chaotic personal life of, xxx, 158, 181, 292, 301, 321
chess, passion for, 9, 20, 20, 98, 123, 175, 213, 285, 372n
childhood of, 7–19, 8, 14, 17, 19, 21–22, 31, 44, 53, 105, 237
civil rights involvement of, 322, 330–39, 332
clichés and myths about, xv–xvi, xxxii, 367n–68n
comic work of, 126–27, 128, 286–88, 304–6
competitiveness of, 378n
complexity of, xxx, 368n
concentration, powers of, xxxi, 79, 351
confidence of, xxii–xxiii, 48
contempt toward Hollywood of, 298, 310
contract issues and, 84, 120, 125, 161, 181, 249, 264, 393n
contradictory traits of, 24
courage of, 209
as cowboy, 19, 19
curiosity of, xxxi, 25, 169, 315, 318, 403n
death of, xvii, xx, xxiv, xxxii, xxxiii, 36–37, 180, 197, 217, 344, 367n–68n
dedication to acting of, 283–84
depression of, 293, 295
dinner parties of, xxiii, 9, 369n, 374n
directing of, 20, 141–58, 167, 180, 326–27, 384n
dogs of, xx, xxxvi, 8–9, 24, 32, 120, 244, 261, 343, 354, 358, 370n, 378n
double-talk perfected by, 286–87
as drummer, xx, xxi, 22, 30, 34, 114
dyslexia of, 13, 25
early romantic interests and dating of, 14–15, 24–25
earnings of, xiii–xiv, 20–21, 83, 118, 141, 153, 158, 181, 205, 256, 261, 264, 265, 276, 294
eating habits and dieting of, 128, 253, 261, 267, 321, 405n
eccentricity of, xvi, 24, 29, 34, 49
education of, xxii, xxxii, xxxix, 13–16, 14, 23, 25–32, 90, 96, 207, 263, 374n, 375n; see also actors, acting, Brando’s study of
energy and vigor of, xvi, 1, 50, 86, 202, 218, 256, 401n
expulsion from military school of, 28–29, 30
eyes of, xxix, 33, 121, 160, 370n
family background of, 1–7, 50, 237, 373n
Far East tour of, 311–12
as father, 21, 174, 176–77, 181, 237–38, 256, 265, 289, 292, 297, 396n, 401n
FBI file of, 323, 324, 334
film role preparations of, xxiii, 85–86, 86, 87, 90–92, 118, 120, 182–84, 192–93, 255, 256, 268–71, 407n, 408n
financial carelessness of, 67, 84, 158, 181
freedom of, xv, 83, 126, 196, 265
genius of, xiii, 21, 34, 45, 70, 81, 217, 376n
gift giving of, 46, 369n, 407n
gifts received by, xxxiv–xxxv
as grandfather, xxxi
greatness of, xv, 58, 137
guilt of, 66, 292
health issues of, 29, 253, 296–97, 400n, 405n
hiking of, 15–16
historical afterlife, iconic longevity, and wide-ranging appeal of, xv, xvi–xvii, xxiv, 101–2, 219, 234, 236, 255–56, 287–90
honesty of, xxxviii–xxxix, 44–45, 138
humanitarianism of, 16, 67, 68, 322, 339–48
humor of, xxxiv, xxxvii–xxxviii, 8, 15, 33, 41, 48, 53, 71, 72, 81, 85, 97, 126–27, 147, 155, 187, 188, 221, 261, 276, 286–88, 296, 304–6, 331, 411n
idealism of, 103, 117–19, 158, 179, 180, 214, 264, 265, 275, 391n
image of, xv, xviii, xxii, 174, 253
imagination and creativity of, 44, 70, 78–79, 95, 160, 217, 276
imitative skills of, xxv, 24–25, 29–30, 45, 124, 287, 380n
improvisation and, xxvi–xxvii, 81, 110, 187, 245, 356, 389n
independent thinking of, xvi, 66, 331
individuality, nonconformity and subversive streak of, xxxiv, 1, 28, 29, 82, 84, 105, 125, 320
instincts of, xxiii, 71, 196, 255, 405n
