Word: marlon
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Rich completely missed the boat on John Belushi; "fat comic actor" indeed! Jackie Gleason is a fat comic. Belushi is a brilliant Marlon Brando type who maybe needs to lose 20 Ibs. There's a significant-and very sexy-distinction...
...opening scene to Last Tango is just great. Marlon Brando, standing under the elevated platform, wearing a brown overcoat, is yelling at the top of his lungs as the subway passes overhead, drowning out his cries. Boston, unfortunately, does not really have an elevated, except for the small part of the Orange Line which passes over Washington St., but if you try, you can gain some sense of satisfaction for your Cambridge-weary blood. No, you may not be Marlon Brando, or even Maria Schneider, but if you want to get away from Cambridge, your best bet is to take...
...ballet should belong to Kitri- and eventually it will as it enters the A.B.T. repertory and other men take Basil's part. Right now Baryshnikov's dynamism puts things off balance, much as Marlon Brando's Broadway perfo mance in A Streetcar Named Desire obscured the fact that the play was really about Blanche DuBois. Baryshnikov is the Figaro of Spanish barbers. He flirts recklessly, he fumes, he pouts. He does a wonderful bit with two mugs, leaping and drinking out of both at once. He has a hilarious, hollow-eyed mad scene in which he stabs...
Before there was Pacino, or De Niro, or Nicholson-before there were James Dean and Marlon Brando even -there was Montgomery Clift. Bursting onto the screen in Red River and The Search (both 1948), Clift set the standard for a whole generation of actors. He was intense and hypnotically alive. His lines seemed to come not from the script but from the gut, and he seemed dangerously unpredictable, like a high-tension wire torn from its moorings. For the better part of a decade, Clift was the star producers sought first. But then, in the longest suicide in Hollywood history...
...Waterfront. You've heard all those "I cudda been a contenduh" imitations over the years, so you might as well take in the real thing. Marlon Brando predictably dominates this tale of corruption on the docks of Hoboken; his amoral, streetwise Terry Malone will always be mentioned in the same breath with his Stanley Kowalski and Don Vita. The portrayal of Brando's relationship with Eva Marie-Saint's paragon of prudery rankles a bit, sugary in a few embarrassing moments. Yet Elia Kazan's otherwise slick direction salvages the plot, wisely allowing Brando to showcase his still developing talents...