gently pushing away the gun, saying that Terry would never believe that his brother would pull the trigger and doubting that he could continue his speech while fearing a gun on him.
Kazan let Brando improvise and later expressed deep admiration for Brando's instinctive understanding, saying:. What other actor, when his brother draws a pistol to force him to do something shameful, would put his hand on the gun and push it away with the gentleness of a caress?
Who else could read "Oh, Charlie! If there is a better performance by a man in the history of film in America, I don't know what it is. Weiler praised the film, calling it "an uncommonly powerful, exciting, and imaginative use of the screen by gifted professionals.
I thought I was a huge failure. Much later, it turned up at a London auction house, which contacted the actor and informed him of its whereabouts.
Brando would later say in his documentary, Listen to me Marlon, that he felt the part in On the Waterfront that won him an Oscar was to him personally, not good, and that he knew he had done better acting. In the behind the scenes of On the Waterfront film experts and critics would say he would change lines because he didn't like the script, and that he'd let the director know by having regular conversations. However, this was a way for Brando to prepare before a scene by warming up before starting the dialogue, in order to deliver it as natural as possible.
Brando often saw a shrink, and reportedly wasn't there for some of the shooting of the scene when the close up was on the opposite actor. This is why this part of his technique is recognized mistakenly as him being difficult, and not a part of his approach. Following On the Waterfront , Brando remained a top box office draw, but critics increasingly felt his performances were half-hearted, lacking the intensity and commitment found in his earlier work, especially in his work with Kazan.
He portrayed Napoleon in the film Désirée. According to co-star Jean Simmons , Brando's contract forced him to star in the movie. He put little effort into the role, claiming he didn't like the script, and later dismissed the entire movie as "superficial and dismal". Brando was especially contemptuous of director Henry Koster. Brando and Simmons were paired together again in the film adaptation of the musical Guys and Dolls Guys and Dolls would be Brando's first and last musical role.
Time found the picture "false to the original in its feeling", remarking that Brando "sings in a faraway tenor that sometimes tends to be flat. They sewed my words together on one song so tightly that when I mouthed it in front of the camera, I nearly asphyxiated myself". 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.
Brando played Sakini, a Japanese interpreter for the U. 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.
He's harmlessly genial and he is certainly missed when he's offscreen , though the fey, roguish role doesn't allow him to do what he's great at and it's possible that he's less effective in it than a lesser actor might have been.
Newsweek found the film a "dull tale of the meeting of the twain", but it was nevertheless a box office success. According to Stefan Kanfer's biography of the actor, Brando's manager Jay Kanter negotiated a profitable contract with ten percent of the gross going to Brando, which put him in the millionaire category. The movie was controversial due to openly discussing interracial marriage , but proved a great success, earning 10 Academy Award nominations, with Brando being nominated for Best Actor.
The film went on to win four Academy Awards. Teahouse and Sayonara were the first in a string of films Brando would strive to make over the next decade which contained socially relevant messages, and he formed a partnership with Paramount to establish his own production company called Pennebaker, its declared purpose to develop films that contained "social value that would improve the world.
In , Brando appeared in The Young Lions , dyeing his hair blonde and assuming a German accent for the role, which he later admitted was not convincing. The film is based on the novel by Irwin Shaw , and Brando's portrayal of the character Christian Diestl was controversial for its time.
He later wrote, "The original script closely followed the book, in which Shaw painted all Germans as evil caricatures, especially Christian, whom he portrayed as a symbol of everything that was bad about Nazism ; he was mean, nasty, vicious, a cliché of evil I thought the story should demonstrate that there are no inherently 'bad' people in the world, but they can easily be misled.
I play the role; now he exists. He is my creation. The film was based on another play by Tennessee Williams but was hardly the success A Streetcar Named Desire had been, with the Los Angeles Times labeling Williams's personae "psychologically sick or just plain ugly" and The New Yorker calling it a "cornpone melodrama".
In , Brando made his directorial debut in the western One-Eyed Jacks. The picture was originally directed by Stanley Kubrick , but he was fired early in the production. Paramount then made Brando the director. Brando's penchant for multiple retakes and character exploration as an actor carried over into his directing, however, and the film soon went over budget; Paramount expected the film to take three months to complete but shooting stretched to six and the cost doubled to more than six million dollars.
Brando's inexperience as an editor also delayed postproduction and Paramount eventually took control of the film. Brando later wrote, "Paramount said it didn't like my version of the story; I'd had everyone lie except Karl Malden. The studio cut the movie to pieces and made him a liar, too. By then, I was bored with the whole project and walked away from it. While the film did solid business, it ran so over budget that it lost money. 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.
The actor was accused of deliberately sabotaging nearly every aspect of the production. 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. Critics also began taking note of his fluctuating weight. Distracted by his personal life and becoming disillusioned with his career, Brando began to view acting as a means to a financial end.
Critics protested when he started accepting roles in films many perceived as being beneath his talent, or criticized him for failing to live up to the better roles. Previously only signing short term deals with film studios, in Brando uncharacteristically signed a five-picture deal with Universal Studios that would haunt him for the rest of the decade.
