Peter Eramo Ranks: The Top 5 Performances of Marlon Brando

For my money, Marlon Brando was the greatest actor the silver screen has ever seen. A student of the famous Stella Adler Studio, there was simply no one better. Before James Dean and the method actors that would later follow, Brando brought a completely new style of naturalistic and instinctive acting to film. With his debut performance in “The Men” (1950), he was the very first of his kind…a forefather, a godfather of method acting in cinema. As a high school student, I was an obsessive fan of his, taking in as much of his performances as I could. As a theatre major in college, Brando was the epitome of everything I looked up to in an actor. To me, he could do anything he set his mind to; look and sound and play any part whatsoever. I remember feeling devastated when he passed away at the age of 80 in 2004, but I always have his films that I can pop in at anytime and relish in the viewing of watching a true actor at work. His resume is not as vast as most as he never seemed to love what he did, which is a shame. Many consider him to be a tremendous waste of talent because of this and I can understand that. Brando was a complex man with many passions. Sadly, for all his God-given talent, it didn’t seem like acting was ever one of them.

I have of course seen every Marlon Brando film, some of them many times. Even in the “stinker” movies he was involved in (and there were a few), he still managed to shine and give a wonderful performance. This is a list of what I believe to be Brando’s Top 5 screen performances of all-time. It is NOT his Top 5 movies, because then I would surely put “The Godfather” at #1. This is simply judging what I think were his greatest achievements as an actor in his too few 39 film roles.

#5. Col. Walter E. Kurtz in “Apocalypse Now” (1979)

“We must kill them. We must incinerate them. Pig after pig… cow after cow… village after village… army after army…”

I was tempted to put another here (like “Sayonara” or “Mutiny on the Bounty“) for a number of reasons. One is his short amount of screen time, but more importantly, Brando’s approach throughout seems less than stellar: he came late, he came grossly overweight, he never read the book, he didn’t know his lines, he had Francis Ford Coppola read the book aloud to him and was a bane in his director’s side during the entire process. Having said that, he does give one of the most memorable performances in screen history here. Coppola managed to get around the weight issue in how he shot all of his scenes. Captain Willard (Martin Sheen) is given the assignment of finding and killing Col. Kurtz on his remote compound and to ”terminate with extreme prejudice.” So the entire film is building up to Willard finally meeting this enigmatic, psychotic Colonel. The character resonates within the viewer’s psyche before we even meet him. And when we do finally see him, Brando does not disappoint. He is a madman, a philosopher, a war hero, an intellect, a God among his people. He commands your attention in each scene he is in and creates a haunting, complex figure in Col. Kurtz.

#4. Stanley Kowalski in “A Streetcar Named Desire” (1951)

“You think I’m gonna interfere with you?… You know, maybe you wouldn’t be bad to interfere with.”

He was the talk of Broadway when he created the role in 1947 (under the direction of Elia Kazan) and blew audiences away with his animal-like ferocity and fresh approach to the craft of acting. With Kazan directing the film and a stellar cast around him (all 3 won Oscars), Brando stars in only his 2nd film and now becomes the new Hollywood sensation. His iconic cry of “STELLA!!!” is now embedded in the most memorable moments in film. His brutal taunting towards (and rape) of his unbalanced sister-in-law, Blanche (Vivien Leigh) is a fascinating watch. You’ve never seen a dinner table cleared in this fashion before. Here, his huge presence is tormenting throughout and you never know what Stanley’s next move is going to be. What Brando does is amazing though — he manages to bring some tenderness and helplessness to this seemingly despicable man. His love for his wife is clear to see, even though he sometimes has a funny way of showing it. I never get tired of this film and can watch him play this part anytime. This is one of those rare parts that, when a newer actor tries to re-create it on stage in some revival, he’s already got his first foot in a ditch as it can never measure up and will always be held up to comparisons of what Brando did here.

#3. Terry Malloy in “On the Waterfront” (1954)

“You think you’re God Almighty, but you know what you are? You’re a cheap, lousy, dirty, stinkin’ mug! And I’m glad what I done to you, ya hear that? I’m glad what I done!”

