Hello and thank you for being a DL contributor. We are changing the login scheme for contributors for simpler login and to better support using multiple devices. Please click here to update your account with a username and password.

Hello. Some features on this site require registration. Please click here to register for free.

Hello and thank you for registering. Please complete the process by verifying your email address. If you can't find the email you can resend it here.

Hello. Some features on this site require a subscription. Please click here to get full access and no ads for $1.99 or less per month.

Marlon Brando By Peter Manso

From Brando ultimate biography by Peter Manso :

" During Munity on the Bounty filming : While Brando's coterie of friends loved the action, the married Rhodes withdrew, Although perfectly willing to sit with Marlon and discuss what was on his mind, he had by now noticed that his friend had "immersed himself in a sexual Shangri-la and freedom he'd never known before." So out of hand had it become that it amounted to "a free-for-all," and it was turning into "the main part of his life," Rhodes added. "It was like, 'I can't talk to you until I get somebody over to give me a blow job.'

"Brando, like many of the crew, paid the price for womanizing and suffered the so-called MGM flu, as gonorrhea swept the island. The problem had not taken long to present itself, and soon a local physician who claimed to have huge stocks of antibiotics on hand was put on salary. According to Jimmy Taylor, the doctor was lying. "It was nothing more than an antiseptic iodine ointment that he painted patients with." The ointment was totally ineffective, and soon Brando's private physician, Dr. Robert J. Kositchek, was flown in from Beverly Hills at a cost of $10,000 to handle a case of "indigestion." It was not Brando's first experience with the clap, certainly, and after ten days of injections the actor was able to return to the cameras. "Everybody knew he had the clap," said Taylor, "so I couldn't understand why anybody still wanted to sleep with him." In short order, Tarita was infected, and she passed it on to Christiansen. Like Brando, she had to undergo treatment.

"Brando directed himself, and his death scene, shot on the MGM lot, was more bizarre than anything he'd done to date. He was lying there naked," said Jimmy Taylor. "The makeup man had put burns on his exposed flesh, and I had this fabric with simulated burn marks that I was going to paste on his skin to cover up his genitals. Then he asked, 'Why doesn't my crotch burn?' I said, 'Well, I can't do that, Marlon. We've got a censor problem. Maybe we can use makeup to blend this in with the pants.' 'No, no. If the pants are going to burn, so is the cock. You've got to show it.'

"I then got to Rosenberg and explained what Marlon was demanding. Aaron's reply? 'Well, he's shown his cock to everybody else, now he wants to show it to the American public. Don't worry, I'll put a tarp over him.'

"I'd never seen anything like it in my fifty-year career," Taylor added. "An actor, a star who is prepared to lie out in the middle of the stage with his cock hanging out. The whole crew was there—we had firemen, extras—there must have been sixty or more people standing around, and he had no embarrassment."

Through chattering teeth he gave an enormously effective rendition, even though he couldn't remember his lines. This time, a human cue card in the person of Tarita was utilized. The camera was shooting over the back of her head, and Marlon was supposed to murmur a couple of words in Tahitian as he died. As Ridgeway Callow recalled, "We got a grease pencil and wrote the words on Tarita's forehead."

Offsite Link
by Anonymousreply 43January 1, 2017 8:11 PM

He was hot to death at the time that MOTB was being filmed. I'd have been happy to lend him a hand.

by Anonymousreply 1December 13, 2016 12:27 AM

R1 if you'd lent him both hands, he'd have given you the clap......

by Anonymousreply 2December 13, 2016 12:32 AM

"Brenman-Gibson, a psychoanalyst at Harvard Medical School, had known Odets through her husband, playwright William Gibson, Brenman-Gibson concluded that Marlon "had started to make his move," and, she conceded, "like any other woman in her right mind, I was attracted to this man

"There are casual lady-killers and serious lady-killers," she continued. "The casual lady-killer is a person who doesn't try to involve you in a relationship but seeks to get you only by the magnetism of his sexuality. A serious lady-killer has much more imagination and tries to capture you in more intricate ways—meaning that he involves you with his ideas, his thinking. The seduction is much more complicated—only then, he has more trouble because women inevitably fall in love with him."

Later in the week, after running into Brando at a large party where he was surrounded by Movita, Philip and Marie Rhodes, and Wally Cox, she was invited to dinner at Mulholland. This would turn out to be a smaller gathering of "six or eight," including Arthur and Peggy Penn, Judith Bernstein (the wife of screenwriter Walter Bernstein), Christian Marquand, and, as the psychoanalyst recalled, "a redhead, a friend of the Penns, who was courting Marlon madly."

They were sitting around drinking, while Marlon was sending out flirtatious signals to both the redhead and Brenman-Gibson. "Everybody had gotten quite looped," she said, "and the next thing I knew, I found myself alone with Marlon in his bedroom. Then, suddenly, he asked, 'By the way, how's Bill?' ' his abrupt remark, Brenman-Gibson said, "was a little number. He was saying, in effect, 'Hey, sister, you're about to betray your husband. Aren't you ashamed?

They then returned to the dinner table, but Brando continued his games. "How many people in this crowd consider themselves liberated?" he asked his guests. Hearing unanimous assent from the group, he announced, "Well, let me tell you what we're going to do. We're all going to take our clothes off for dinner."

He turned to each of his guests for their agreement, but Brenman-Gibson shook her head. "Count me out," she said. "It didn't have to do with modesty, it was vanity," she explained. "I didn't feel like sitting naked next to Judith Bernstein, who had an exquisite body, or Peggy Penn, who's also lovely, slender, and young. Plus, there was the redhead." Her refusal seemed to spur Brando on. "Oh, come on, Margaret!" he said with withering sarcasm. "You call yourself a free soul?

"Well, yes, but I don't think this has to do with my lack of freedom," she objected. "It feels potentially humiliating."

By then everyone except Margaret and Peggy was undressed. Marlon still wasn't satisfied and continued to tease Brenman-Gibson, taunting her for being an intellectual snob.

Several times the other guests interrupted trying to deflect him, but he was relentless, and Margaret grew increasingly upset. "It was ridiculous," she said. "Here I was, a grown woman, a psychoanalyst, and he had reduced me to tears."

