《马龙，听我说》的观后感10篇
《马龙，听我说》是一部由斯蒂文·莱利执导，马龙·白兰度主演的一部传记 / 纪录片类型的电影，文章吧小编精心整理的一些观众的观后感，希望对大家能有帮助。
《马龙，听我说》观后感(一)：马龙·白兰度私人特辑：不讲角色，只讲自己
本来以为这个片子会大讲特讲马龙·白兰度对自己饰演过的经典荧幕形象的分析（或者讨论）什么的，可是看完了才发现这是一本私人日记选辑。
这个词几乎滥俗了。对于大多数人而言，这个话题是万试万灵的。因为没有人能保证自己的童年真的一道灰色的阴影都没有。被奉为“演技之神”的马龙·白兰度也有一个糟糕的童年（明星们似乎都爱谈这个，即使不爱，粉丝也爱），父亲冷酷、粗暴、到处风流快活，还经常性地虐待自己的妻子；母亲温柔、内心中有着些许的诗意，却是一个酒鬼，最终精神崩溃，不知所踪。他对“经常去警察局保释母亲”的往事深感痛心。这样的孩子，想要健康成长起来，心中没有一丝暴戾，确实很难。马龙·白兰度一生都在摆脱父亲留给他的伤害，与此同时，他成为了一个向往自由、想做自己、渴望被爱却又难以保持对周遭事物信任的人。这种悲剧性的人生，在他的家庭中重演。他成了一个自己努力摆脱悲剧命运却在无意中促成了它的人。他希望自己的孩子能在大溪地那样的地方成长，免受现代社会的精神戕害，可是他的女儿，却没能像他期望的那样“一直活在大溪地无与伦比的景色里”。
反抗权威
一个自卑的人，倘若突然爆发，力量惊人，往往有着令人瞠目结舌的感觉。历史学家们似乎也越来越关心英雄人物的自卑心理，拿破仑、希特勒、斯大林……仿佛这些人物心理中自卑的一面，正在悄然地改变着这个世界。马龙·白兰度坦诚自己在遇到斯特拉·阿德勒之前是一个无比自卑的人的。对于他的表演事业，他也说：”除了这个，好像自己什么都不会，既然还可以，那就努力做个优秀的表演者。”他的演艺事业起步后，名利双收，声称“我父亲永远也不会明白自己一无是处的儿子怎么会在6个月里挣得比自己过去十年还多！”，这无疑是对“用钱来衡量一切”的父亲的某种心满意足的“报复”。他为了钱，去接让自己鄙夷的烂片（比如《超人》）；他为了演好角色，不惜与科波拉决裂（《现代启示录》几乎让科波拉破产）；他可以让奥斯卡颁奖典礼尴尬；他为自己刚出生的儿子远离父亲的“伤害”而过度保护，却仍旧避免不了子女间的悲剧；他为黑人人权呐喊、为印第安土著民众声索权利；他做了几乎自己能做的任何事，去反对这个世界的他认为的“权威”，却最终落败。在《巴黎最后的探戈》这部他认为“暴露过多自己个人内心”的电影中，那个痛苦、孤独、茫然的形象似乎才最接近他自己的本身。
他丝毫不避讳谈及自己对钱的喜爱，为了钱，他也会接演让自己后悔和鄙夷的片子。他享受着声望带来的自由（玩乐、漂亮女孩、聚会……），却对粉丝们的歇斯底里的追星感到震惊和不解。他对自己在《码头风云》中的表演很不满，尽管拿让他拿了奥斯卡。他成名后，开始感叹“想做一个普通人远比自己想象的困难”。他深谙明星总会难以逃脱“被神化”的过程，却无能为力。在《教父》的时候，他干脆找了一个看起来很荒谬的借口，拒绝了奥斯卡。他似乎对自己的每一部作品都不满意。我愿意相信这是他的真实想法。
他选择电影事业，是因为“每年只接一部片子，工作三个月，剩下的时间都可以做自己想做的事情”，比如去大溪地感受一下那里远离现代社会的宁静。为了保护自己和家人，他在自己的深宅大院中变得更加孤独、远离人群。
对于儿子的过度保护，也让他的儿子有了一个不正常的童年（这违背了他的初衷，好像除此之外，他也没有别的选择）。
他在心理治疗上花了无数的钱，却痛斥这些医生们为庸医，说他们只会拿“凿子和钻头对付你的大脑”。
他对钱的喜爱和挥霍，时常让自己陷入债务危机，就连《教父》这部让他迎来“翻身仗”的影片也是在200万片酬的诱惑下接手的。晚年，他更是留下了1100万英镑的巨额债务。他的风流债也很惊人，一生留下了6个自杀的情妇，还有大约25个不幸的子女。
一个伟大的演员、一个道德上的堕落者、一个孤独的人……恐怕这些都不足以定义这个影史上备受争议的人物。晚年，他终于明白了悲剧的所在，父亲也有一个悲剧的童年。家庭悲剧肯定不具备这种特殊的遗传性质，但是那些悲剧人物或许内心里一直都清楚自己想要逃避的什么，那就是他们或许不想成为那个真实的自己，一生徒劳地挣扎，却又回到了原点。
悲剧啊，悲剧。
《马龙，听我说》观后感(二)：马龙，听我说
影片开始马龙苍老的声音本身就带有一种浓浓的寂寞孤独，本身对哲学与自身的思考让他在年轻的时候做了许多不为大众所理解的事情，这可能也为他日后家庭的破裂埋下了深深的伏笔。虽然他一再说是他父亲对他造成的阴影，但是一个单亲家庭成长过来的孩子肯定是需要爱与被爱的，但世俗的遭遇没能磨灭了他爱的能力却剥夺了他感知爱的能力，伴随他后半生的除了落寞苍老的背影还有更深的孤寂与焦虑。他有一双看透世人的眼睛，却看不透他的一生。他一生都在致力于维持家庭和睦，避免他童年的不美好出现在现在的家庭中，他带着孩子走进大溪地，他尽力保护个人领地--家庭与家人，但是正是这个他极力维护的东西，最后却让他听到了心碎的声音，不能不说这是一种打击。他年轻的时候是一个不羁的浪子，年老以后呢
Marlon and others
VI栽罗勒 4 2015-01-26 07:57:38
提示: 这篇影评可能有剧透
在Sundance影节看的影片公映第二场，导演在，马龙的女儿Rebecca也在。
映后有Q&A，Rebecca今天说了这么几句话，我把我能记住的记录下来。
-我的父亲自己没有享受过愉悦的童年生活，他与他家人的关系并不亲近。但他一直致力于让他的孩子，我们，和家人有足够的时间在一起，吃饭，嬉戏。