intellect, hunger for knowledge, and “life of the mind” of, xv–xvi, xxii, xxxv, xxxviii, 15, 50, 103, 164, 256, 310, 327
interviews of, xviii, xxiii, xxxviii, 99, 286, 336, 339–40, 346
language skills and interests of, xv, xxxiv, xxxv, xxxvi–xxxvii, 15, 25, 26–27, 36, 49, 71, 96–99, 117, 127, 128, 129, 149, 165, 182, 243, 282–83, 296, 314, 318, 319, 326, 331, 348, 350–51, 371n–72n, 380n, 386n, 396n, 413n
legal wrangling and libel suit of, xxx, 158, 174, 265, 336, 396n
Liberty Canyon acreage donated by, 322, 323
lists as passion of, 26, 149, 391n
loneliness of, xx, 23, 44, 53
loyalty and, 32, 38, 62, 180, 238, 299
lying and fabrications of, xix, 24, 46, 82, 230–32
makeup of, xxv, 54–56, 54, 55, 121, 123, 126, 128, 235, 334, 356, 381n
marginalia by, xxii, xxx, xxxiv–xxxvi, 97, 163, 166, 169, 184, 317–19, 319, 326–29, 337, 338, 369n, 379n, 397n, 400n, 416n, 419n, 421n, 422n, 423n, 424n
marriages and divorces of, xxx, 92, 131, 158
masks, interest in and uses of, xxix, 216, 225, 307, 356, 359, 362, 427n
materialism of, xxxii, 177, 264, 378n
memory of, 26, 96, 386n
as Midwesterner, xxxix, 1–31, 237
modesty of, xxxii, 128
motivations of, xxx, xxxviii, 179, 232, 265
as observant, xiii, xv, xx, xxxvii, 25, 33, 39, 45, 70–71, 80, 121, 255, 287
on-location filming of, 314
parody interviews of, xix, 249–50
passions of, xx–xxiv, xxi, 217
phone tapping of, 324
physical appeal of, xv, xvi, xxxii, 23, 33, 368n
physique of, 75, 108, 121
political views and activities of, xvii, xxxii, 89–90, 105, 106, 118, 139, 180–83, 191–92, 215, 250–51, 256, 293, 295, 304, 310, 320–22, 324, 325, 329, 333, 398n; see also political films
poor spelling of, 15, 15, 26, 398n
privacy and secrecy of, xxxii–xxxiii, 82, 175–76, 224, 238, 291
psychiatry and therapy of, xxxiv, 105, 253, 296
and realism about racism, 338–39
scripts written and rewritten by, xxiii, xxxvi–xxxvii, 79, 83, 109–10, 129–30, 132, 136, 147–49, 148, 151, 161–65, 183–88, 189, 195, 198, 201, 215, 221, 267–68, 283, 298, 390n, 394n, 398n, 399n, 407n
seductiveness of, 15, 124, 169
self-reflection of, 256
sense of fairness in, 315–16
sensitivity and empathy of, 16, 21, 23, 29, 36, 39, 53, 66, 86, 92, 121, 201–2, 209, 315, 318, 378n
sexism experienced by, xv–xvi, 368n
sexuality, promiscuity, and womanizing of, xvi, xxix, xxx, xxxiii, xxxv, 12–13, 32, 62, 70, 75, 92, 125, 169, 219, 237, 238, 253, 256, 378n
sidekicks of, 299–300
singing of, 124–26
skepticism of, xxii, 267, 269–70, 317–18
smiles discussed by, xiii–xv, 177, 327, 362
social conscience of, 58, 63–64, 66, 85, 140, 315, 316, 331–32
as social outcast, 331–32
and suffering, xxxvii, 16, 35, 38, 62, 157, 197, 251, 281, 310, 315, 322, 336, 340
talent of, 29–30, 123, 154–55, 157, 180, 181, 185, 215, 255, 376n
technique of, xxvi–xxix, 70–75, 123–24, 298
theater career of, xviii, xix, xxxii, 20, 24, 28, 30, 31, 45, 49, 51–81, 230, 310, 380n, 384n
touch of, 5, 373n
as traveler, 311–16, 330, 340
types of roles played by, xiv, xvi–xvii, xxv–xxvi, 28, 38–39, 83–84, 117, 139, 234, 253–54, 256, 265–66, 370n