With Brenman-Gibson weeping, Marlon rose from the table. He was stark naked, and he now grabbed a lily from a nearby vase. The last thing his guests saw as he grandly left the room was the lily sticking out of his bare ass.

by Anonymousreply 3December 13, 2016 12:33 AM

During filming the Chase :

"In May 1965, when Penn brought his actors together for their first run-through, Pat Quinn confronted Brando face-to-face, Quinn, reading lines for an absent Angie Dickinson, soon came to a Greek name that she had trouble pronouncing. She repeated it carefully, sounding it out syllable by syllable, only to be interrupted by loud laughter. As the hand had been Brando's, so too the guffawing. "There I was, very nervous, and here he was, laughing, and I do mean loudly," she recalled.

This was just the opening round, and over the next three weeks his campaign escalated. He was "constantly coming on to me," Quinn said. "He was flirting but he was also overt, asking me to go home with him, wanting to fuck me. And already Philip [Rhodes] was calling me 'Princess Pat,' and I was telling Richard that it was getting really hard for me to keep turning Marlon down.

Marlon puts you on, he puts everyone on," Quinn summarized. "It's a smile, it's a look—he knows exactly what he's doing and exactly what effect he's having. We're talking the king of control here. He uses people like chess pieces."

Five or six weeks into the shoot, however, when they were filming an evening scene, he came up to her and said bluntly, "What about tonight?" This time Quinn replied, "I have to think about it." She walked around the square in front of the set's courthouse several times, then returned to him. "Of course," she said simply.

After everyone had been let go for the evening, she followed his directions and around midnight drove up to Mulholland. Arriving at his house, she was surprised to find him drinking in his bedroom with the columnist Bob Thomas, who was out from New York to stay with the actor while researching his biography. The first few minutes seemed "very pleasant," but suddenly Brando turned to her and said, "You know, you're going to have to fuck us both."

Thomas's mouth dropped open. Without a word Quinn went out to her car. Marlon came running after, apologizing. "It was just a joke," he insisted. "Please come back in." She followed him inside. "My big mistake, right there," she said later with a laugh.

by Anonymousreply 4December 13, 2016 12:46 AM

The more I read about this man, the more he disgusts me.

He could do anything he wanted when he was young and beautiful. But he grew into a fat, ugly whale in his later years. I suppose that was his comeuppance for the cruelty he did to others. No matter how talented he was, it doesn't matter if you're a despicable human being and he had to live with that in his later years.

by Anonymousreply 5December 13, 2016 12:49 AM

"Quinn moved anyway, and began receiving Brando's telephone calls; when she was out he'd leave messages, tagged with his code name, "Martin Bumby." Their routine often included driving Philip Rhodes home from the set of The Chase, then stopping for milk shakes en route to Mulholland Drive, where she frequently spent the night. In his bedroom she noticed a framed photo of Dodie atop his bureau, and repeatedly he told her that she reminded him of his mother and also of his sister, Jocelyn.

"I thought he felt about me the way I felt about him," Quinn said, "but I soon realized there was another girl, someone by the name of Flo-rine. He called us 'Hoe' and 'Pitou'—Tahitian for One and Two, and he wanted both of us up there with him. Besides Tarita in Tahiti, he wanted Hoe and Pitou in the Mulholland house which wasn't my idea of heaven. I was hurt, but I kept it to myself."

On a later occasion she found him at the house with yet another woman, "a blonde who was somebody else's girlfriend." Quinn donned a kimono, made tea, and shuffled into the bedroom like a little Japanese housekeeper while he was romancing the new woman in front of the fireplace. Brando started laughing. "I don't think she can handle this," he said aloud to Quinn, who left immediately.

"I didn't see him for a while, even though he kept calling," Quinn said. "My part in the film was over, but by then I'd discovered that he was also making it with everybody in his trailer—people in the cast, whatever. More conquests, like me. What I hadn't understood is that Marlon has his own theory of morality—that it's just a set of rules imposed by others."

Quinn's insight was further confirmed several weeks later at a party Jane Fonda gave for The Chase cast. Christian Marquand, who had been in town for several months to find backers for his film of Terry Southern's cult novel, Candy, was there. "That's when I realized that it was open sea-son," said Quinn. "Marlon wasn't paying attention to me and Christian was, so I went home and slept with him. But it didn't bug Marlon. The two of them had been swapping women anyway. That was their game."

While aware of the two men's sexual competition, she was in the dark about the extent and nature of their friendship. Although their behavior might not have seemed unique in the sexually liberated sixties, their relationship and "games" went back fifteen years. Marlon considered Christian one of his loyalists, even though the stylish Frenchman could sometimes be snide about Marlon behind his back, telling Quinn that he considered his good friend "a peasant in silk stockings."

by Anonymousreply 6December 13, 2016 12:51 AM

Brando and Bob Dylan possible affair :

"As a way of further asserting her independence, Pat Quinn had begun seeing other men as well. Brando's phone calls became more frequent. "He was always checking up on me. What was I doing? Who was I seeing?" Quinn explained. His competitiveness became even more extreme when the special target of his one-upmanship turned out to be none other than Bob Dylan.

At the time, Dylan was performing at the Hollywood Bowl and Quinn asked Marlon to accompany her to the postconcert party. He refused. When she arrived at the party, however, she found him already there, having come with Christian Marquand and his new wife, the daughter of Jean-Pierre Aumont. "He was getting high," Quinn recalled, "and all these girls, music groupies, were hanging on him. As soon as he saw me, he sort of pulled me over and announced to these hippies that they were phonies, that I was the real thing."

When Dylan arrived, he met Quinn and Brando simultaneously, and what quickly became clear was that Dylan knew how to play the game as well as Brando.

"Dylan adores, idolizes, and maybe, for all I know, even lusts after Marlon," said Quinn. "But at that moment he turned his attention on me,

After Quinn's night with Dylan, the singer invited her to accompany him to his Hell's Angels concert in Berkeley. Four days later, when they were flying back to L.A. on a chartered plane, Dylan told her, "I'd love to see Marlon again." Quinn contacted Brando, who was then doing the final shooting of The Appaloosa, and he left passes for them at the gate at Universal. A few days later Quinn and Dylan went to his trailer

"The first thing Marlon did was take this thing from around his neck and put it around mine," recalled Quinn. "I looked down and it was a scalp, a real human scalp. Possession is nine-tenths of the law—he was claiming me." When Dylan asked for a Coke, and the bottles arrived with no opener, Marlon then proceeded to uncap them with his teeth. When they left the trailer, Dylan confided in Quinn, "You know when I knew he was straight? When he opened the bottles that way."