-他一共有10个孩子，但，可能有12个。
-我父亲死后，市面上出现一些有关我父亲的书籍和记录。但是，目前为止，这一部是最写实的。我觉得这部影片真正展示出了我父亲究竟是个什么样的人。
“你听到大溪地人的歌声，从远处传来的笑声。太阳刚刚下山，一颗星星出现，夜空的第一颗星星，和平与爱。我看着一望无际，无法用言语形容的夜晚，我心想：‘老天，我一点都不重要，无论我做什么或不做什么，或者任何人做的事情，都没有比我身下的沙粒更重要。’”
《马龙，听我说》观后感(三)：我们这代人需要看这个才明白马龙白兰度有多大牌。
我们这代人需要看这个才明白马龙白兰度有多大牌。他的后半生光彩夺目，尤其是为了印第安人的斗争体现了真正的人性。以下是转的“性格桀骜不驯的马龙·白兰度是美国最伟大的演员之一。自1950年登上大银幕以来，白兰度在其半个世纪的从影生涯中为观众塑造了无数经典形象，从《欲望号街车》到《教父》，白兰度总共获得过7次奥斯卡金像奖提名，两度获封影帝。白兰度并未因出名感到兴奋和喜悦，相反他玩世不恭，行为乖张，与好莱坞格格不入。20世纪60年代，他的演艺事业一度走下坡路，票房号召力逐渐下降。直到大导演佛朗西斯·科波拉力邀他出演《教父》，才再度使他成为好莱坞最耀眼的明星。这部反映美国黑手党家族的影片上映后引起轰动。白兰度把教父唐·维克托演得出神入化，塑造了美国电影史上最经典的黑帮老大的形象，充分展现出他炉火纯青的表演才华，他因此再次捧走奥斯卡奖最佳男主角的金像。”
《马龙，听我说》观后感(四)：我们听到了，白兰度先生
应当感谢二十世纪后半叶家用摄录设备在美国的普及和流行，让人们能够在今日观赏到《马龙，听我说》这样的纪录片——“马龙·白兰度一生中录制了许多个小时的私人录音，直到现在才首次曝光。” 是这部作品的卷首语，也是它的所有。
如白兰度先生所担心的一样，数字化技术很快成为电影的现实。《速度与激情7》对过世演员的银幕再现，或许意味着传统表演的寿终正寝，可复制的面孔和表情，将取代皮囊之下的真实情感。而信息的碎片化造成的纪录与传播方式演变，让大量无意义素材脱离私人范畴，成为悬浮在云端难以筛选和辨别的日常冗余。
这或许昭示着，凭借他的私人录音，经由画面的配合剪辑组接而成的《马龙，听我说》，以第一人称的视角，不夹杂任何其他人物采访，裹挟着对上世纪手工作坊式表演制作的缅怀，剥离了带有社交意欲企图的独家视听记载，可能是一种只会出现于这个时代的人物纪录片。
让故去的人复活重生，给时间涂上香料使其不朽，是电影的魅力所在。《马龙，听我说》为白兰度还魂，依靠的是对偶像生前的记忆。1972年《教父》上演时，人们才发现《码头风云》里的不羁青年已是这样老了。马龙·白兰度一生两次事业大起，以及其间岁月的暗淡与焦虑，为这部纪录片构筑了张弛有度的先天结构。
并非广告宣传的明星纪录片好看的地方在于，人们可以从他的作品和他的生活中找到某种对应或反差。2015年同样收获好评的人物纪录片——主角同样已故，而私人录像同样成为叙事的必备以及观看的焦点——《艾米》和《科特·柯本：烦恼的蒙太奇》都将其人作品作为生活情感的反射结果。马龙·白兰度1950年从影，历经半个世纪，从方法派初创到新好莱坞来临，几乎见证了大半部美国电影史。
“外界当然会把我跟角色联想在一起，他们很难相信我不会在地上吃东西，或是我不会光脚在街上跑，我很难说服外界我并不是这样。”“我跟斯坦利·科瓦尔斯基一点都不像，我其实很讨厌那种人。我非常讨厌那个角色，无法跟他产生共鸣。”只有听到这种解释，一位明星于虚构的影视作品、曝光的公众社交、隐秘的家庭个人等场合的多重人格才得以被还原展现。
事实并不是人们认为的那样，但生命的轨迹始终是线性。年迈的维托·唐·科莱昂倒在阳光灿烂的儿童笑语中，成为上一代影人的某种隐喻；《现代启示录》越南潮湿的森林明暗间，则更是道破了他一生的关键词：恐惧。
白兰度从来是位反好莱坞的叛逆者，早期厌烦黄金时代陈旧的表演方式，中期麻木于机械化的制作模式，晚期与强势的导演合作不快。浮华的名利无法为他带来真正的满足，而强硬的态度并不能掩饰白兰度孩童时代起因家庭原因形成的自卑。
贯穿其一生的自卑是恐惧的来源，恐惧人们为利益损耗自然，恐惧人们被虚拟遮蔽真实，归根结底都是对自身存在的质疑。白兰度的录音感悟多于叙事，“马龙，听我说”亦是他对自我的告解。他所期待的是不重蹈包括父亲和同行等前人的覆辙，却无可避免地在漩涡急流中难退。原住民为他上台领奖致辞，正如大溪地成为白兰度的精神寄托，只有回归自然和虚无，才能厘清紊乱的秩序。
“你听到大溪地人的歌声，从远处传来的笑声。太阳刚刚下山，一颗星星出现，夜空的第一颗星星，和平与爱。我看着一望无际，无法用言语形容的夜晚，我心想：‘老天，我一点都不重要，无论我做什么或不做什么，或者任何人做的事情，都没有比我身下的沙粒更重要。’”
在空空的房间，屏幕上虚拟的头像在讲话，废弃的录音带被打包，这是片中历史资料以外唯一的一个场景。正如胶片会褪色，而数字技术将复制你我，《马龙，听我说》在退场前，端详着最后的遗产。
《马龙，听我说》观后感(五)：Marlon Brando
1、你能相信这股风。A wind you can trust.
3、Marlon:有些人是很少碰酒，但是酒却经常碰他们。
4、莎士比亚说：你无法从一个人的面貌看出他的内心。但其实应该有办法。
There is no art to find the mind's construction in the face.There should be such an art.
5、只要对了就是对的，你骨子里也能感受到，then you feel whole,then you feel good.
