Brando's Smile: His Life, Thought, and Work
Page 49
Nordhoff, Charles, 165
North, Alex, 369n
Norton, Ed, 306, 307
Notes for his Autobiography (NFA), xxxviii–xxxix, 373n
“Notes on Indians” (Brando), 142
nuclear arms, 183, 276, 299
nudity, 12, 34, 221
in Reflections in a Golden Eye, 202, 205, 206
Obama, Barack, xxiv, 370n
objects, Brando’s work with, xxvi–xxviii, 39, 45, 150, 196
O’Brien, Frederick, 166
Odets, Clifford, 42, 43, 104
Okinawa, xxv, 126, 127, 192
Old Man and the Sea, The (Hemingway), 160
Oliver, Douglas, 166
Oliver, Edith, 153
Olivier, Laurence, xvi, 79, 117, 121, 123, 400n
Olympia, Wash., 320
Omaha, Nebr., 1, 4–13, 8, 23, 48, 64
Omaha Community Playhouse, 9–11, 10, 13
One-Eyed Jacks (film), xxv, xxvii–xxviii, xxxvii, 91, 139–58, 148, 193, 217, 317, 329
Brando’s directing of, 20, 141–58, 180, 326, 384n
Chase compared with, 193, 200
chess playing on set of, 20, 20
dramatic saloon entrances in, 150
earnings of, 151, 153
family screening of, 155–56
handshake in, 147, 150, 151
influence of, 151–53
marginality in, 142–43, 150
Mona Lisa with card in, 150, 152
plot of, 141, 145–46
psychological implications and, 144–45, 151, 154–57
scene in Spanish in, 149, 391n–92n
sources for, 143–45
title of, 151
On Guerrilla Warfare (Mao Tse-tung), 183
On the Waterfront (film), xiv, xxv, 38–39, 69, 82, 103–17, 115, 387n, 390n
Brando’s alterations to, 109–10
makeup for, 54, 55, 55
and passing of an era, 106
pigeons in, 111–12, 113
renowned lines in, 108–9
success of, 116–17
“Terry Malloy” in, 107–14, 116, 388n
On Violence (Arendt), 409n
Open End (TV show), 176–77
Operation PUSH, 336
Oppenheim, Tom, 405n
Optima Cigar Store, xv
Orkin, Ruth, 20
Orpheus Descending (Williams), 158, 159
Orpheus myth, 158–59
Osborn, Paul, 129
Oswald, Lee Harvey, 199
Ouspenskaya, Maria, 42
outcasts and marginality, 157
in Fugitive Kind, 159–60
in One-Eyed Jacks, 142–43, 150
Texas and, 193, 195
outrage, 66, 75, 284, 333
Outsider, The (Wilson), 114, 388n
Oz, Frank, 307
Pacino, Al, 239, 404n
Page, David, 306
Paglia, Camille, xvi
“Pain No More Party,” 302
Palcy, Euzhan, 284
Palestine, Palestinians, 61, 63, 64, 66, 382n
Panama, 192
Paramount, 146, 153, 154, 390n–91n, 392n
paraplegic war veterans, 84–88, 86, 87
Paris, 135, 136
Brando in, xxi, 105, 114, 133–34, 134, 311
Ellen Adler in, 85
Les Deux Magots in, 114
Stella Adler in, xxvii, 44
Parker, Gitta, 370n
parody, xix, 249–50
Parqui, C., 120
Partisan Review, 167
Pat (Irish wolfhound), 8, 374n
patriarchy, xxiv, 145, 158, 264, 381n
in Godfather, 236–37, 240
patriotism, 311
Pauling, Linus, 167
Peace Corps, 183
Pearson, Carol, 410n
Peavine Frenzy (horse), 19, 23
Peck, Anthony, 303
Pellicer, Pina, 391n
Penn, Arthur, xxviii, 140, 196, 197–98, 200, 399n
Missouri Breaks and, 257, 261, 406n
Penn, Sean, 303, 325–26, 368n
Pennebaker, Dorothy, see Brando, Dorothy Pennebaker
Pennebaker, William John, 4, 9, 272n
Pennebaker Productions, 118, 179, 181, 313
Brando Sr.’s work for, 20–21, 141, 154
purpose of, 140–41, 391n
see also One-Eyed Jacks
Pentagon Papers, 273
personality, emotion and, xiii
personality tests, 410n
Person to Person, 291, 291
Peters, Jean, 93
pets, xxxvi, 8–9, 23, 291, 370n, 374n
childhood, 8
Philippines, 119, 182, 267, 269, 399n, 408n
philosophy, 25, 50, 117, 166, 410n
existentialism, 114, 229–30
non-Western, 4