What he meant, exactly, Quinn wasn't sure, although it was no secret that "he was terribly attracted to Marlon," she said. "I never saw anything, but the word going around then was that Dylan was swinging both ways."

During the visit in the trailer, Brando and Dylan had agreed to get together that evening at Quinn's Laurel Canyon home. "The mood that night at my place was strange, too, like this was guys only," said Quinn. "It was almost like a summit. Dylan was the new boy in town. He was twenty-four, Marlon was forty-one, but even though Bob was coming on a little cocky, he was also idolizing Marlon, so it was like two living legends eyeing each other."

."According to Quinn, Dylan saw Brando a few times after that, but whether in a social group or just the two of them, she couldn't be sure. "Still, Christian Marquand told me they were meeting each other," she said, "so I'm sure there was something there, and I think it involved Christian, too."

by Anonymousreply 7December 13, 2016 1:03 AM

"Quinn was aware of Brando's manipulations and no longer quite so vulnerable after his return from the Appaloosa shoot. Although he persistently tried to argue her into therapy by asserting that she was "crazy," she refused.

Things remained calm between Quinn and Brando during the latter part of 1965, until Dylan called again, asking her to bring the actor to the concert he was giving in L.A. Marlon and Quinn, along with one of her girlfriends and Christian Marquand, attended and then went to the Chateau Marmont. There, when Brando saw the limos and the crowd of Dylan groupies in front of the hotel, he drove directly up to Mulholland for what he may or may not have planned as a party of his own.

Waiting outside Brando's door, suitcase in hand, was Reiko Sato, one of Marlon's girlfriends from Japan and another newly arrived Hollywood hopeful. "She had just come from the airport," said Quinn. " 'Reiko!' Marlon exclaimed, and picked her up. I said to myself, 'Okay, it's Reiko's night.'

As Quinn and her own friend started to leave, Brando again asked her to stay, but she refused. "Who knows what would have happened?" added Quinn. "But all five of us together wasn't my scene. So my girlfriend and I left Christian behind and went back to the Chateau Marmont party. I spent the night with Dylan."

Brando wasn't pleased. Despite his apparent indifference, he was bothered by her refusal to show anger or jealousy. "If you didn't want to stab the other woman," observed Quinn, "Marlon thought you didn't love him or really care about him." Accordingly, into the better part of the following year, he sought to turn the incident into a sign of her rejection: Quinn was the betrayer, not he. Whenever he phoned her, his first words were always, "How's your pal, Bob Dylan?"

Offsite Link
by Anonymousreply 8December 13, 2016 1:12 AM

"By 1989 there was very little else in Brando's life except this notion of family, even though most of his offspring were by now young adults. He had lost friends to death, he had cut others out of his life, and as a result he had severely narrowed the number of people he was close to. Even his most loyal confidants had felt the sting of his anger. After turning against Philip Rhodes, Brando lashed out at Pat Quinn. Following the Jericho fiasco she had been unemployed for several months, and she called the actor to ask for a loan of $880 to help her cover arrears on her rent. There was a long pause at the other end of the line. Then he growled, "Eight hundred eighty, huh? Why don't you go down to Sunset Strip and suck somebody's cock for the rent?"

A few months later he phoned and left a song on her answering machine, either forgetting his previous remark or failing to realize how hurtful he had been. "I suppose he was getting bored and wanted somebody to talk to," added Quinn. "But he had gone too far. That was always his problem. He didn't know any limits and he was always crude, as if that was his way of proving no one could really love him."

Quinn didn't return the repeated messages from him. Then Christina phoned with a message from Brando, practically accusing Quinn's son, Caleb, of taking one of his tape recorders. Quinn wrote him a letter, which although she never sent it, was a way of coming to terms with her disappointment:

" I have never met such a sad little boy. My heart goes out to that little boy . . . His god-given gifts, his astonishing physical beauty and extraordinary reflection of being, his amazing talent — all provided him with opportunities others can barely dream of Yet he chose to mistreat friends and relatives and to play God with their lives, and worst of all to be a hypocritical teacher. It's no wonder to me that he chooses to hide from people, intimates, and the public. He wants to keep his own myth alive. I was one of the lucky ones who didn't choose to throw herself on the altar of this insatiable greed, the living energy given over to satisfy his needs. I guess I have my ancestors to thank for that. Maybe in an afterlife we'll meet again. If he doesn't change his ways, I'll turn and walk in the other direction and never look back"

by Anonymousreply 9December 13, 2016 1:18 AM

Filming Reflection on Golden Eyes"

"In contrast to his delays and latenesses on other movies, Brando never caused similar problems for Huston, even if the actor was still "trying to screw everyone around." He was so "like a male nymphomaniac, propositioning everybody," said Bill Hamilton, Huston's assistant, "that Brian Keith eventually made a crack about it. The English nanny taking care of Keith's children back in California had begged him to get her an autographed picture of Brando. Keith quipped to Hamilton, "If I'd known he was like this, I would have brought her over here and just picked up her skirt and got him to service her. Much better than an autographed picture."

Julie Harris, too, saw this side of Brando. She visited him and his entourage at his apartment occasionally, and his life seemed chaotic. In his well-appointed quarters, surrounded by his women and his toadies, he "had everything, but nothing was channeled," she said. "He was innately brilliant but it was all scattered, almost as if he'd been told early on that he was nothing and worthless. Yet his work was so beautiful and so pure that there was no explaining where it came from. He still didn't love acting, he didn't love the theater and he didn't respect his own talent, but his gift was so great he couldn't defile it. He could put on pounds, he could say that it was all shit, but he still couldn't destroy it."

by Anonymousreply 10December 13, 2016 1:25 AM

Filming Flop movie Candy :

"Marlon went out of his way to get that stupid movie going and bring Burton into it," recalled Rhodes, shaking his head. "He was sending Burton presents, which even included shipping him one of the first video cameras ever made when Burton was in Africa. When Marlon really wanted something, he would go all out, and finally he convinced him."