6、没有人天生就是邪恶的。多数人只是想克服他们在10岁之前就积累起来的不好的情绪习惯。
7、每个人都有憎恨的能力，每个人都有爱的能力。如果我们积极的朝某一边发展，我们都可能成为杀人凶手或圣人。
8、我经常冥想，结果是我感觉平静多了，我有几度感受到真正的平静。
9、记者：你不知道自己被视为最伟大的演员之一吗？
Marlon:Tim才是史上最伟大的演员，它想吃东西的时候会假装爱我。给我出去。
《马龙，听我说》观后感(六)：愿这位伟大的演员身后可以得到他寻找了一辈子的安宁
用马龙马兰度自己的录音作为几乎全部的旁白，很带感。如果我早些年出生，年轻时候的马龙马兰度绝对偶滴男神啊，帅得没边了，也野得没边了，可惜这个名字对我来说已经是“老伯伯”了，所以除了那几部知名的电影角色外，对这位声明显赫的好莱坞明星真的完全不了解。
如此帅哥，用了那么绚烂的人生也没抵消童年的那些阴影，童年的经历一定程度成就了他狂放不羁的性格，用人生思考的演技生涯，对抗强权和不公的执念，但更多的是那永远无法抹去的阴影，真的太可怕了。愿这位伟大的演员身后可以得到他寻找了一辈子的安宁，也请容忍小孩子们抱着您年轻时期的影像舔屏，真的太帅鸟~~~~~~
《马龙，听我说》观后感(七)：比演技更重要
《马龙，听我说Listen to Me Marlon》是一部关于马龙白兰度（Marlon Brando）个人见解的作品，影片主要来源于马龙白兰度近期披露的生前录音资料以及马龙的影像资料。公开的珍贵录音时长近七小时，在提炼和加工之后，形成了这部时长95分钟的影片。就在这短短的一个半小时中，我们走向了马龙白兰度的内心世界，看到了我们以前无法看到的马龙的真实内心世界。
马龙白兰度是演员中的一个神话，甚至可以毫不客气地说“一个不想成为马龙白兰度的男演员不是好演员”。他位列AFI百年男演员第4位，但他与其他同在名单中的那些演员们相比却大相径庭，他的一生从始至终都被一种莫名的悲剧情感所包围，他的脸庞所独有的叛逆感是超越他所属的电影时代的英俊，只有他在中年之后仍然在电影中大放光彩，更有他激进的政治态度，他就是那个传奇——马龙白兰度。
首先，马龙是一个出色的演员，他对表演的看法与实践都体现了这一点。他常常在街上观察普通人，观看他们的表情并分析他们的性格，从中提升自己的演技，让自己的表演从真实生活中提炼，不成为亨弗莱鲍嘉等人千篇一律的表演方式，而要把角色变成真实的人物。他强调“人人都是演员或骗子，我们每天都在用即兴的表演欺骗身边的人”这个观点，反映了他的表演新派观点以及对旧派的讽刺，更表现了他对人生活的一种理解。我们难道不经常演戏应付别人吗，别人难道不经常演戏应付我们吗？可以说人人都是表演大师，随时在骗过身边的人。可是也正如马龙所说，我们做骗子时首先骗的人就是自己。
演员的演技做到马龙的程度已经实属不易，但影片为我们呈现出不仅仅是对演员、表演有深刻见解的马龙，还有比演技更重要的事，就是马龙的生活。
马龙的童年并不幸福，他生活在一个缺少母亲和充满暴力的家庭，童年的经历奠定了马龙多愁善感的一生，他没有被爱过，也不知如何爱别人。他只是想用自己认为的爱去爱他的孩子们，也许正是因为如此，他在老年要为自己的家庭承受巨大痛苦，一次次在媒体面前曝光，面对他所不愿面对的一切媒体与敌人。
马龙希望一个美丽的环境，停止演戏。他在演艺经历中来到了大溪地，一个印第安人安居乐业的世外桃源。他深受感动，他希望世界永远如同这个样子。但事与愿违，他不得不一次次为民权事业奔波，看着无辜的孩子在战争、游行中逝去，为那些无知愚蠢的父母、政府愤怒。他为黑人说话，为印第安人说话，希望美国能够平等地对待黑人与原住民。为了呼吁政府正视历史，更为此放弃了在《教父》的精彩演出而获得的金人。马龙的一生都在为社会困惑，困惑那些被扭曲的历史与思想。
马龙留下了这些录音记录了他长期的、压抑的情感。这些录音为我们呈现了那个神秘的马龙，我们可以与他一同看待他的事业、他的家庭、他的人生，去了解他、感受他的人生情感，去学习他的看法、见解。我们就坐在那里，静静看着马龙的影像，静静听着马龙感慨人生。
马龙在我们心中的形象也许还是那个数字模拟的蓝色人头，但是我们可以坐在那里，就在那里听你说，马龙。
《马龙，听我说》观后感(八)：Listen to Me Marlon (2015) Movie ｓｃｒｉｐｔ
(TAPE RECORDER CLICKS)
RANDO:
This is the beginning of the tape.
We're on mono and we're on microphone 1.
Okay.
ow listen,
let me tell you something that I did.
I've had my head digitized.
And they put this laser
and it goes around you like this...
and they digitized my face.
And I made a lot of faces
and smiled and...
and made a sad face and...
o they've got it all on digital.
And actors are not going to be real,
they're going to be inside a computer.
You watch, it's gonna happen.
o maybe this is the swan song
for all of us.
(ELECTRONIC NOISES)
Tomorrow and tomorrow and tomorrow...
creeps in this petty pace
from day to day,
to the last syllable of recorded time;
and all our yesterdays
have lighted fools the way
to dusty death.
Out, out, brief candle.
Life's but a walking shadow,
a poor player, that struts
and frets his hour upon the stage,
and then is heard no more.
It is a tale told by an idiot,
full of sound
and fury,
ignifying...
othing.
OLICE OFFICER: Copy. All available
units responding to a shooting.
MALE REPORTER:
olice came to a call to 911,
ut this was no ordinary address,
the caller no ordinary citizen.
Marlon Brando was on the line
to report a shooting at his home.
Misery...
has come to my house.
FEMALE REPORTER: Brando won an Oscar
for his performance in the 1954 film
On the Waterfront.
He was already being acclaimed
as the greatest American
film actor ever.
You take the good goods away,
and the kickbacks
and the shakedown cabbage
and them pistoleros and you're nothin'.
Hey, Stella.
INTERVIEWER:
You can bet that Marlon Brando's impact
on the world of movie acting
will still be felt 500 years from now.