The Ugly American was the first of these films. Based on the novel of the same title that Pennebaker had optioned, the film, which featured Brando's sister Jocelyn, was rated fairly positively but died at the box office. Brando was nominated for a Golden Globe for his performance. The experience turned out to be an unhappy one; Brando was horrified at Chaplin's didactic style of direction and his authoritarian approach.
Brando had also appeared in the spy thriller Morituri in ; that, too, failed to attract an audience. Brando acknowledged his professional decline, writing later, "Some of the films I made during the sixties were successful; some weren't. Some, like The Night of the Following Day , I made only for the money; others, like Candy , I did because a friend asked me to and I didn't want to turn him down In some ways I think of my middle age as the Fuck You Years.
It is generally regarded as the nadir of Brando's career. The Washington Post observed: Not for the first time, Mr. Brando gives us a heavy-lidded, adenoidally openmouthed caricature of the inarticulate, stalwart loner. I was very convincing in my pose of indifference, but I was very sensitive and it hurt a lot. Brando portrayed a repressed gay army officer in Reflections in a Golden Eye , directed by John Huston and costarring Elizabeth Taylor.
The role turned out as one of his most acclaimed in years, with Stanley Crouch marveling, "Brando's main achievement was to portray the taciturn but stoic gloom of those pulverized by circumstances. The film deals with themes of racism, sexual revolution, small-town corruption, and vigilantism. The film was received mostly positively.
Brando also detailed his clashes with Pontecorvo on the set and how "we nearly killed each other. During the s, Brando was considered "unbankable". Brando's performance as Vito Corleone , the "Don," in The Godfather , Francis Ford Coppola 's adaptation of Mario Puzo 's best-selling novel of the same name , was a career turning point, putting him back in the Top Ten and winning him his second Best Actor Oscar.
Paramount production chief Robert Evans , who had given Puzo an advance to write The Godfather so that Paramount would own the film rights,  hired Coppola after many major directors had turned the film down. Evans wanted an Italian-American director who could provide the film with cultural authenticity. Coppola also came cheap.
Evans was conscious of the fact that Paramount's last Mafia film, The Brotherhood had been a box office bomb, and he believed it was partly due to the fact that the director, Martin Ritt , and the star, Kirk Douglas , were Jews and the film lacked an authentic Italian flavor. Coppola admitted in a interview, "We finally figured we had to lure the best actor in the world.
It was that simple. That boiled down to Laurence Olivier or Marlon Brando, who are the greatest actors in the world. Evans told Coppola that he had been thinking of Brando for the part two years earlier, and Puzo had imagined Brando in the part when he wrote the novel and had actually written to him about the part,  so Coppola and Evans narrowed it down to Brando.
Ruddy , whom Paramount assigned to produce the film, agreed with the choice of Brando. However, Paramount studio heads were opposed to casting Brando due to his reputation for difficulty and his long string of box office flops. Brando also had One-Eyed Jacks working against him, a troubled production that lost money for Paramount when it was released in Paramount Pictures President Stanley Jaffe told an exasperated Coppola, "As long as I'm president of this studio, Marlon Brando will not be in this picture, and I will no longer allow you to discuss it.
Jaffe eventually set three conditions for the casting of Brando: That he would have to take a fee far below what he typically received; he'd have to agree to accept financial responsibility for any production delays his behavior cost; and he had to submit to a screen test.
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. Coppola had feared Brando might be too young to play the Don, but was electrified by the actor's characterization as the head of a crime family.
Even so, he had to fight the studio in order to cast the temperamental actor. 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. Who is this old guinea? In a 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.
They were very unhappy with it. They didn't like the cast. They didn't like the way I was shooting it. I was always on the verge of getting fired. He broke the ice by toasting the group with a glass of wine. Brando's performance was glowingly reviewed by critics. Robinson played, but who is kind of a hero, a man to be respected," Brando recalled in his autobiography.
In other words he, like, deemphasized the word action. He would go in front of that camera just like he was before. It was all the same. There was really no beginning. I learned a lot from watching that. He boycotted the award ceremony, instead sending aboriginal 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 aboriginal Americans by Hollywood and television.
The actor followed The Godfather with Bernardo Bertolucci's film Last Tango in Paris opposite Maria Schneider , but Brando's highly noted performance threatened to be overshadowed by an uproar over the sexual content of the film.
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Learn more More Like This. A paralized war vet tries to adjust to the world without the use of his limbs. The rise and fall of Napoleon Bonaparte, Emperor of France. A Streetcar Named Desire The Ugly American The Fugitive Kind On the Waterfront An ex-prize fighter turned longshoreman struggles to stand up to his corrupt union bosses. Guys and Dolls The Teahouse of the August Moon Edit Cast Complete credited cast: Johnny Strabler Mary Murphy Kathie Bleeker Robert Keith Sheriff Harry Bleeker Lee Marvin Sheriff Stew Singer Peggy Maley Charlie Thomas Ray Teal Frank Bleeker John Brown Bill Hannegan Will Wright
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