The lead was to be played by an unknown, Ewa Aulin, a pouty-lipped seventeen-year-old blond Scandinavian Aulin, it seemed, had been so rattled by Brando's antics that she was no longer able to do their scenes together. Instead she burst into out-of-control laughter. To stem the rampant hysteria, she was given a "rest cure." It was decided, Coburn learned, "that she had to be put to sleep out in a little resort town on the coast, Taormina." It was not long before Coburn heard the full story behind Aulin's problems and the strange solution that had been invented. "She was this young, naive thing," he said. "Nobody was banging her but everybody, of course, had been hitting on her. She had a wonderful ass, man, and Marlon just couldn't resist. He'd started coming on to her pretty strong, turning on his great charm, even during their scenes together." As he had with Janet Margolin on Morituri, Brando had been using all the weapons in his arsenal, playing any number of different roles to get a response from the vulnerable teenager.

"He tried everything," added Co-burn, "being the father, the psychiatrist, the stern disciplinarian. She was so besieged and befuddled that all she did was laugh and laugh, so uncontrollably that she couldn't get through her lines." For his wacky role of the Great Guru Grindl, Brando was outfitted with Indian robes and a stringy wig that made him all the more ridiculous. A prominent caste mark stood out on his forehead. "She would look at him in this fright wig," said Coburn, "and just get hysterical. He was so funny and ingratiating to begin with—only now he wanted to fuck her, so that was the icing on the cake. It was overwhelming. She just went over the edge."

During the sixties, stylish clinics had started using drug-induced sleep cures developed in Switzerland to help patients stop smoking, drinking, or overeating as well as to lessen anxiety. The Candy production team in Rome was nothing if not trendy and created its own version of the treatment by removing the teenager to a coastal hotel and giving her shots to keep her asleep. (The story was so incredible, however, that according to Pat Quinn, rumors reached Hollywood that the girl had been "kept high just for the fun of it." After the movie she was never heard from again.)

Brando had to hang around while Aulin underwent her "sleep cure,"

by Anonymousreply 11December 13, 2016 1:31 AM

"In one scene Marlon, dressed in ceremonial robes and with Indian make-up, attempts to seduce Candy and, according to production manager Gray Frederickson, the actress got the shock of her life. ‘Marlon actually tried to have sex with Ewa for real on camera. I remember she had a bad reaction to it. Well, she freaked out.’

Candy was based on the novel by comic writer Terry Southern, who, towards the end of his life, taught screenwriting classes at Columbia University. Southern relayed a horrifying story about Marlon in the sixties. ‘Brando’s housekeeper’, he said, ‘miscarried his baby, right there at the party, this right rave-up. So, Marlon scoops the stillborn infant into a coffee cup, and he proffers this mug to all of the guests, instructing them to “taste the zygote”.

by Anonymousreply 12December 13, 2016 1:34 AM

Filming the Night of the Following Day :

"For the first time in a long while, he looked svelte and trim. Physically, he would remain in good shape throughout the shoot..... more problematic was the day-in, day-out presence of Rita Moreno, who inevitably brought her complicated history with Brando to the set.

In his own strange way the actor had never been one to let go of his past conquests, and it was he who had insisted that Moreno be hired because she was "down on her luck." Two years earlier, at age thirty-three, Moreno had married Dr. Leonard Gordon, a cardiologist from New York; she brought him and their baby with her. But as everyone in the company realized, she was still carrying the torch.

"With Moreno back on the scene, things got crazy," said Rhodes. "She may have been there with Lenny and her kid, but Marlon was fucking her again. With Marlon, it isn't over until it's over."

Marion Rosenberg, who saw the couple throughout the shoot, said, "The strain for Rita was all the greater because he was shipping in his various dusky maidens. I don't think Marlon meant to torture her, but just seeing him with all these other women . . . well, it must have opened up a lot of heartache."

The tension between Moreno and Brando erupted during a scene they were doing together in the third week of the shoot. The locale was a small villa in the dunes where Moreno's character was supposed to have been snorting cocaine or taking heroin, and Brando's character was to become angry at her and begin to quarrel. "With the cameras rolling, Marlon broke off the top of a bottle and handed it to her to hit him with," recalled Rosenberg.

"Suddenly their scripted fight became a real fight. Things were flying around, and she started to grab at his hair. They were hurling accusations at each other, and all her pent-up anger and frustration just came pouring out—and this with Lenny and the. child on the sidelines watching. The room where we were shooting was so tiny that the cameraman was sort of plastered against the wall trying to get some depth to the picture. Some of it remained in the film, because even though she lost the script, she stayed in character."

by Anonymousreply 13December 13, 2016 1:40 AM

"Marlon's games weren't limited to the movie set. Sometimes in the evening he donned a black velvet Pierre Cardin jacket and held forth in the dining room of the Chateau de Montreuil. he came downstairs looking very much like a "romantic prince" and at dinner played the role of lord of the manor—slapping the servants on their rear ends, throwing his knife and fork loudly onto his plate, and laughing heartily. Any woman in the dining room who took his fancy was fair game: He sat down at her table and conducted an inquisition, brazenly asking her one personal question after another until she felt backed into a corner.

Marlon seemed so out of control that he finally managed to alienate Esther Anderson, the Jamaican girlfriend whom he had installed in his hotel, just as he had during the location shoots of Reflections and Candy.

"He was crazy about Esther," recalled Jan, who had known Anderson since Countess days in London. "She was wild and fiery, not in the least subservient, and very sexual. They used to lie in bed and see who could fart the loudest. She was also a big hash and pot smoker."

What was obvious, however, was that in Le Touquet he was "treating her like shit" and finally she had enough.

"He was making fun of her in public, harassing her and even trying to put butter up her nose," Jan said, recalling an evening they were all at dinner in the Bristol dining room. Finally he drove her to the breaking point. She picked up a bowl of spaghetti and dumped it on his head, then got up and walked out. He kind of laughed it off, and we went on with dinner. But by the time we finished, she was already out of the hotel and on a flight back to London."

by Anonymousreply 14December 13, 2016 1:45 AM

"The complications of Marlon's domestic life multiplied. Although she had filed for divorce several months before, Movita also turned up, bringing with her to Marlon's hotel her mother and two children (now seven and one, respectively). Even with his children on hand, however, Marlon flirted and tried to conquer any female who crossed his path. "I don't remember a single woman he didn't try to pinch or grab," said Marion Rosenberg. "He was always touching somebody's tits or bottom—mostly, I think, just to see what the reaction would be. He was incapable of not touching. In fact, the very first time I had met him, he put his hand in my sweater and kept it on my breast for as long as he possibly could."

by Anonymousreply 15December 13, 2016 1:54 AM

Brando and Christian Marquand :

"Marlon was also drawn to Christian Marquand, the tall, handsome Frenchman who was "able to speak to any girl and bring Marlon that girl if he wanted her," according to Mille. Marquand had the reputation of a ladies' man, and already stories about Brando's escapades were rampant, including his Errol Flynn—like conquest of the singer Juliette Greco. For a week or more Greco had rejected his advances, but one night Marlon scaled the outside wall of her apartment and entered through her second-floor bedroom window.