I'm gonna make him an offer
he can't refuse.
MALE REPORTER: Marlon Brando was here
at his home at the time of the shooting,
ut police who questioned the actor
ay he did not witness it.
MALE REPORTER 2: The shooting
ut a spotlight on the private life
of one of Hollywood's
most reclusive stars.
RANDO: And it's been a struggle
to try to preserve sanity
and sense of reality
that is taken away from you by success.
RANDO: It will be
a highly personalized documentary
on the life activities of myself,
Marlon Brando.
We establish that he is a troubled man,
alone, beset with memories,
in a state of confusion and sadness,
isolation, disorder.
He's wounded beyond being able
to be social in an ordinary way,
he becomes like a mechanical doll.
Maybe he felt that he was treated badly.
And that he's angry about the treatment.
He's collecting bits
of information here, odd bits of film
to try to explain why are you this way？
Ten, nine, eight, seven, six,
five, four, three, two, one.
ow let your mind drift
ack,
way back in time
to a time when you were very young,
when you used to wake up in the morning,
ut on your clothes
while everyone was sleeping,
and walk down the sidewalk in Omaha
and sit underneath that big elm tree.
With the wind blowing the light,
the shadow of leaves.
It is like a wonderful, soft dream
and that soft wind calling.
That's a wind that you can trust.
You are the memories.
I've always in my life had
a strong sense that I had to be free.
tanding on that train, I was free.
I used to love to stand in the car
and listen to the rails.
(MIMICS RHYTHM OF A TRAIN'S MOVEMENT)
You know？
It's an eccentric kind of rhythm.
I arrived in New York with holes
in my socks and holes in my mind.
I remember getting drunk,
lying down on the sidewalk
and going to sleep.
obody bothered me.
I was always somebody who had
an unquenchable curiosity about people.
I liked to walk down the street
and look at faces.
I used to go to the comer
of Broadway and 42nd Street
in an Optimo cigar store.
I would watch people for three seconds
as they went by
and try to analyze their personality
y just that flick.
The face can hide many things.
And people are always hiding things.
I was interested to guess
the things that people
did not know about themselves.
What they feel, what they think,
why they feel.
How is it that we behave the way we do？
What is the answer？
Is there any answer？
There is something
that you need very deeply.
ome kind of contact,
ome experience
to give you a sense of fulfillment.
I had a great feeling of inadequacy,
that I didn't know enough,
that I didn't have enough education.
I felt dumb.
I became an actor
retty much by accident.
I went to the New School
for Social Research,
which is an extraordinary institution
of learning.
My teachers were all Jewish,
ecause the New School
was a clearing house
for Jews that escaped from Hitler.
They were very respected people.
The cream of academia.
Control over your lives
egins with this class.
RANDO: I studied with a woman
y the name of Stella Adler.
he was a fine actress,
a really wonderful actress.
The smell of the greasepaint
and lure of the theatrical experience
came out in her teaching technique.
ADLER:
The play has nothing to do with words.
You do not act words,
you act with your soul.
RANDO: I was very shy when I was a kid.
ensitive, very sensitive.
ADLER: In the theater,
the actor is the boss.
It's against the nature of human life
to withdraw.
RANDO: "Don't be afraid," she said.
quot;You have a right to be who you are,
where you are and how you are."
ADLER:
e in a state of honesty up there.
RANDO:
Allowing yourself to feel things,
to feel love or to feel rage.
ADLER: Speak out the thoughts
that are tormenting you.
RANDO: Everybody's got a story to tell,
omething they're hiding.
ADLER: Do not bring anything
in the present
that doesn't have the past.
RANDO: We develop the technique
of acting very, very early.
Even from the time we're a kid,
where we're throwing our oatmeal
on the floor
just to get attention from our mothers.
Acting is surviving.
Yeah, that's my mother.
That photograph there.
This is a portrait of my mom
when she was about forty.
And she was a marvellous person.
For instance, she dressed up a pet goose
we had for Santa Claus.
he made a Santa Claus out of it,
made a little red costume for it
and a beard and everything.
he was a very inventive
and artistic woman.
And I miss her very much.
I was given by my mother
a sense of the absurd.
he had false teeth.
Once in a while she'd laugh.
While she was laughing,
her teeth would come off her gums.
And the more I laughed,
the more she thought it was funny
and we both ended up laughing real hard.
My mother taught me a love for nature,
and a sense of closeness with animals.
You couldn't think of a tune
he couldn't play on the piano.
ot one.
I like remembering about her.
I used to love the smell of liquor
on her breath.
And her breath becomes very, very sweet.
It's a lovely fragrance.
My mother was an alcoholic.
We lived in a small town
and my mother was the town drunk.
he began to dissolve
and fray at the ends.
When my mother was missing.
Gone off someplace,
we didn't know where she was.
I used to have to go
and get her out of jail.
Memories even now
that fill me with shame and anger.
ADLER: You have to constantly act.
It is not important
to defend your faults in the theater.
It's important to overcome them.
RANDO: Stella very kindly invited me
into her home.
I then became part of her family.
When I was really suffering
and disjointed, disoriented with life,
he was always very loving towards me.
I'd never done anything in life
that anybody ever said I was good at.
he put her hand on my shoulders
and said, "Don't worry, my boy."
quot;I have seen you,
and the world is going to hear from you."
INTERVIEWER:
From the T-shirt clad Stanley Kowalski
in Streetcar Named Desire,
the role which catapulted him
to international fame,
we're very pleased
to have with us this morning
as our guest Mr Marlon Brando.
RANDO: Streetcar Named Desire
was very satisfying to be in,
ecause I thought
it was a wonderful play.
The story was superb
and the production was wonderful.
You must be Stanley.
Oh, hiya. Where's the little woman？
RANDO: It was a very explosive part
and it electrified everybody.
You want a shot？
LANCHE: No, I rarely touch it.
Well, some people, they rarely touch it,
ut it touches them often.
RANDO: I was quite nutty
when I was young
and I would have a lot of energy.
Rain forever.
RANDO:
'Cause you couldn't come out flat,
you couldn't come out slow.
After the play was over,
I felt like a million bucks.
I was off into the night
with sparkles and zest
to see whatever I could find.
How wonderful it was to drive around
on a motorcycle with just a T-shirt on.
Two, three, four o'clock in the morning.
ome small club
in the black section of town.
And I was screaming
when they were playing those drums.
I'd hear that shit,
it just used to take me to another land.
This is my moment,
I want to take this moment
and that was wonderful.