Many put this at #1 and I would have no problems with that as he is absolutely phenomenal here in his first Oscar-winning performance. Brando plays an ex-boxer here, a man who coulda been so much more, who coulda had a better life, who “coulda been a contender.” Instead, he is now a longshoreman who is struggling with his conscience to stand up to a corrupt union boss, Johnny Friendly (Lee J. Cobb) after witnessing a murder by Johnny’s men. He meets the dead man’s sister (Eva Marie Saint) and when he begins to fall for her, he begins to have second thoughts about everything he once thought. The scenes he has with Father Barry (Karl Malden) are terrific, as we get to watch two friends play off one another yet again. The scene in the car opposite Rod Steiger breaks your heart and is now properly viewed as being a scene for the ages. Terry Malloy is a complex character, with so many layers. Brando is so subtle and so brilliant that he manages to show us each and every one of those layers. If you have never seen this “Best Picture” winner and you consider yourself a student of film, then this is a must-see.

#2. Don Vito Corleone in “The Godfather” (1972)

“But I’m a superstitious man. And if some unlucky accident should befall him, if he should be shot in the head by a police officer, or if should hang himself in his jail cell, or if he’s struck by a bolt of lightning…then I’m going to blame some of the people in this room. And that, I do not forgive.”

I don’t even think I need to write anything here. Brando. Godfather. Done!  The man was only 47 when he filmed this. No one at Paramount wanted him involved with this project. Thank God Coppola got his way. It is not only one of the top 3 best pictures ever made, but Brando is nothing short of sensational here as the patriarch of the Corleone crime family. He rightfully wins his 2nd ‘Best Actor’ Oscar here and creates a character that will be well-remembered for as long as there is such a thing called movies. The way he looks down Santino’s body and tells the undertaker, “Look how they massacred my boy” gives me chills. The way he feebly waves his hand at Tom when he learns that it was Michael who did the killings; the way he tells Tom that “this war ends now”; the beautiful scene he has outdoors with Michael; his improvised scene with the orange peel in his mouth; how he scolds Sonny for airing his thoughts out loud…you want me to keep going??? There’s about 50 more! It’s all ingenious, all exceptional and done by a virtuoso of the craft of acting.

#1. Paul in “Last Tango in Paris” (1973)

“Even if a husband lives 200 hundred fucking years, he’ll never discover his wife’s true nature. I may be able to understand the secrets of the universe, but… I’ll never understand the truth about you. Never.”

I look at this film as the greatest film actor giving his greatest screen performance — it is raw, uninhibited, courageous, multifaceted, daring, and vulnerable. Director Bernardo Bertolucci helps in letting Brando strip himself of everything but his emotions in this superb film. There is no hiding here, and it is in this performance that we see Brando the person most clearly. He brings everything of himself into the difficult role of Paul, the American expatriate who meets the beautiful young Parisian, Jeanne. His wife has just committed suicide and his insides are now swarming with rage and grief. He begins a sordid, dark and mysterious love affair with Jeanne where names are forbidden and sexual pleasures are the only fare on the menu. Brando’s monologue towards his dead wife is genuine and masterful. When he does open up to Jeanne for a brief moment with an anecdote about his childhood, it is riveting to watch. I can watch this film anytime because (1) I just love the movie and (2) I get such a thrill out of just watching Brando do his thing. It’s a spellbinding watch and one of the greatest performances ever put to film. Just watch this entrancing monologue and look at the myriad of emotions this guy goes through so seemlessly, so effortlessly. It’s a wonder to watch…

Best Films of the Decade (2000-2009)

The end of the decade is soon approaching and a number of my film-geek friends have been posting & sharing their lists of the decade’s best films, so as a self-proclaimed film-geek myself, I had to voice my own voluble opinion. This was much more difficult than I had anticipated (one of the reasons for including the long list of ‘Honorable Mentions’ that could have easily been twice as long). I started with about 25-30 and tried to chisel and reason bit by bit. I tried to stay away from what film critics would include just for the sake of showing off their (at times) pretentious “artiness.” I based my decisions on artistic merit, creativity/originality, and most of all, personal enjoyment. In any case, here they are….