There were also rumors that Marlon's friendship with Marquand included a homosexual affair. Marquand and his other great friend, Roger Vadim, often teased each other about their sexuality, making pointedly gay innuendos and sending each other coy postcards that friends would be sure to see. "But that was all a joke," explained Mille. "Pour epater les bourgeois. But with Marlon that joke didn't exist. He and Marquand never joked about it, not as Marquand and Vadim did."

By this time Marlon had moved out of the Hotel Voltaire and into a five-bedroom apartment on the quai d'Orleans shared by Marquand, Vadim, Jean-Paul Faure, and the French actor Daniel Gelin. Gelin was a great fan of American culture, and he and Brando soon became friends as well. (They would be reunited many years later when Gelin's illegitimate daughter, Maria Schneider, costarred in Last Tango in Paris.)

Marquand organized parties in the apartment. Sometimes the evening began with games of charades, and, just as in Libertyville, Marlon liked to act out famous events that the other guests would have to identify. "There were always beautiful women," added Gelin, who himself was recently divorced and enjoying the bachelor's life. "But they never stayed a long time with Marlon. He had the reputation of being a very good fucker and had a lot of success with the girls but nothing permanent."

One evening, the daughter-in-law of a high French government official dropped by. Marlon was lying on the sofa in his jeans, and when Christian introduced the young woman, he did not rise but simply extended his index finger toward her in lieu of a handshake. "Take my finger," he instructed her and, slightly confused, she complied. "Now tirez." As she pulled on it, Marlon let out a "Wagnerian fart," recalled Gelin. "The woman was so shocked that she left immediately. Marlon just didn't give a shit."

The apartment mates loved the idea of shock, and their camaraderie included schoolboy pranks as well. "We were very infantile. Sometimes we stood at the window and pissed outside. The game was to see who could piss the longest distance."

While never openly raising the question with him, Gelin wondered about Marlon's sexual experimentation because of his spending so much time at the Milles' place. "The Mille brothers were well-known homosexuals," Gelin explained, "and then there was their whole circle of friends, including Cocteau. Cocteau was very attracted to Marlon, not only by his modeled physique but also by his rebellious attitude and his talent. He was the first Frenchman to discover and make Marlon's reputation in Paris. I remember when he came back from New York and announced, 'I saw a play of Tennessee Williams, and there was a beast on the stage'—meaning Marlon, of course."

"

by Anonymousreply 16December 13, 2016 1:18 PM

1966

"Residing in London during this same period was Igor Tamarin, Marlon's zany, anarchic friend and onetime roommate from New York. One morning Tamarin was awakened by a phone call and was startled to hear the voice at the other end reciting Yiddish-sounding gibberish.

Since Tamarin had taught Brando such nonsense, he knew immediately who was calling. Brando told him he was at the Savoy and asked him to come right over.

"Oh, for Christ's sake, Marlon, it's eight-thirty in the morning," he complained. "I'm tired and sleepy. Can I call you later?"

Soon Tamarin's doorbell rang. It was Brando's chauffeur, instructed to bring him back to the hotel; since he was already awake, Tamarin pulled on his clothes and went to Brando's suite.

"Marlon's door was ajar, so I walked right in," he said. "There was no one in sight, but I could hear a shower running, so I followed my ear to the bathroom. There, through the translucent glass shower door, I saw the fattest ass I've ever seen in my life. Well, I wanted a shower myself, so I got undressed and hauled off and gave him a kick. He whirled around, and without a single word, we wrestled like the old days, full nelson and all."

At the end of their horseplay, Brando looked his friend over. "My God, you're still thin!"

After their initial reunion at the Savoy, Brando soon moved to an elegant town house in Belgravia, and when Tamarin made his first visit, it was Christian Marquand, not Brando, who greeted him.

"Marlon's just come back and he's very tired," Christian said. "Let's not disturb him."

"He's expecting me," Tamarin replied, brushing past Marquand and up the stairs. He had never met Marquand before, although he had heard, he said, that the Frenchman "was a friend of Brando's and was, in fact, procuring for him. But I didn't pay attention to those kinds of things."

Tamarin found Marlon in his bedroom, lying down on the bed. Marquand then came in and lay down beside him. "Not you!" Tamarin taunted. "What happened to you?"

"Hello, Igor," Brando said in a quiet, bored voice. "What can I do for you?"

"Somebody told me I had an appointment to come up here," said Tamarin, all the while feeling that this attitude was what he had always hated about Marlon. "Besides, I'm hungry."

Marquand tried to shush him. "Fuck you," said Tamarin.

Brando began to laugh—an affected laugh to Tamarin's ear. Then he said, "Igor, you're intelligent. Why don't you join the Peace Corps?" "No, Marlon, I can't afford it. You join the Peace Corps. I want to go back to New York to visit my mother. I'm broke." Marquand again made little gestures of disapproval. Tamarin turned on him. "My God, I heard

you were an actor, Christian," he said. "So why don't you do the mummy's hand or something."

Brando said nothing. He just lay with his hands behind his head, staring up at the ceiling. Then, after a minute or two, with Marquand still lying beside him, he gestured toward the nearby night table and sighed, "You'll find it in the drawer, Igor. Take what you need."