And then your life changes.
uddenly, there's a lot more girls
aying, "Hi, Mar."
When I was younger,
I was a fairly attractive kid.
I had a lot of derring-do and panache.
I was unpredictable and stimulating
for a lot of young girls.
(MIMICS CAT'S SCREECH)
RANDO: I was young and destined
to spread my seed far and wide.
Girls and fun and good food
and sense of health and purpose...
It can't get better than this.
othing in life
could be better than this.
I was always making jokes and teasing,
laying practical jokes on everybody.
(LAUGHS)
To be able to have money.
I never had any money.
My father was a traveling salesman.
I was making more in six months of work
than he made in ten years.
He measured everything by money.
He couldn't understand
how this ne'er-do-well son of his
could possibly do that.
If I have a scene to play
and I have to be angry,
there must be within you trigger
mechanisms that are spring-loaded,
that are filled with contempt
about something.
I remember my father hitting my mother.
I was fourteen.
ow that's how
I'm gonna clear the table.
Don't you ever talk that way to me.
RANDO: My old man was tough.
He was a bar fighter.
He was a man with not much love in him.
taying away from home,
drinking and whoring
all around the Midwest.
He used to slap me around,
and for no good reason.
And I was truly intimidated by him
at that time.
ow what kind of a queen
do you think you are？
You know that I've been onto you
from the start,
and not once did you pull the wool
over this boy's eyes.
RANDO: When things
are extremely painful to you,
you don't want them
in your consciousness,
you want to forget about them.
And you are the Queen of the Nile,
itting on your throne,
willing down my liquor.
You know what I say？ Ha-ha!
RANDO: You can imagine
having to go someplace every night
and go through all that,
get yourself upset...
To have to cry or to scream
or to be ruined in some way,
that's work.
That's hard work.
eople invariably associated me
with the part I played,
o that it was difficult to believe
that I didn't eat off the floor,
or that I, you know, didn't run up
the street with my shoes off,
and so it's been a hard thing
ort of living that down.
There is nothing about me
that is like Stanley Kowalski.
I hate that kinda guy.
I absolutely hate that person
and I couldn't identify with it.
The brute, dark character that
represented the beasts and the animals.
They sent me to a psychiatrist.
They thought I was going nuts,
losing my mind.
tella told me,
if you come to the theater
and you feel a hundred percent,
how eighty.
If you come and you feel sixty percent,
how forty.
If you come to the theater
and you only feel forty percent,
est to turn around and go home.
INTERVIEWER:
I was wondering if you have any plans
to return to the stage
in the near future.
RANDO: No, I don't have any immediate
intentions of returning to the stage.
(TAPE RECORDER CLICKS)
RANDO: The shouts of freedom
are also the rattling of chains.
RANDO:
You seem to be such a restless man.
Eyes always darting.
RANDO: I don't know,
I guess I've just got loose feet.
INTERVIEWER: I infer from that that you
do not thoroughly enjoy your profession.
Or you don't enjoy it at all.
RANDO: No, I think that people
do what they enjoy,
or else they don't do it.
eople do what they want to do.
If there are adverse conditions
that surround my work,
they are not adverse enough
to make me change activities.
If I hadn't had the good luck
to be an actor,
I don't know what I would've been.
I'd have probably been a con man.
A good con man.
Tell smooth lies, give impressions
of things that he thinks,
or appears to think
that he doesn't think.
ince I don't do anything else well,
and up to this time I haven't decided
what else I would like to do,
I might as well put all my energies
into being as good an actor as I can.
WOMAN:
ow will you turn your head for us？
ure.
WOMAN: Now around the other way.
ow all the way around.
All right. Thank you and stay around.
RANDO: Shakespeare said,
quot;There is no art to find
the mind's construction in the face."
And there should be such an art.
When the camera is close on you,
your face becomes the stage.
Your face is the proscenium arch
of the theater, thirty feet high.
And it sees all the little movements
of the face and the eye and the mouth.
You have the intensity to act.
I wanted very much
to be involved in motion pictures,
o I could change it
into something nearer the truth.
And I was convinced
that I could do that.
About my playing the tuba...
eems like a lot of fuss
has been made about that.
RANDO: In the '30s and '40s
you had a particular kind of acting.
You knew who you were gonna get
when you went to the movies.
Gary Cooper oats.
hredded Wheat Bogart.
Clark Gable Crunchy Fruit Loops.
They were just like breakfast cereals.
The same in every role.
Gestures of anguish and despair,
and that kind of acting became absurd.
The astounding thing
most people don't realize.
All motion pictures today,
all acting today,
tems from Stella Adler.
INTERVIEWER: Stella, so much
has been talked about Method acting.
What exactly is the Method？
All right, let's start at the beginning.
RANDO: Stella went to Paris
and studied
with Konstantin Stanislavsky,
the great Russian teacher,
rought back
her experience and knowledge
of this particular form of acting.
Reality, realness, carried by an actor
to achieve the truth.
This is the most modern technique.
RANDO: Everything that you do,
make it real as you can.
Make it alive, make it tangible,
find the truth of that moment.
Mr Stanislavsky understood that.
RANDO: And the style of acting
changed completely.
The first movie I ever did
was called The Men.
L played a paraplegic
and lived in a hospital
with paraplegics for three weeks.
hysicality is a tough thing.
I spent a lot of time just studying
everything they do.
I wanted to see how
they got in and out of their chairs.
The manner in which you crawled
from one place to another.
araplegics,
they do the most amazing things.
Races without their chairs,
I've seen guys walk on their hands.
They can do one-armed pull-ups,
they can do everything.
You have to know your subject,
you have to know your character.
utting yourself
in a different state of mind.
What they felt like,
what their frustrations were
knowing that they couldn't have sex.
RANDO AS KEN:
What am I gonna do, where am I gonna go？
I can't go out there anymore.
RANDO: He just sits there
and he marinates his mind.
In the intellect; that's all he's got.
ut your heart into it.
Get yourself up emotionally.
At night I think about it,
dream about it
and I wake up being absorbed by it.
eople have routines:
acting routines, dancing routines,
ainting routines.
The same thing over and over again.
Everything is a clich.
When an actor takes a little too long
as he's walking to the door,
you know he's going to stop
and turn around and say...
quot;Frankly, my dear, I don't give a damn."
RANDO:
Jersey Joe Walcott, terrific fighter.
He'd be boxing, he'd be throwing
ome punches and bing!
He'd have his fist in somebody's face.
You'd think it was coming out
of the southwest
and there it comes out of the northeast.
He would never let you know
where he was going to hit you.