political, 192–93
physicality, 108, 244
of Ermi, 12–13
Picard, Max, 2, 25, 367n, 402n
Picasso, Pablo, 208
pigeons, 111–12, 113
Piscator, Erwin, 37, 96
playbills, fabricated biographies in, xix, 368n
Playboy, 266
Pocket Book of Verse, 293
poetry, poets, xx, xxxv, xxxvi, 46, 96, 159, 293
Dickinson, xxxi, 23–24, 375n
Eliot, 270–71, 275, 408n–9n
Kilmer, 264, 407n
Poitier, Sidney, 191
political films, 180–219, 325–26, 337
see also Burn!; Chase, The; Reflections in a Golden Eye; Ugly American, The
political philosophy, 192–93
Political Power and Personal Freedom (Hook), 102–3, 166
political science, 396n
politics, 53, 66, 85, 117, 165, 166, 168, 240, 267
Brando’s books about, xxxvi
Kazan and, 88–90, 104
in Mexico, 90–93
sexual, see sexual politics
Pollock, Dale, 275
pollution, 310
Polynesia, 311
Pomare I, King, 345
Pomare V, King, 343
Pontecorvo, Gillo, 140, 210–18, 330, 400n, 401n
Pope, Carmelita, 24–25, 31
Portugal, 211–13
poverty, 315
power, 70, 72, 73, 78, 93–94, 123, 234, 262
of acting, 157, 225, 249
American, 61
Brando’s contempt for, 28–29, 315
of film, 225
in Godfather, 234, 237
of Hollywood Jews, 62
moral, 154
in Mutiny on the Bounty, 171–73
natural, 296
political, 154
of rhetoric, 95, 97–99
of seduction, 124
Zapata’s distrust of, 90
prejudice, 129–31, 137–38, 140, 192, 315
homophobic, 176, 203–4, 400n
see also race, racism
Preminger, Otto, 137
Prescott, William H., 92
press, 82, 263, 403n
freedom of, 182
merchandising aspect of, xix
primates, xxxvi, 8, 347, 425n, 427n
Progoff, Ira, 191
Prohibition, 11
Prophet, The (Gibran), 46
Protestants, 214, 237, 239
Prucha, Francis Paul, 192, 329, 398n
Pryor, Richard, 306
psychiatrist, psychiatry, xxxiv, 124
psychoanalysis, 85
psychology, 216, 402n
of character, 44
mass, 73, 132–33, 390n
One-Eyed Jacks and, 144–45, 151, 154–57
psychology books, xxxvi, 85, 117, 369n, 371n
psychotherapy, 191
publicity, 173, 175, 210, 216
Brando’s disdain for, xviii–xx, xxxii–xxxiii, 82, 125–26, 251, 382n
Puente, Tito, 34
punishment, 162, 206, 226, 236
capital, 167, 394n–95n
puppies, in Viva Zapata!, 94, 95n
Puyallup River, 320
Puzo, Mario, 235, 239
Quinn, Anthony, 94, 386n
quotes, quotation books, 26, 149
race, racism, 35, 71, 84, 117, 129, 166, 191–92, 199, 200, 211, 266, 294
against blacks, 66, 208, 209, 331, 333, 338
Brando’s realism about, 338–39
in Hollywood, 333
in Last Tango in Paris, 227, 228
Zionism as, 63
racial intermarriage, 68
Radhakrishnan, Sarvepalli, 133
Rafelson, Bob, 330
railroads, 327
Rains, Claude, 120
Rambo III (film), 276, 409n
Random House, xix, 379n, 403n
“Random Notes on the Script” (Brando), 193, 197
rape, 204, 230, 402n
Streetcar and, 76, 78, 81, 384n
Wild One and, 100–101
Real, James, 183n
reality, theater vs., 248
Rebel, The (Camus), 113–14, 116, 386n
rebels, rebellion, 227–28, 270
Brando and, 28–29, 40, 46, 101–3, 114, 166
in Burn!, 211–12, 216
in Godfather, 236
On the Waterfront and, 112–14
Wild One and, 99–102
see also guerrilla fighters
Redford, Robert, 140, 195, 196
Reed, Carol, 167, 173
Reeve, Christopher, 264, 407n
Reflections in a Golden Eye (film), xxv, xxvi, 28, 140, 181, 200–210, 203, 204, 272
distribution problems of, 210, 216
influence of, 209, 400n
mirrors in, 209, 206, 400n
Reflections in a Golden Eye (McCullers), 208
Reich, Wilhelm, 132–33, 390n