unhurried and patient image of, 149–50, 279, 410n
vision of, 131, 146, 156–57, 218
voice of, 160, 285, 308
vulnerability of, 44, 379n
zeal for order and habits of, xxii, xxx–xxxi, 371n
see also specific films and plays
Brando, Marlon, Sr., 1–2, 6–7, 10–13, 18, 23–26, 30, 31, 291, 291, 373n, 384n
Brando’s correspondence with, 26, 27, 66, 141, 375n, 398n
Brando’s relationship with, 17–22, 20, 26, 105, 141, 154–56, 221
death of, 21, 156
drinking of, 11, 23
ed
ucation of, 6, 25, 31
Pennebaker work of, 20–21, 141, 154
photography of, 18–19
ranch of, 141, 391n
separations and reconciliations of, 16–17, 22, 32–33
violence of, 12, 21, 35, 141, 376n
womanizing of, 12, 16, 23, 24
Brando, Miko, 92, 174, 176–77, 181, 238, 396n
Brando, Myles Jonathan, 373n
Brando, Ninna, 297
Brando, Rebecca, 92, 238, 396n
Brando, Teihotu, 174, 177, 367n, 396n
Brando, Timothy Gahan, 373n
“Brando” (Hodenfield), 261
Brando Estate, sale of, see Christie’s
Braudy, Leo, 388n
Brave, The (film), 329
Breen Office, 81
“Bridge of Sighs, The” (Hood), 293
Brink, André, 284
British Academy of Film and Television Arts (BAFTA), 99, 181, 222
British Board of Film Censors, 102
Britt, May, 135, 286–87
Britton, Edgar, 11
Broadway, xix, 20, 51, 103, 126, 158
Brando’s debut on, 45
Brando’s departure from, xxxii, 83
Brando’s fame on, xv, 24, 230
commercialism and, 83
see also specific plays
Broderick, Matthew, 289
Brooklyn, courts in, xv, 40
Brooks, Stanley, 380n
Brown, Barbara, 374n
Brown, Dee, 326
Brown, Harrison, 182–83
Brown, Norman O., 169
Brutsman, Joseph, 296, 303, 305–6
Brynner, Yul, 140
Buddhism, 128, 271
Buffalo Soldiers, 328
Bull Boy (script), 283
Burdick, Eugene, 167, 182, 184, 397n
Burn! (film), xxv, 140, 181, 210–17, 213, 381n, 400n–401n, 408n
Burton, Richard, xix, 140
Byron, George Gordon, Lord, 262
Caan, James, 94, 239, 242
California, 119, 144, 167, 193
California Supreme Court, 175
Cambodia, 272
camera, 160, 163, 196, 261
On the Waterfront and, 112–13
Streetcar and, 78, 79, 81
Campbell, Joseph, 271
Camp Grant Massacre, The (novel), 327
Camus, Albert, 113–14, 229–30, 386n, 388n, 402n
Canby, Vincent, 216, 234, 275
Candida (Shaw), xix, 52–53, 368n, 380n
Candy (film), xxv, 126, 140, 285, 286, 330
capitalism (free enterprise), 144, 177, 238–39, 240, 264, 265
capital punishment, 167, 304, 394n–95n
Capone, Al, 24
Capote, Truman, xviii, xxix, 232, 403n
Captain Bligh and Mr. Christian (Hough), 164
Carey, Norman, 330
Caribbean, 211–13
Carnovsky, Morris, 42, 104
Carroll, Diahann, 333
Cartagena, 212–13, 213, 400n
Castaneda, Movita, 92, 174, 181, 314, 338
caste, 166, 192, 340, 342
cats, xxxvi, 8, 23, 41, 81, 242, 244, 244, 290–91, 290, 343, 378n, 412n
Catholic Church, Catholicism, 90, 238, 325
censorship and, 81–82
in On the Waterfront, 107, 116
Cat on a Hot Tin Roof (Williams), 283
Cavett, Dick, 252
celebrities and fame, xiii–xx, xxxi–xxxiii, 26, 125, 152, 173, 230, 254, 297, 308
Brando’s views of, xiii–xx, xxxi–xxxiii, 82, 83, 84, 230, 254, 297, 310, 314–16, 345, 403n