You.
RANDO: Never let the audience know
how it's gonna come out.
What is your name？
RANDO: Get them on your time.
Emiliano Zapata.
RANDO: And when that time comes
and everything is right,
you just fuck, let fly.
O judgment, thou art fled
to brutish beasts,
and men have lost their reason.
RANDO: Hit them, knock them over.
With an attitude,
with a word, with a look.
I don't like cops.
RANDO: Be surprising.
Figure out a way to do it
that has never been done before.
You gotta put something down,
you gotta make some jive.
Don't you know what I'm talking about？
RANDO: You want to stop that movement
from the popcorn to the mouth.
Cry "Havoc,"
and let slip the dogs of war.
RANDO: Get people to stop chewing.
That this foul deed
hall smell above the earth.
RANDO: The truth will do that.
Damn, damn, damn, damn.
When it's right, it's right.
You can feel it in your bones.
Then you feel whole,
then you feel good.
It was pre-sixties.
eople were looking for rebellion,
and I happened to be at the fight place
at the right time
with the right state of mind.
In a sense, it was my own story.
Rebelling for the sake of rebelling.
WOMAN: Hello, Mr Brando.
I hope you don't think
I'm too crazy for making this recording.
I wrote you a fan letter once,
ut I don't know if you received it.
Once I saw a picture of you
with a white cat. Was it yours？
I'll bet you're one of the kindest,
most interesting fellows in Hollywood.
I suppose I'm judging the book
y the cover,
ut perhaps I'm not too far wrong.
Mr Brando？
I hope this isn't too personal,
ut I always say what I think,
o I won't stop now.
I admire you very much,
oth as an actor and a person.
Many, many other people
feel the same way.
I think one of the main reasons
that I admire you
is because you aren't afraid
to be yourself,
instead of being a carbon copy
of everyone else.
It would be a pretty dull world
if everyone behaved in the same way,
o three cheers for you, Mr Brando.
RANDO: I didn't intend to have
that extraordinary effect.
I became, very quickly, a cult hero.
And now I know that you're as anxious
as I am to find out what actor
has won the Oscar
for the best perfonnance of this year.
The winner is
Marlon Brando for On the Waterfront.
REPORTER: Marlon Brando,
an actor of very considerable talent.
The youngest actor
ever honoured in this way.
RANDO: When I saw the picture finally,
I was so embarrassed,
o disappointed in my performance.
It's much heavier than I imagined.
It's like carrying a monkey around
on your back.
They're asking me to put the finger
on my own brother.
RANDO: It's a very strange thing
this business of storytelling.
You don't always know when you're good.
You wanna hear my philosophy of life？
Do it to him before he does it to you.
RANDO: People will mythologize you
o matter what you do.
There's something absurd about it,
that people go with hard-earned cash
into a darkened room
where they sit
and they look at a crystalline screen
upon which images move around
and speak.
And the reason they don't have light
in the theater
is because you are there
with your fantasy.
The person up on the screen
is doing all the things
that you want to do,
they're kissing the woman
you want to kiss,
hitting the people you want to hit,
eing brave in a way
that you want to be brave.
The audience will lend themselves
to the subject.
They will create things
that are not there.
Listen to me, Terry, take the job.
Just take it. No questions, take it.
RANDO: There are times I know
I did much better acting
than in that scene
from On the Waterfront.
You don't understand.
I coulda had class.
I coulda been a contender.
I coulda been somebody.
Instead of a bum.
Which is what I am, let's face it.
RANDO: It had nothing to do with me.
The audience does the work,
they are doing the acting.
Everybody feels like they're a failure,
everybody feels
they could've been a contender.
Inferiority.
I've been very close to it all my life.
ED MURROW: Marlon,
I know your dad is in town tonight.
Is he hiding out somewhere？
RANDO: No, I'll get him in here. Pop？
Come on out.
ED MURROW: We'll ask Mr Brando
ome questions about his son
and I'm sure we'll get
the blunt and direct answers.
Good evening, Mr Brando.
I imagine you're just a bit proud
of your son right now, aren't you？
Well, as an actor not too proud,
ut as a man, why, quite proud.
ED MURROW: Mr Brando, tell me this.
Was he hard to handle as a child？
FATHER: I think he had the usual...
childhood traits.
I think he had probably a little more
trouble with his parents
than most children do.
ED MURROW: Marlon, in the interests
of justice and fairness,
would you like 30 seconds
to defend yourself？
Well, I don't feel
I need to defend myself.
I can lick this guy with one hand, so...
Let it go.
RANDO: We had an act
we put on for each other.
I played the loving son
and they played the adoring parents.
There was a lot of hypocrisy.
When what you are as a child
is unwanted, it's unwelcome,
then you look for an identity
that will be acceptable.
o I had a wide variety
of perfonnances in me.
ED SULLIVAN: I'm very anxious for you.
I know you haven't seen
all of the footage,
ut your light comedy performance
in Guys and Dolls
is really terrific, Marlon.
Well, I hope so.
I'm very anxious to see it.
In fact, I'm dying to see it.
How was Vegas？
aradise. For two weeks I gambled
in green pastures,
the dice were my cousins
and the dolls were agreeable
with nice teeth and no last names.
You don't believe I'm a sinner, do you？
I'm prepared to believe that you are the
iggest sinner I ever met in my life.
RANDO: It's part of an actor's trade
to be able to play in a light vein
and be an entertainer
as well as a serious storyteller.
And I feel that I perhaps have neglected
that part of my career up to this point.
When I go to set I have a lot of fun,
ecause it's a gay affair.
It's pleasant to look forward to,
it's a nice way to spend your day,
rather than be in the middle of a miasma
of seriousness and gravity.
As a kid, when I used to sell bottles
and cut lawns
to get my ten cents to go to the movie,
and I would escape everything.
That sense of good feeling,
that got me through the week.
Those moments were magical.
REPORTER: The glittering world premiere
at New York's Capitol Theater
for Samuel Goldwyn's multi-million
dollar production of Guys and Dolls.
# Your eyes are the eyes
it of a woman in love
it And oh, how they give you away
it Why try to deny...
RANDO: Most actors
want to get their name in the paper.
They like all that attention.
I very often am struck
with the illusion of success.
ometimes it's difficult
when you meet people
ecause you see
that they have prejudged you,
ot to be treated normally.
To have people staring at you
like an animal in a zoo,
or some strange creature
from a distant land.
What it does is remove you from reality.
(FANS SCREAM)
I can't stand it. I hate it.
I had no idea of how discomforting it is
ot to be able to be
just an ordinary person.