religion, 117, 230, 237
Brando’s reading about, 50, 117, 270–71, 351, 372n, 395n, 408n–9n
non-Western, 4, 50, 128
see also specific religions
Republicans, xxiv, 321
reviews:
film, 87, 88, 137, 139, 153, 173, 189–90, 195, 210, 216, 222, 230, 234, 249, 261–64, 275, 276, 302, 307, 385n, 395n, 406n–7n
theater, 49, 53, 66, 73–74, 380n, 384n
Rexroth, Kenneth, 167
rhetoric, 95, 97–99, 264
Rhetoric (Aristotle), 46
Rhodes, Philip, 300
Rich, Frank, 275
Richardson, Samuel, 27
Rickles, Don, 306
riots, 199–200, 202–3, 204
rituals, 84, 171, 226–27
Robertson, Cliff, 158
Robinson, Edward G., 59
Rockwell, George Lincoln, 72, 266
Rodgers, Richard, 49
Rodriguez, Tito, 34
roles:
Brando’s types of, see Brando, Marlon, types of roles played by
mumbling in, 79
Rolling Stone, 261
Romeo and Juliet (film; 1996), 303
Roosevelt, Eleanor, 61
Roosevelt, Franklin D., 59, 382n
Roots (TV show), 72, 80, 265–66, 337
Rosellini, Albert D., 320
Rosenberg, Frank, 149, 382n
Rota, Nino, 369n
Ruby, Jack, 199
Ruddy, Al, 235, 403n
Ruiz, Christina, 297, 401n
Rumshinsky, Joseph, 377n
Runyon, Damon, 125
Russell, Bertrand, 25
Russian theater, 42, 45, 54
sacrifice, sacrificial characters, xxiv, 68, 110, 115–17, 167, 197, 216, 322
Apocalypse Now and, 273, 275
sadomasochism:
in Last Tango in Paris, 225–26
in Nightcomers, 219, 220, 223
Saint, Eva Marie, 107, 287n
Salisbury, J. H., 4
Salkind, Alexander, 293, 294, 295
Salkind, Ilya, 293, 294–95
Salvatori, Renato, 211
Sand Creek Massacre, 326
Santa Ana, Calif., 16–17
Sarandon, Susan, 284
Sartre, Jean-Paul, 114, 338, 388n
Satiacum, Robert, 320
Saturday Evening Post, 173–74
Saturday Night with Connie Chung, 286
Saturday Review, 125
Sayonara (film), xxv, 28, 68, 126, 128–31, 373n, 410n
Schary, Dore, 63–64, 126, 382n
Schell, Maximilian, 135
Schneider, Maria, 223
Schoenbrun, David, 134, 390n
Schulberg, Budd, 106, 107, 108, 110, 111, 113
science, xxxi, xxxvi, 102, 256, 263, 265, 407n
Science and Health (Eddy), 5
Score, The (film), xiv, 297–98, 306–8, 307
Scorsese, Martin, 153, 330, 400n
Scott, George C., 276
scripts, xxx, 121, 276
for Apocalypse Now, 267–72, 409n
Brando’s rewriting and writing of, xxiii, xxxvi–xxxvii, 20, 79, 83, 109–10, 129–30, 132, 136, 143, 147–49, 148, 151, 161–65, 183–88, 189, 195, 198, 201, 215, 221, 240–46, 267–68, 271–72, 283, 298, 390n, 394n, 398n, 399n, 403n–4n, 407n
for Chase, 195, 196, 198, 201, 399n
for Godfather, 235, 240–46, 403n–4n
Jericho, 276
for Mutiny on the Bounty, 161–65, 174, 394n
for One-Eyed Jacks, 141, 143
for On the Waterfront, 107–10, 241
for Reflections in a Golden Eye, 201, 205, 209
for Sayonara, 129–30
for Ugly American, 183–88, 189, 398n
Seagull, The (Chekhov), 68–69
Seale, Bobby, 101, 211, 334, 400n
seductiveness, 202, 220, 232–33, 248
of Brando, 15, 124, 169
Segal, Ronald, 192
Selected Poems of Emily Dickinson, 23–24, 375n
self-knowledge, 224, 402n
Senate, U.S., 182, 185, 187, 197, 320, 323
sensitivity, 68, 76, 108, 124
see also Brando, Marlon, sensitivity and empathy of
sex, sexuality, 53
post-1972 films subordination of, 219
in Streetcar, 74–75, 76, 78, 81
as ultimate stage, 230
see also Brando, Marlon, sexuality, promiscuity, and womanizing of; sadomasochism
Sex and Repression in Savage Society (Malinowski), 169
sexism, xv–xvi, 368n
sexual dysfunction, in The Men, 84, 86
sexual fantasy, 224, 225