10.    The Lookout (dir. Scott Frank)

This movie never really got its due when it was released in 2007. Part bank-heist film and part “Memento” (over-rated…sorry), this movie grabs you from the beginning and never lets up. Joseph Gordon-Levitt establishes himself nicely as a strong lead (as he did again in this year’s “(500) Days of Summer”) and Jeff Daniels is wonderful in a supporting role. If you haven’t seen it, it is great entertainment – smart and slick with great characters and a very tight script. We feel for Levitt’s character from his tragic beginning and empathize with his plight throughout. This is what Hollywood action films should be and probably why it never made much money – it’s actually pretty damn clever, expertly shot and high on entertainment.

9.  Little Children (dir. Todd Field)

When I think of the great filmmakers working in cinema today, the name ‘Todd Field’ doesn’t spring into my mind. However, with TWO films on this very difficult list, perhaps it is about time his name does start popping into the conversation of wonderful, artistic directors. This film is extraordinary. Very tough to watch at times, but for all the right reasons. Jackie Earle Haley got most of the press when the film debuted in 2006 and was rightfully nominated for an Oscar, however, all the actors are at the top of their game here. Phyllis Somerville (as Ronnie’s mother) was simply spectacular and was snubbed of her own nomination. The narration at first was awkward for me, but I quickly got used to it and in viewing the film again, fit nicely. This is a very daring film and Field makes some very strong choices throughout. Great details to each and every shot. Patrick Wilson and Kate Winslet are perfectly cast and have strong chemistry on the screen. It is Jackie Earle Haley though and his performance that haunts us long after the final credits roll. The scene in the car after his date is one of the most disturbing scenes in recent memory. Overall, a dark, yet sadly believable look at suburbia and the ‘little children’ who inhabit it.

8.  The Illusionist (dir. Neil Burger)

I know this film is probably on no one’s list, but I don’t care. I loved it! I distinctly remember walking out of the theatre exclaiming, “That’s the best film I’ve seen in a long time!” Edward Norton is surely one of the finest actors of his generation (“The Incredible Hulk” a rare poor choice) and he does not disappoint here. I am aware that the film is high in melodrama and a bit “schmaltzy” in the romance department, but I bought it from start to finish. At its heart, the film is a wonderful romantic picture. It contains classic good and evil characters, no matter how orthodox they may be. Is Rufus Sewell over the top? Yes! But we HATE him!!! And Paul Giamatti is terrific here, giving us more dimension to his antagonistic character. He is not a “Bad guy” – there is much more to him. And Jessica Biel??? She is absolutely gorgeous here and does a fine job opposite Norton. Beautifully shot period piece, set in turn-of-the-century Vienna. The cinematography here is wonderful and the score, ever effective. The story sucks you in and the magic here is much more entertaining than that of “The Prestige” which came out the same year. This is the better film for you romantics out there. A great final act too that I was not expecting and don’t think many viewers did expect.

7.  Crash (dir. Paul Haggis)

Again, high melodrama. Fine. I’m comfortable with that. Despite what many have said, this deserved its ‘Best Picture’ Oscar and I remember being so relieved that it beat out the even more melodramatic “Brokeback Mountain.” All I know is this – I was not bored for a minute, I was sucked into all of the ever-weaving subplots, I cried in a couple of scenes, and I was sorry to see it end. Haggis’ screenplay is spectacular. It could have easily been very manipulative, especially when it came to the theme of racial relations – and it never fell into that dangerous trap. Matt Dillon creates a wonderful character with many sides – we can understand where this man is coming from after his scene explaining his father’s predicament. The highlight of this powerful film is Michael Pena and the scenes he has with his daughter. The invisible cape stuff? Couldn’t stop crying! And Ryan Phillipe is fine here….for being one of the only ‘innocent’ characters in this collage of events, it makes the ending all the more ironic. I felt all the stories blended nicely and Haggis does a splendid job at knowing when to keep us at the edge of our seats and when to let us breathe. He also manages to make some very profound statements on racy subjects such as race, sex, politics, crime, parenthood, and bigotry without preaching to us. The film is set in Los Angeles, but it could take place in any city, any town in our society. A riveting and at times, magical film.