You can't imagine
how much of a panic it is.
Really, it scared me to death,
ecause they were hanging on,
they could've been run over or crushed.
It really is...
I've never seen
a really hysterical crowd.
It's a frightening experience.
RANDO: Relax, Marlon.
And breathe deeply now.
You don't need to feel frightened,
you don't need to be nervous.
You're very, very comfortable.
Deeply safe,
like when you were with Ermi,
when you slept in her arms,
when you received affection.
Remember those feelings.
he was a governess
hired by my mother.
Lovely Oriental skin.
he had very fine hair.
he was sleeping,
and through the windows
came the moonlight,
and illuminated her body.
I remember arranging myself
on her, over her,
and thinking that she was all mine,
that she belonged to me alone.
Everybody wants a guarantee
that their love is going to be returned.
quot;I'm going to love you till I die
and we're going to love each other
forever."
All of those adolescent and childish
concepts of what love ought to be.
I remember the night she left.
he went away to get married,
ut to a seven-year-old mind,
having been with someone intimately,
it was tantamount to desertion.
In a sense, my mother left me,
ecause she was alcoholic.
And so did Ermi.
It was from that date that I became
a miscreant, badly behaved.
- CAMERAMAN: Okay.
- Okay.
I'd like to begin by asking you
what consumes your thoughts
in your spare time, when you have any？
Well, my thoughts are...
INTERVIEWER: What do you do？
I'm interested in your face.
You're one of the prettiest
interviewers that I've...
INTERVIEWER: Thank you.
You're one of the most gracious hosts
I've ever met.
- Oh really？
- INTERVIEWER: Yes.
I hope to see you in Chicago.
(LAUGHTER)
- We'd like to see you in Chicago.
- We？
Is that the collective "we"
or is that the...
There are many people
who would like to see you in Chicago.
- But you don't？
- Certainly, I do.
Well, I'm representing WNAC in Boston
and our viewing audience
would love to know why you're here
and for you to tell us
about your latest movie.
Excuse me,
I didn't mean to touch your ankle.
Well, what can I tell you about it？
INTERVIEWER:
Oh, just some interesting things
that our audience would like to hear...
You talk out of the side of your mouth,
did you ever notice that？
- INTERVIEWER: No, I...
- You talk... It's channing.
TERVIEWER: Unintentional.
It's a physical idiosyncrasy,
ut it's a charming one.
We can't see your right eye.
Talking from the side of my mouth？
Wouldn't want to do that.
Would you like to tell us about behind
the scenes while making the picture？
How far behind the scenes？
(LAUGHTER)
RANDO: Answer me something, is it true？
There are some rumors about you
and Marlon Brando having a romance, huh？
WOMAN: Oh no, we're just good friends.
RANDO: Just good friends？
Well, it seems the other night,
you were going into Mr Brando's room
and not coming out until early morning.
Is that true？
WOMAN: Well, yes, it's true,
ut he is a perfect gentleman.
RANDO: He's a perfect gentleman. I see.
Is it true there was some love making
going on there？
The people in the next room seem to
have heard some thumping about and...
and some rattling of the bed itself.
WOMAN: Well, I slept with him.
RANDO: You slept with him？
Well, I don't...
WOMAN: In the same bed.
RANDO: Well, I don't know if we can
talk about this over the air, I mean...
I hope you folks listening in
will not be...
WOMAN: Just close your ears.
WOMAN 2:
You have what most men want.
You have a lady to fuck,
you have a woman who loves you,
you have a...
(BRANDO LAUGHS)
WOMAN 2: Guilty, aren't you？
RANDO: I'm not guilty.
It's just the... It's the tequila.
- WOMAN 2: It's the what？
- BRANDO: It's the tequila.
WOMAN 2: I got it.
RANDO: Past a certain point,
the penis has its own agenda.
It has nothing to do with you
and a lot of your decisions are made
y your penis and not by your brain.
REPORTER:
I'd like to show you a wedding picture.
A wedding that took place
on October 11th, 1957.
The man is Marlon Brando.
The woman？ A young Indian actress
and a model, Anna Kashfi.
RANDO: A good con man can fool anybody.
And the first person that you fool
as a con man is yourself.
he found out about other women
in my life
and I had women coming in the door,
going out the window...
The beast aspect of my personality
held sway
and overtook anything that was
reasonable, rational, moral or decent.
ecause if you haven't ever been loved,
or ever known love,
you'll never know where it is.
You don't know what it looks like
or sounds like.
You look in the most unlikely places
to find it.
REPORTER:
Marriage lasted but a few months,
ut a child was born out that coupling.
Christian Devi.
RANDO:
I can remember the baby breathing...
(BREATHES GENTLY)
Little tiny baby like that...
Then listening to the heart.
I didn't want my father
to get near Christian.
The day he was born, I said it to myself
with tears in my eyes in the hospital,
quot;My father is never going
to come near that child,
ecause of the damage he did to me."
INTERVIEWER:
Can I move on to your own acting career
and how your moral beliefs
have affected it？
For example, we associate you
with roles like On the Waterfront,
where you are a man
who is fighting a righteous cause,
a sort of underdog,
you've got the whole union machine
against you,
and then there's the roles
like the rebel leader in Viva Zapata!
Where you are for the poor.
Do you deliberately choose these roles？
Over your career you've deliberately
chosen roles that have
gone along with your political beliefs？
Yes, I think so.
ARRATOR: On December 23rd, 1787,
His Majesty's ship, Bounty,
ailed from England
ound for the South Seas,
culminating in the most famous mutiny
in history.
CAPTAIN BLIGH:
You can put it in one word. Fear.
Fear of punishment so vivid in his mind
that he fears it even more
than certain death.
In my years of service,
I have never met an officer
who inflicted punishment upon men
with such incredible relish.
It's sickening.
Then go and be sick in your cabin,
Mr Christian.
RANDO: Human hatred.
What is the answer？
Is there any answer to injustice？
I wanted to make pictures
that are meaningful to me.
CAPTAIN BLIGH:
You'd best join my war, Mr Christian,
for if I don't start winning soon,
the casualty list will be real enough.
RANDO: You bring part of yourself
to every character,
ut some parts
are closer to us than others.
Is the story true about
you going to school in Minneapolis？
I went to a military academy called...
Well, I won't tell you the name.
I had a terrible time there.
RANDO: My father sent me
to military school, away from home,
the one he had attended.
It was a cruel and unusual punishment.
The mind of the military has one aim:
to be as mechanical as possible.
To function like a human machine.
Individuality simply did not exist.