Despite his sense of betrayal, Tamarin did not cut off contact. Each time that he returned, however, he was irritated by Brando's entourage. "It was as if they were all under a death sentence," Tamarin recalled. "They all jumped when he came in, like he was an electric shock. I hated that bullshit of Marlon's, and the only one there who didn't take it, either, was Phil Rhodes."

by Anonymousreply 17December 13, 2016 1:26 PM

"During this period it was not uncommon for Brando, on the spur of the moment, to arrange for one of his several women to service him. If Cui was unavailable, he'd return to the group of Asian women he shared with Gene Frenke. Anita Kong was still on the scene as well. But if he didn't want to bother with preliminaries or arrange clandestine trysts with married women, he summoned Giselle Fermine, the Trinidadian call girl, for whom he had rented an apartment and agreed to pay her shopping bills

In return, he expected Fermine to be on call whenever he was in town. He admitted that pills and alcohol sometimes interfered with his "performance," but being with her, Fermine noted, seemed more his way of fending off his feelings of loneliness than of fulfilling sexual needs. "I was happy just to be with him," she said. "He was intelligent and I liked talking to him."

Brando sometimes complained about the money he was giving her, and a few times he exploded at the bills for her more expensive shopping sprees. Fermine recalled, "Once he called me, 'Nigger bitch,' and I screamed at him, 'Don't you ever call me that!'

The aimless, time-killing desultoriness of his routine, as well as the same need for comfort, also seemed evident the morning she arrived at the house as scheduled to find Brando asleep in bed with James Baldwin. "They weren't making it, though it was obvious he had spent the night," she said. "I just turned around and left. I knew Baldwin was gay, and Marlon always said that they were very, very good friends, but he never let on to me that he had had an affair with him."

by Anonymousreply 18December 13, 2016 1:31 PM

Filmimg Burn movie : 1969

"Once the company had moved to Morocco and Marlon had installed himself there, neither his relationship with Pontecorvo nor his mood seemed to improve. The director's perfectionism continued to drive him crazy. New York playwright Josh Greenfield visited the production to interview Brando; in the course of his questioning he asked the actor if he had ever wanted to kill anybody.

"I've spent ten years on the couch and I still don't know what to do with the urge to kill," Brando replied. "Right now I want to kill Gillo. I really want to kill him . . . because he has no fucking feeling for people. ... I once tried to kill my father. Really ... I always used to imagine I was killing him by pulling out his corneas."

Marlon's pent-up fury, the inner aggression that so often plagued and frightened him, came spilling out. He launched into his favorite litany of criticisms against acting, movies, Hollywood stardom. Although he refused to discuss the film "until I see . . . whether certain ideas that I have about it are in it or not," he adopted his usual stance of self-effacement. "A movie star is nothing important," he insisted. "Freud. Gandhi. Marx. These people are important. But movie acting is just dull, boring, childish work."

At bottom, he seemed to be saying that he had no identity other than what was projected on the screen. "People create me," he said emphatically. "So who I really am is of no importance. It's so easy to forget that, and to begin thinking that you are what you are up on the screen and carry that notion over into life. That was Marilyn Monroe's mistake."

In the midst of his ramblings, he did, however, concede that being a movie star allowed him to meet anyone he wanted, like "senators and politicians." To make his point he added, "And it does do away with the necessity of a lot of preliminaries socially. There's no chick I can't have if I program it and time it right. They all fall for the movie star bit."

Greenfield was interviewing Brando in a local nightclub, and now, as if to prove his point to the writer, Marlon scanned the dance floor and proposed that they pick out their favorite girls. Soon he was demonstrating his technique by approaching a young German woman. "Would you like to make love with me tonight? You don't seem to understand. . . . Tonight's beautiful. There's a full moon. Let's not each allow this moment of beauty to pass separately and alone."

by Anonymousreply 19December 13, 2016 1:40 PM

Thanks for sharing, OP

by Anonymousreply 20December 13, 2016 6:36 PM

is there more?!

by Anonymousreply 21December 13, 2016 6:37 PM

I believe Marlon was a weird person from the very start but somewhat decent and sensitive to others But as life went on , he became WORSE and WORSE, he became an insensitive jerk, constantly manipulating people' feelings just for the fun of it, enjoying their humiliation.

by Anonymousreply 22December 13, 2016 6:40 PM

""We were already speculating about the illegitimate children," said Seltzer, "and by the time Marlon went to Tahiti in 1960, we thought there might be ten or twelve illegitimate kids all over New York, Los Angeles, points west, England, and the islands—particularly the islands, since later there was a Hawaiian girl. But it was all speculation on our part. Neither George nor I ever questioned him about this, for our own sanity. But why the hell else did he have this interest in money? Obviously for girls and his propensity for knocking them up. We would speculate, 'Well, there goes another one.' There were times when it was just a hemorrhage, his increasing cash flow."

"Nor was he at all self-conscious about being thirty-five years old and devoting his life to fucking women—not that I was aware of. He was never what I'd call the most happy fellow, but what he did with ladies, that was no problem. Everything was sort of in the present, and this succession of women, it was now. He'd come into the office, and on more than one occasion I can remember us saying, 'Marlon, you'd fuck a snake.'

by Anonymousreply 23December 13, 2016 8:15 PM

"during this same period that Harold Norse, the poet and friend of Tennessee and William Carlos Williams, ran into Marlon at another party—this one in the Village—where, he claims, he was openly propositioned:

"He didn't remember me from Provincetown," Norse said. "He asked me if I was Italian, a tough Italian from the neighborhood, and he was kind of nervously looking over his shoulder as if somebody was listening. 'What are you doing after the party? Are you busy?' I said, 'Well, Tennessee's asked me to go on somewhere with him.' 'Well, that's hours from now,' he said. 'We could go to my place.'

"I was ill at ease under such conditions in those days. I didn't want anyone to think I was openly gay, so I said, 'I'll think about it.'

' 'Well, I wouldn't think about it too long if I was you,' he said. He was sort of making grunting, macho sounds, and then just walked away, like I'd pushed him too hard and he felt rejected."

by Anonymousreply 24December 13, 2016 9:57 PM

"One woman Carlo Fiore showed up with was Nan Morris, then a seventeen-year-old recent arrival in Hollywood who sometimes had dinner with Carlo because "he was very nice and seemed lonely." Having heard that he was Brando's "best friend," she teased that she would no longer go out with him unless he introduced her to her hero. Carlo just laughed, but late one night he picked her up, and without a word drove her up to Marlon's. Grinning, he took her into a darkened bedroom, closed the door, and locked it.