6.  Sideways (dir. Alexander Payne)

Being in my mid-thirties when this came out in 2004, I think I was able to relate to Miles more than if I was just a student in film school. A very sad statement in itself to be able to relate to Miles at all here, but I think most men in their 30’d and 40’s can certainly do just that and that makes the film even stronger. What can be said about the cast that hasn’t already been said? Paul Giamatti is perfect for this role – he was born to play Miles. His camaraderie with Thomas Haden Church is a pleasure to watch. Church of course is the dissolute and immoral character, but he is talented enough to make his character more than that – and to have us sympathize with him at times. In fact, we sympathize with all four main characters in different ways – a tough feat and a credit to Payne and his cast. Madsen is warm and endearing here – a perfect match for Giamatti’s role. Payne writes a near perfect script here (even stronger than his previous “Election” which was in itself a wonderful picture). Yes, the wine is used as metaphor throughout, but there is much more to it with each viewing. Giamatti’s scene in the fast-food restaurant with his vintage bottle of wine is like a knife to the heart and though the film analyzes two middle-aged men who believe they will never amount to anything – Payne gives us a believable and optimistic ending that is filled with hope. A lovely, intelligent, witty and heart-breaking film that, like a fine wine, will most likely go down better with age.

5.  Matchstick Men (dir. Ridley Scott)

Though I feel that David Mamet’s “House of Games” is the classic con film, “Matchstick Men” holds its own and is superb in its own right. It is, I would think, a very tough challenge to create a “con film” but the script here is so good and the actors so convincing, that we buy the con hook-line-and-sinker. I have problems with Nicolas Cage and his many silly choices, but when he picks the right role, he can do some great work (see “The Weather Man,” “Adaptation” and “Wild at Heart”). He is equally terrific here as the obsessive-compulsive Roy Waller. Cage usually does his best work playing quirky characters. Sam Rockwell is intense and strong as always and Alison Lohman, Bruce McGill, and Bruce Altman complete a very impressive supporting cast. The father-daughter relationship here works, the friendship relationship works – the con works. The film is funny, unpredictable, sweet and when it wants to hit you in the gut – it does so…and hard. Scott does a nice change of pace here from his epic films (“Gladiator” would be on a Top 30 list of the decade I am sure). This film is much more intimate, more delicate, more real. I was not sure why this film did not get the awards recognition I thought it deserved when it came out in 2003 and still can’t figure that one out. It’s hard not to love this picture. Though Waller is put through the wringer, we know that he is finally happy by the end of the ride – and so are we for taking it with him.

4.  There Will be Blood (dir. Paul Thomas Anderson)

You can perhaps count the list of masterpieces made from 2000-2009 on one hand, if that. This is undoubtedly one of them. A masterpiece in every sense of the word (amazingly, Anderson’s second, following the ever-daring “Magnolia”). And on this little list of mine, this may be the only one I can confidently use such a word (perhaps my #2 film can fall in that category, I’m not sure). So why is this not my number one film then? In creating this list I went with artistic merit, surely – but also other factors as well. This is not a film I can watch at any time. One needs to be ready for it…to brace themselves for the epic that follows. I do believe it to be the best piece of filmmaking of the decade. That said, this is the kind of film that will be studied by film students decades from now – extraordinary on every level. Based on Upton Sinclair’s novel, Anderson’s adaptation of the story that revolves around family, greed, religion and oil is an achievement of the highest quality. Anderson has always been a courageous filmmaker and continues here. He trusts his audience – always has. He lets us sit in a darkened theatre for 20 minutes, following Daniel Plainview in the mines without a word of dialogue. And we watch. The score (by Jonny Greenwood) is unforgettable and brilliant. Robert Elswit’s cinematography may be the best I have seen in years. This is the film that should have taken home the Oscar for ‘Best Picture,’ but I presume that voters thought the Coen Brothers were overdue and went in their direction (and I am not knocking the Coen Brothers at all – they’ve been making some of America’s finest films since their debut in 1985 and in my opinion, have only made one bad film). The nucleus of this wonder is of course the character of Daniel Plainview – it all revolves around him. And what better actor to be up for this mighty challenge and play him than Daniel Day-Lewis? With Brando’s passing – and Newman’s that followed, he may very well be our finest screen actor working today. 95% of actors are cast in roles and never immerse themselves into their characters – or “become” the character. Remember when DeNiro and Nicholson used to do that? Daniel Day-Lewis is one of the handful of actors that are chameleon-esque and become someone new – the definition of acting. In Daniel Plainview, he creates a character for the ages. As long as there is cinema, we will always remember Daniel Plainview – one of the greatest screen characters in the history of film. I know this mini-review seems to be littered in hyperbole, but it’s not at all. Every aspect of this motion picture deserves the highest of praise. Day-Lewis is terrifying – one of the most charismatic screen villains of all time. The performance goes up there with Brando’s Terry Malloy and Vito Corleone. I do think Anderson could have done better than casting Paul Dano opposite Day-Lewis…he is fine here and does an admirable job – but Daniel Day-Lewis is perhaps too much for him in their scenes together. There are many classic lines and scenes peppered throughout. Anderson has truly made a towering achievement that deserves its place alongside other American epic classics such as ‘Ben-Hur,’ ‘Gone With the Wind,’ ‘The Birth of A Nation,’ ‘Doctor Zhivago’ and ‘Reds.’