see also Brando, Marlon, celebrity, fame, and success of
Cell 2455, Death Row (Chessman), 167
censorship, 81–82, 102, 384n
self-, 208
Central High School, 6
Champlin, Charles, 275
Chaplin, Charlie, xxvi, 126, 140
characterization, 147, 163, 188, 256, 398n
in Apocalypse Now, 259, 407n
Brando’s technique of, xxvi–xxviii, 70–75, 79, 92–93, 123, 209, 215
in Godfather, 236
in Last Tango in Paris, 231–33
in Missouri Breaks, 257, 406n
charisma and magnetism, 72–75, 121, 154, 185, 220, 256
Chase, Borden, 161
Chase, The (film), xxii, xxv, xxxviii, 127, 140, 181, 191–201, 194, 289, 370n, 399n
improvisation in, 196, 399n
innovative portrayal of violence in, 197–99
makeup for, 54
Reflections in a Golden Eye compared with, 200, 201
slow-motion beating scene in, 197–98
Chekhov, Anton, 68–69
chess, 9, 20, 20, 98, 123, 175, 213, 285, 372n
Chessman, Caryl, 167
Cheyenne Indians, 326
Chicago, Ill., 13, 24
Chicago Art Institute, 36, 377n
Chicago Sun-Times, 275
child actors, 246–48, 247, 404n
Childer, James Saxon, 182, 387n
children:
Brando’s attention to, 237–38, 256
in Godfather, 238, 239, 240, 244, 246–48, 247, 404n
legitimizing of, xxx, 92
play for, 45
Chinese culture, 177–78
Chivington, John, 326
Christianity, Christians, 39, 85, 103, 271
see also specific sects
Christian Science, 5, 17, 33, 191, 237, 271, 374n
Christie’s, xxxiii, 96, 368n, 396n–70n, 371n, 374n, 375n, 382n, 386n, 393n
Christopher Columbus: The Discovery (film), 293–95
Chrysanthemum and the Sword, The (Benedict), 133
Church, Frank, 320, 323
Church, Sandra, 18
Church, Thomas Haden, 303
Church Committee Reports, 323
CIA, 271, 324
cinema-face, 225, 367n, 402n
citizenship, 91
civil rights, xviii, 214, 240, 283, 320, 324, 330–39, 332, 398n
of blacks, 5, 96, 101, 154, 181, 193, 198, 322, 330, 331, 333, 337
of immigrants, 5
Civil Rights Roundtable, 191–92
Clark, Edward, 20
class, xxiv, 90, 135, 192, 219
Brando’s characterization of, 38–39
in Chase, 193, 195
in Last Tango in Paris, 224, 227, 228
in Mutiny on the Bounty, 161–62, 171–73
Nightcomers and, 220–22
in On the Waterfront, 110, 113, 116
Cleaver, Eldridge, 211, 334, 335
Clift, Montgomery, 68–70, 132, 200, 204–5
Clinton, Bill, 368n
clothes and costumes, 56, 266, 301, 306–7, 326, 356, 358
glasses, 188, 276, 398n
gloves, 39, 110, 135, 309, 387n
in Godfather, 243–44, 244
hats, xxvii, 150, 406n–7n
in Last Tango in Paris, 225, 229
in Missouri Breaks, 258, 260, 406n
Club Saint-Germain, xxi
Clurman, Harold, 48
on Brando, 79, 315–16, 371n–72n, 378n
The Group and, 41, 42, 43
Truckline Café and, 51–52, 380n
Cobb, Lee J., 107
Cocteau, Jean, 53
Cold War, 104, 118, 186
Cole, Nat King, 126
Coleridge, Samuel Taylor, 226, 393n
Colon, Miriam, 303
colonialism, 117, 127, 211, 227–28, 327
in Mexico, 90, 91
Columbus, Christopher, 295
Columbus (film), 256
comedy, comedians, 126–27, 128, 286–87, 304–5, 306
Brando’s ideas about, 305–6
risk in, 288
Come Out Fighting (TV show), 80, 108
Coming of Age in Samoa (Mead), xxiii
communication, nonverbal, 149, 150
see also gestures; silence, words vs.