"Pretty soon the doorknob started rattling," Morris recalled, "and there was a knocking, too, and a voice calling, 'Who's in there? Let me in!' Carlo was giggling, like it was a game, and finally let Marlon in. I couldn't see him very well, but he came over and sat on the edge of the bed."

Morris reached for a cigarette and Marlon lit it, holding the match to see her face and meanwhile telling her that smoking would spoil her "beautiful teeth." He chatted with her, asking her where she was from, what she did. Then, abruptly, he said, "Take off your top." "No, I won't." "Come on," he insisted, "I want to.see what you look like." "No," Morris repeated, now aware that Brando was wearing only Jockey briefs.

With Morris's adamant refusal, Marlon began to laugh. "I don't believe it, Freddie," he said, turning to Fiore. "She's the first woman here in three years who hasn't dropped her clothes and bounced her ass across the room."

by Anonymousreply 25December 13, 2016 10:25 PM

Thanks OP! interesting read

by Anonymousreply 26December 13, 2016 10:27 PM

Brando was crazy

by Anonymousreply 27December 13, 2016 10:28 PM

Now that they were to be married, Kashfi reiterated her demands that he stop seeing other women—delivering what was, in effect, an ultimatum. "I questioned him about our relationship and what was going on," she later explained, admitting that she then lost her temper, as did Marlon.

When she stormed out of his house, he chased her, she said, and "hit me very hard. He was pounding my head on the stone pathway. I was frightened out of my mind, and the only thing that stopped him was that I said, 'Marlon, keep on doing this. I don't give a damn.' He wasn't yelling, just very red in the face, and finally I ran." A week later he phoned her at her apartment to apologize. "I lost my temper," he said. "Do you think we could go out for dinner tonight?" At one of his favorite Italian restaurants, he was "charming," and neither of them spoke of the incident again.

by Anonymousreply 28December 13, 2016 10:44 PM

Here he is as The Great Guru Grindl and Ewa Aulin:

Offsite Link
by Anonymousreply 29December 13, 2016 11:21 PM

"To friends Anna Kashfi spoke even more bluntly, particularly about Brando's relationship with Christian Marquand, who was their son's godfather. With Marquand, she was convinced, her husband had "something sexual." The handsome French actor and their pal Roger Vadim had stayed with the Brandos in Los Angeles after the completion of The Young Lions. Both struck her as "the queerest, the closest to Marlon in temperament."

Both shared his philosophy of making no judgments, but Marquand in particular, she felt, displayed an affection toward Marlon that overstepped the usual expressions of friendship. "Just the way Marlon was talking to him, squirming like a woman," she later insisted. Equally lurid, she insisted, were the stories Vadim loved to tell about a Parisian brothel called Le Canard bleu that "specialized in supplying ducks for sexual intercourse." Marlon, she claimed, "enjoyed listening to Vadim recount the story, probably for the fiftieth time. Brando's favorite expletive," she added, "was 'up your cloaca!' "

by Anonymousreply 30December 13, 2016 11:30 PM

Well, fuck a duck.

by Anonymousreply 31December 13, 2016 11:32 PM

R31 Brando was sick, He wanted to fuck everyone/everything : women, men, animals, his comatose girlfriend,and even his daughter.

by Anonymousreply 32December 13, 2016 11:36 PM

Brando was crazy. I thought everybody knew that. Anyway, if you want to slog through this Brando biography, be forewarned. It tells practically everything, and practically everything Brando ever did was appalling. It's over a thousand pages. A thousand pages of one sordid story after another. After a while it just gets numbing and sickening.

by Anonymousreply 33December 14, 2016 12:48 AM

You may find this interesting, OP.

Offsite Link
by Anonymousreply 34December 14, 2016 1:05 AM

Can this be found as an e-book?

by Anonymousreply 35December 14, 2016 7:46 AM

"Marlon and Jean Seberg

"In the next few weeks Brando's speeches back in Los Angeles took on"a feverish, militant cast. Feelings among the Hollywood Left were running high in general—bewilderment and grief, fear and anger, a mixture of emotions so pervasive that people seemed harder hit by King's death than that of John Kennedy. A fund-raiser for the Poor People's Campaign, started by King before his death, was soon organized at the home of movie producer Edward Lewis, and brought out almost everyone of liberal persuasion in town. Screenwriter and producer Abby Mann, an active supporter and friend of King, witnessed Marlon's bizarre, seemingly out-of-control behavior.

"We all had the feeling that we should try to continue what King had done on the basis of nonviolence," Mann explained. "But Marlon was going on and on in angry, radical terms, saying 'Now's the time to do something.' He was very militant and got up and said, 'I want the name of everybody who isn't here and I'm going to put the names in the trades.' He kept calling the no-show liberals 'shallow.' "

Mann had taken actress Jean Seberg to the event. She was an early Panther supporter, more radical than most of the other guests, yet all the while Marlon was speaking, Seberg was whispering in Mann's ear, "What is this, a take-a-nigger-out-to-lunch meeting? He's the biggest pile of shit I've ever heard."

Marlon droned on. Others continued their own conversations until he finally exploded: "Who's that talking in the bar? I want him here" he shouted. The guilty party turned out to be James Baldwin, and Seberg burst out laughing. Brando wasn't amused. "He just glared at Jean," said Mann. "He was so pissed off that he wasn't being taken seriously."

by Anonymousreply 36December 14, 2016 11:03 PM

Brando and Janet Margolin (Morituri' costar)

"nitially Brando himself had joined in the courtship and lavished star treatment on her. Arriving at the Beverly Hills Hotel, she found that her would-be leading man had sent an extravagant bouquet, and the next evening he took her to dinner at his favorite sushi place, the Imperial Gardens on Sunset.

"I was deeply uncomfortable," she said. "Marlon had an uncanny knack for knowing exactly what one was thinking, and he responded to that in different ways, depending on what kind of mood he was in."

His first observation was that she was blushing, and more specifically, that her skin changed color as she ate. In a kinder tone, he told her about the film, but then turned more aggressive. "Women with intellects are bad fucks," he murmured. "I can tell you wouldn't be any good because you're much too uptight, too neurotic. You think too much."