sexual politics, 219–34
see also Last Tango in Paris; Nightcomers, The
Shabalala, Joseph, 284
Shakespeare, William, 57, 204, 207, 260
Brando’s memorizing of, 26, 386n
Brando’s reading of, 25
Jacob Adler’s playing of, 38–39
shame, 93, 104
Shapiro, Robert, 291
Shattuck Military Academy, 6, 25–30, 90, 96, 207, 375n, 376n
Shaw, George Bernard, 52–53
Shaw, Irwin, 128, 131–34, 134
Sheen, Charlie, 303, 305
Sheen, Martin, 163, 270, 305
Shin, Peter, 308, 309
“Shylock,” 38–39, 377n
Signoret, Simone, 229
silence, 107, 233
Holocaust and, 60
words vs., xxxvii, 5, 68, 79, 88, 94, 110–12, 136, 169, 233, 350
Silko, Leslie, 326
Simmons, Jean, 124, 125
Simoneau, Yves, 303, 305–6
Simpson, Alan, 320
Sinatra, Frank, xvi
Singapore, 119
Sinoto, Yosihiko H., 344
Sioux Indians, 324
Sixtus IV, Pope, 294
Sketches of Spain (Davis), xxii, 369n
slavery, 178, 211–13, 328, 330
smiles, xiii–xv, 97, 101, 142, 150, 156, 177, 205, 222, 232, 243, 260, 301, 308, 327, 357, 362
earning power and, xiii–xiv
as indices of vulnerab
ility and manipulation, xiv
Smith, Kenneth J., 230
social change, 101
socialism, Socialists, 46, 240
social science, 117
sodomy, 225–26, 233
Soldier (Herbert), 268–70, 408n
Solinas, Franco, 211
Songs My Mother Taught Me (Brando), xix, 9, 376n, 382n, 388n, 403n, 405n–6n
fan letters in, 385n
Hamlet’s advice used in, 79
Jewish experience in, 62–63
notes for, xxxviii–xxxix, 373n
photographs in, 55–56, 381n
promotion of, 249
Sorvino, Mira, 303–4, 305
South, U.S., 105, 181, 199, 200
South Africa, 102, 192, 337
apartheid in, 284
Southeast Asia, 118, 127, 141, 178, 183, 188–89, 197
Southern, Terry, 285
South Pacific, xxxvi
South Sea Story, A (script), 283
Soviet Union, 102–3, 104, 176, 192, 276, 409n
Spain, 211, 294
Spanish, xxxvi, 149, 193, 195, 391n–92n
Spanish Inquisition, 294
Spiegel, Sam, 105, 108, 196, 387n, 390n
Spingarn Medal, 322
spirituality, 2, 4, 128, 143, 237
Brando’s reading about, 270–71, 408n–9n
Standing Bear, 5
Stanislavski, Constantin, xxiii, 42, 381n
Adler’s work with, xxvii, 44
dramatic theory of, xxviii–xxix, 40, 44, 50
Stanley, Richard, 298
Stanton, Harry Dean, 258, 259
Stapleton, Maureen, xviii, 69, 158
Stark, Ray, 205, 210
stars, 250, 264, 265
multitalented, 125
Steiger, Rod, 107
Steinbeck, John, xxii, 88, 89, 91, 93, 385n
Stern, Stewart, 185, 187, 311, 313, 388n
Stevenson, Adlai, xviii
Stillman’s Gym, 80
Stone, I. F., 73, 383n
Stonewall riots, 202–3, 204
stories, storytelling, xxix, 125, 160, 222
for Apocalypse Now, 267
eyes and, 79
“Strabler, Johnny,” 124
Strasberg, Lee, 41–44, 80
The Group and, 42, 43, 44, 379n
Strasberg, Paula, 104
Strauss, Theodore, 84–85
Streetcar Named Desire, A (film), xiv, 69, 74, 76, 78, 79, 81–82, 126, 310
baby in, 81, 384n
Streetcar Named Desire, A (play), xviii, 25, 28, 67–80, 77, 230, 311, 378n, 384n
photographs for, 76, 77
reviews of, 73–74, 384n
voice in, 74–75
Stress and the Art of Biofeedback (Brown), 374n
student activism, 240
studio-contract system, 83
Suddenly Last Summer (film), 200
suffering, 136, 154, 157, 167, 197
Brando and, 16, 35, 38, 62, 157, 197, 251, 281, 310, 315, 340
HUAC and, 106
of Indians, 251
of Jews, 63
in On the Waterfront, 107, 116, 117
in Reflections in a Golden Eye, 206, 209
Sugar Cane Alley (film), 284
Sullivan, Ed, 30
Sunday Morning Address (Smith), 230