3.  Eternal Sunshine of the Spotless Mind (dir. Michel Gondry)

One of the most original and creative films to come out during the decade, for sure. Charlie Kaufman’s screenplay is as unique as they come and Gondry handles the story with deftness and care. Kate Winslet and Jim Carrey are wonderful here and both characters break your heart throughout their relationship. The premise is one that anyone who has had their heart broken can relate to – but it’s only through their process of loss do both characters realize what they had in the beginning. As bizarre and inimitable as the story seems, we can relate to much of this film and live vicariously through them. Is there someone in my past I’d like to wipe out of memory? Absolutely. This film though is a gentle reminder that even our most painful memories are ones that we should still hold close to heart – better to have a slice of the pie than never to have had none at all. Carrey gives a terrific, sincere performance and matches Winslet (no easy feat) throughout. The film has a bit of everything – but at its core is romantic a relationship that we root for. A strong supporting cast is led by Tom Wilkinson, David Cross, and Kirstin Dunst. This film is nothing short of a delightful gem – it tugs at your heart and, unlike the process the two characters go through – stays in your memory for a long, long time.

2.  In The Bedroom (dir. Todd Field)

A perfect, perfect motion picture. There is not a line spoken nor a shot taken that should be removed from this film. With “Little Children” and this tremendous achievement, Todd Field proves not only that he is a filmmaker to be reckoned with, but that he is a master at adapting written works. Here, it is a short story by Andre Dubus. It is one of the finest, strongest adaptations in recent film history. In fact, the first 70 or 80+ minutes of the film is all his creation based on what is given in the short piece by Dubus. He creates his own world founded on what is given to him in the short story “Killings” and it blends perfectly. Field gets the very most out of each actor while establishing the New England setting so vividly, so beautifully – you can almost smell the clam chowder coming off the screen. The cast is brilliant. Tom Wilkinson is extraordinary. One of the finest performances of the decade, for certain. Sometimes you don’t need to see someone play a psychotic, a mentally disturbed or challenged person, or someone larger than life to witness magnificence in the craft of performance. Wilkinson reminds us of this. He is our center here and keeps everything grounded around him. His scenes with his son are touching and genuine; the ones with Sissy Spacek are explosive. One in particular (when they are interrupted by a Girl Scout selling candy) is a remarkable watch that deserves additional viewings. Marisa Tomei is the ideal actor to take on the role of Natalie and she is a marvel to watch here, opposite Nick Stahl. Stahl may not be so very well known, but he is a fine actor (see the very powerful “Bully”) and gives his character exactly what it needs in order for the plot to follow through. Because it is, after all, a revenge film at heart. Though unlike any revenge film you have ever seen. This film is a constant reminder to me that the entire art of filmmaking begins with a story and a script. You get a great story and tight, creative and solid script, you are already ahead in the game. Big Hollywood blockbusters with CGI and special effects are all well and good – but it is films like “In the Bedroom” that remind me why I love film. I have seen this film numerous times and it never gets stale to me. There is humor sprinkled throughout, touching moments, moments when you just want to shake sense into the characters and moments when I can never stop the tears from coming. It is an experience to sit through Field’s wonderful work here and to witness the phenomenal cast at work – this includes great work by William Wise (as Wilkinson’s good friend who will do anything to help him in his time of need) and William Mapother who has his own challenging role. His Richard Strout is a great accomplishment. He is surely our villain here and is the reason for the Fowler family’s anguish – but in Strout, he gives reason (for lack of a better word), substance and a bit of empathy to his violent and reckless actions. I can watch this film anytime – to watch Wilkinson at work – he does not make a wrong move at any time here…every line spoken, every nuance, every expression is affecting and real. This film remains a testament to the idea that good works are based on great writing, skilled performances, and beautiful imagery – from the opening shots to its dark, startling last scene you are in this New England town and observing great art.