Communism, 47, 73, 88–91
, 103–6, 114, 182, 183, 189, 192, 387n
community, 116, 161, 166, 199
Community of Fear (Brown and Real), 382–83, 397n
competition, sexual, 199
computers, xxxvi, 238, 372n
concentration camps, 136, 138, 408n
conformity, 102, 192
Congress, U.S., 182
Congress for Racial Equality (CORE), 200, 333, 335
Congressional Record, 320
conquest, of Mexico, 90, 91
Conrad, Joseph, xxii, 266, 271–72
Constitution, U.S., 192
Convis, David R., 405n
Cook, Bruce, 262, 406n
Coolidge, Calvin, 42
Copland, Aaron, 47, 48, 81
Coppola, Francis Ford, 94, 209–10, 297, 330, 386n
Apocalypse Now and, 267–68, 270–72, 275, 407n–8n, 409n
Godfather and, 235, 239, 246, 403n, 404n
Cornell, Katharine, 52, 141
Corridan, John, 108
corruption, 198, 248
Costner, Kevin, 218
Cottman, Herman Stuart, 30
Countess from Hong Kong, A (film), xxvi
courts, xv, 39, 40, 175
Covarrubias, Miguel, 90–91, 317
Cowboy Encyclopedia, 317
Cox, Wally, 15–16, 26, 31, 149
Brando’s correspondence with, 36, 377n
death of, 36–37
in New York, 35–36
Crawdaddy, 262
Crawford, Cheryl, 42
crime, criminals, xv, 24, 168, 197, 230, 285, 306
in One-Eyed Jacks, 142, 144
in On the Waterfront, 107–13, 116
organized, see mob, Mafia
war, 268, 274
“Crime on the Waterfront” (Johnson), 107
Crises of the Republic (Arendt), 273, 409n
Crist, Judith, 262
cross-cultural understanding, 118, 128–31
Crowe, Russell, 264
Crowther, Bosley, 153
Cuba, 103, 192, 397n
cultural politics, 219
culture, xxiv, xxxviii, xxxix, 12, 25, 168
American, 99, 103, 119, 127, 248, 267
Asian, 117–18, 128, 129, 130
Brando’s roles and, xxv, 117
Chinese, 177–78
clash of, 163, 193, 216
diversity and differences of, 116, 118, 133, 141, 142, 166, 169, 171, 227
emotion and, xiii
hierarchy and, 214
Holocaust and, 117
humor and, xxxiv, 126
Jews and, 62, 382n
rituals and, 171, 226–27
standardization of, 119
storytelling and, xxix
Tahitian and Polynesian, 163, 165, 175
transformations of, 68
Curtis, Michael, 169
Dacascos, Mark, 300
dance, 34, 169, 177, 283
Dances with Wolves (film), 218
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