Although he complained, too, that she was neither "Oriental nor Tahitian," with her dark, Semitic good looks, Margolin was not all that removed from other women in his life. Marlon himself made the leap, several times likening her to former girlfriend Ellen Adler

Margolin became even more tense and rattled as he continued to stare at her "and said things like, 'You feel this,' or 'You want this,' or, 'You're uncomfortable, you're shy.' It was a total stripping away, and at the same time he was reassuring me—telling me about the script, telling me not to worry. That, of course, was only freaking me out more, because I knew I'd gotten the job on his approval. This was friendly, as friendly as he gets. He was capable of controlling just about anybody, any way he chose, and I wasn't quick enough for him. Me, I was small potatoes, and in way over my head.

Margolin, meanwhile, was repeatedly thrown off balance by Brando's changing demeanor. He was "like quicksilver," she said, "one moment incredibly seductive, adorable, funny, gentle and ten minutes later vicious, insulting, frightening."

Margolin in particular felt the full force of his antagonism. The majority of her scenes with him had been scheduled for last, including the one in which Brando's character was to establish his Nazi credentials in front of the crew by hitting Margolin. Brando had gone to elaborate lengths to instruct her in the ABCs of taking a slap, a process that was supposed to have her "rolling with the fake blows." She was to remain calm, and then at a timed moment he would slap her, pulling the punch as she mimed her reflex. "But when we did the scene for real," said Margolin, "he whacked me a beat before he was supposed to, and he slapped me hard. I mean hard, and not just once." Her jaw, Margolin added, was "numb for a day, and I felt tricked. He could have said, 'Look, I'll try not to slap you so hard. Let's work on it together.' Back in New York I'd done a play with Rip Torn, but as much of an amateur as I was, he wanted to work with me and we were very much in it together. There was no together with Marlon. The slapping thing was a setup."

by Anonymousreply 37December 14, 2016 11:20 PM

"Although there were streams of women in and out of Brando's dressing room, he still insisted to Margolin that he was giving his full attention to rewriting and improving their scenes together "to really make them right." But then he abruptly announced that within the week he was leaving for Tahiti. " 'My contract time is up,' he said," Margolin explained. "What he was doing was forcing us to accept his rewrites even though nobody liked them."

The revisions in question were, by wide consensus, "far worse" than Taradash's original script, and one rewritten episode was particularly bizarre. In this new scene Brando had Margolin's character inciting the prisoners to overthrow the ship, but then, already raped by the Nazis, she was to be attacked by the internees as well. As a result she would become so unhinged that she would be left a latter-day Ophelia, a wandering, babbling sylph trapped in the hold of the creaking World War II freighter.

"I was so beaten down," Margolin conceded, "that I didn't even have the wherewithal to call my agents and say, 'Look, I'm not going back until something gets changed.' I didn't have a shred of self-esteem left." In fact, by the end of the picture, the actress added, she was "as close to committing suicide as I've ever been in my life, and I was driven into psychoanalysis."

The sequence was eventually cut in the editing room to a single view of Margolin's face, but looking back at the experience, the actress concluded that the episode was representative of Brando's attitude: added to the continual and often silly rewrites, his eruption with Wicki, his competitiveness with Brynner despite their public detente, and his reclusive bonding with Cox and other buddies, it later led Margolin to believe that throughout "what he'd really wanted was for us all to fail, for the movie to drown with him. At the time, though, I was too scared to be sure of that," she added. "Now I realize that there was this intense self-loathing on his part, something so bottomless that you could just feel it. He was tortured and miserable."

Margolin herself could not let go. Having returned to Manhattan, she was aware that he was in town and she telephoned, ready to shoulder responsibility for the film's failure. Exactly why she called was unclear— compassion, her lingering need for approval, even unacknowledged attraction, all were possible motives—but when Marlon answered the phone, he claimed not to know who she was. "Two minutes. Totally abortive. Silence," Margolin said. "And there I was, willing to take the rap."

by Anonymousreply 38December 14, 2016 11:24 PM

"Brando's antics were not confined to her, however. Doing a scene with Brynner, he tried to see how many hard-boiled eggs he could stuff in his mouth and still get through his dialogue. He was more and more open in his contempt for director Bernhard Wicki, even while he himself was unprepared and had to resort to cue cards. In the middle of one scene with Brynner, Marlon inexplicably turned away and walked over to the porthole and looked out. "We didn't know what the hell he was doing, because this wasn't in the script," explained Taradash. "Then we realized that he was looking out at a blackboard he'd set up with his lines on it, that the porthole was just an excuse. From one day to the next, nobody knew where the hell he was going to put the cue cards. It became a joke."

His relationship with the director deteriorated. Once Brynner finished his scenes and departed and the production returned to the Fox lot for final shooting, his mood was poisonous. One afternoon he even manhandled Wicki during an argument in front of the cast and crew, seeming to snap completely.

Second-unit director Charlie Maguire, who was working with Steve McQueen on The Sand Pebbles, happened on that scene. Elia Kazan had asked Maguire to give a tour of the studio to a prominent Polish director who was visiting the United States as part of a State Department cultural exchange; upon meeting Maguire, the Polish director had expressed his desire to see Brando, whom he had heard was on the lot. While Maguire was aware that there were continuing problems with the production, he nevertheless escorted the visiting director to stage 5, where a mock-up of the ship deck had been built. Just as they rounded the corner of the set, they saw Marlon. "He had grabbed Bernhard Wicki by the back of the collar and seat of the pants," Maguire recalled, "and he was literally throwing Wicki off the stage. At the same time he was screaming at the crafts service guy: 'As soon as he's out, close the stage door and let's roll it. Let's shoot it.' I looked at this Polish director and I knew he was thinking, This is the way American stars treat their directors?

by Anonymousreply 39December 14, 2016 11:32 PM

More, please.

by Anonymousreply 40January 1, 2017 1:19 AM

Yes, more hot Brando

by Anonymousreply 41January 1, 2017 1:28 AM

My lasting question always has been how was he able to afford the children, the islands, the girlfriends, the general excess for so many years?

by Anonymousreply 42January 1, 2017 3:56 AM

R42 String of bad movies and millions of dollars for each flop

by Anonymousreply 43January 1, 2017 8:11 PM
Loading
Need more help? Click Here.

Yes indeed, we too use "cookies." Take a look at our privacy/terms or if you just want to see the damn site without all this bureaucratic nonsense, click ACCEPT. Otherwise, you'll just have to find some other site for your pointless bitchery needs.

×

Become a contributor - post when you want with no ads!