•   Almost Famous (dir. Cameron Crowe)

I went with sheer pleasure in deciding this as my top pick of the decade…that, and the fact that it’s some pretty damn good filmmaking. I absolutely love this movie and am reminded of it each time I catch it. It is the ultimate coming-of-age story put on film and set to a glorious soundtrack. In just over two hours time, we watch William Miller, the young boy, become a man who has seen it all – and lived to tell about it. Patrick Fugit does a great job in the role as our naïve and besotted protagonist. Cameron Crowe’s dialogue reminds me of James L. Brooks in that he has so many ingenious and memorable lines in his films – and this one is no exception. His ear for screen dialogue is truly a gift – and he knows how to make his audience laugh or cry at his will. His ear for music is equally as impressive. Crowe has always incorporated music quite brilliantly in his films (with the exception of the highly disappointing “Elizabethtown”) and in this film it is used impeccably. The scene in the tour bus set to Elton John’s “Tiny Dancer” is one of the greatest uses of a song to film I have seen in recent memory (tied with how “Falling Slowly” is utilized in the brilliant little indie,“Once”). As for the performances, everyone shines. Philip Seymour Hoffman makes the most out of his small role, stealing every scene he is in. Frances McDormand is hysterically funny (“Rock stars have kidnapped my son!”) and though we may not agree with her ideas about rock-n-roll music or how she raises her two children, we can certainly empathize with and have compassion for her. As the two frontrunners of the  Stillwater band, Jason Lee and Billy Crudup are very well cast and dazzle us with their performances. Kate Hudson’s Penny Lane is a great creation – she is impetuous, romantic, reckless, loyal and heart-breaking. This semi-autobiographical film is an absolute joy and I believe Crowe’s strongest work. Every note is hit with precision and care. We experience all the highs and lows as William Miller experiences them – we go on tour with him and certainly root for him to achieve his ambitious goal. Crowe obviously loves his music and we are reminded of some true classics here. It is a rock-n-roll film – but so much more than that. If you haven’t seen it, do yourself a favor and watch it in one sitting. It’s contagious and a great example of why I go to the movies. Debuting in 2000, it still stands as my absolute favorite of the decade as we approach 2010…Thanks, Cameron!

16 Honorable Mentions – in no particular order, though all 4-Star Films:

The Dreamers (dir. Bernardo Bertolucci)
21 Grams (dir. Alejandro Gonzalez Inarritu)
Swimming Pool (dir. Francois Ozon)
Before the Devil Knows You’re Dead (dir. Sidney Lumet)
Into the Wild (dir. Sean Penn)
Away From Her (dir. Sarah Polley)
Munich (dir. Steven Spielberg)
Die Falscher (The Counterfeiters, dir. Stefan Ruzowitsky)
Dancer in the Dark (dir. Lars von Trier)
Les Invasions Barbares (The Barbarian Invasions, dir. Denys Arcand)
A History of Violence (dir. David Cronenberg)
Wonder Boys (dir. Curtis Hanson)
Requiem for A Dream (dir. Darren Aronofsky)
The Reader (dir. Stephen Daldry)
In Bruges (dir. Martin McDonagh)
District 9 (dir. Neill Blomkamp)