I had a lot of loneliness.
I spent most of the time
up in the library
reading the National Geographic
magazine about Tahiti.
I was entranced
y the expressions on their faces.
They had unmanaged faces,
o manicured expressions.
A kindness.
That's where I want to go,
that's where I want to be.
When I made Mutiny on the Bounty,
finally I got a chance to go to Tahiti.
I'd fallen in love with Tahiti.
It was everything I longed for,
everything I hoped it would be.
As soon as they'd say cut,
I'd take off my jacket,
dive into the water
and swim under the boats
and play on the beach.
The sky... I've never see a sky like it.
And the sunsets defy words.
My God.
I've only been here a short time.
I have been puzzled
every time I see Tahitians,
ecause I can't figure out
what they're thinking.
When you watch Tahitians,
it's like watching a wave,
or the wind in the palm tree,
or the palm tree itself.
They'll bring their drums
and their skirts,
and they'll laugh and dance
and drink and make love.
Full of laughter.
CAPTAIN BLIGH: Mr Christian.
Kindly satisfy your lust elsewhere.
Quite actually, sir,
we were simply discussing...
Acknowledge the order.
Lust to be satisfied elsewhere, sir.
Report on board immediately.
You bloody fool.
RANDO: Mutiny on the Bounty
was perhaps my very worst experience
in making a motion picture.
I never want to do that kind of picture
again as long as I live.
obody was agreed when we went in.
We all knew that it was impossible
to shoot that story.
It won't work. That will never work.
You can't have Christian standing aside
ot doing anything.
Keep him alive in the story.
I was never consulted
efore the writing was done.
And I cared a great deal
about this picture.
You put your life in the hands
of the director,
ecause the director can screw you up.
You're going too lightly, Quintal.
Lay on with a will
or you'll take his place.
RANDO: They can't direct actors,
they don't know what the process is.
How delicate it is
to create an emotional impression.
They cover up their sense of inadequacy
y being very authoritative,
commanding things.
INTERVIEWER: Didn't he say he wanted
to talk to you and explain it to you？
RANDO: He wanted to give me
a long "no", and I favor short "noes".
INTERVIEWER: No, I did...
RANDO: You can't argue with somebody
who's made up their mind.
Don't ever be intimidated by directors.
You bloody bastard.
You'll not put your foot on me again.
There was a great deal of friction,
confusion and desperation,
disappointment and disgust,
there were fist fights.
hip's company!
I'm taking command of this ship.
Mr Friar, I'll have the keys
to the arms chest.
You'll give him nothing!
RANDO:
Hey! I'm not your fucking stamp licker.
You're making a huge error.
Don't make it again.
I don't care if it costs me my job.
Marlon, talk about rage.
Talk about your own rage.
All my life I've questioned
why I should do something.
I had contempt for authority.
I would resist it, I would trick it,
I would outmaneuver it, I would do anything
rather than be treated like a cipher.
REPORTER:
Marlon Brando has been the subject
of a good deal
of controversial publicity.
He's been called a supreme egotist,
uncooperative, temperamental.
I've rarely seen
uch a range of vicious critiques.
RANDO: They were blaming me
for all the delays and everything.
They had to blame it on somebody,
o they blamed it on me.
Well, everybody has to have
a whipping boy and certainly the studio.
They have to find a scapegoat,
they have to find somebody.
I was the most logical person.
The sickening and endless variety
of lies.
They can hit you every day
and you have no way of fighting back.
I was very convincing
in my pose of indifference.
ut I was very sensitive
and it hurt a lot.
There are times when you think,
quot;What the fuck is all this for？"
quot;Christ, nobody's listening."
There's an old adage in Hollywood,
they say "if you have a message,
go to Western Union."
I didn't make any great movies.
There's no such thing as a great movie.
In the kingdom of the blind,
the man with one eye is the king.
There are no artists.
We are businessmen, we're merchants.
And there is no art.
Agents, lawyers, publicity people...
It's all bullshit.
Money, money, money.
If you think it's about something else,
you're going to be bruised.
I do want to ask you one thing
efore we run out of time, Marlon.
You've been quoted
in the papers as saying
that you are going to abandon acting.
Are you really going to do that？
I feel that I'd like to pursue some
other interests that I have long had.
And within two or three years,
I will have come to the end
of my career.
We're all gonna talk about civil rights,
we're all gonna go on the television
and say what we know,
ecause the country is ignorant.
(APPLAUSE)
lam really moved and motivated
y things that occur that are unjust.
I've always hated
eople trampling on other people.
I was in a quandary,
a philosophical quandary,
ecause I thought
if I am not my brother's keeper,
who am I？
Where does my life end and my sense
of responsibility for other lives begin？
lack bodies swinging
in the summer breeze,
and the smell of burning death.
You could stand so much of it
and to see these people
eing beaten and kicked and spit on.
That could've been my son lying there.
And I'm going to do as much as I can.
I'm going to start right now
to inform white people
of what they don't know.
The white man can't cool it
ecause he's never dug it.
And I am here to try to dig it.
King was in Memphis at the time.
He was striking for a small wage
increase for garbage collectors,
which was one of the best jobs
a black man could get.
ut I want you to know tonight
that we as a people
will get to the Promised Land.
RANDO: That speech where he says,
quot;I've been up to the mountain
and I've seen the Promised Land."
o I'm happy tonight,
I'm not worried about anything.
I'm not fearing any man.
RANDO: "I don't know
if I'm gonna get there with you,
ut I am not afraid tonight."
God, I still remember that.
Ah, Jesus. That's terrible.
He knew he was going to get killed.
REPORTER: Have you considered that
you may suffer bodily harm yourself？
Yes.
RANDO: I'm standing up,
ot for the black race,
I'm standing up for the human race.
All men are created equal.
This is life and death,
this is real life.
We're talking about human relations,
we're talking about human rights,
racial issues and that's why I care.
Get any and all reports from the
outh Pacific Commission in respect to
discovering what plants grow well
on atolls.
How to grow more vegetables
than you can imagine.
And whatever there is on wind power.
We'll get the full library
of information
from the South Pacific Commission.
It was after Mutiny on the Bounty.
I was up in the mountains on Tahiti.
And this guy said, "Do you see
that little island out there？"
And I said, "No, I can't see it."
He says, "Can't you see it？"
quot;it's called Tetiaroa."
I never was in a place that told me
to quit running the way this place does,
the way these people do.
If I've come closer to a sense
of peace, it would be there.
I didn't think of myself
as an owner of the island,
I just thought that I'd paid
for the privilege of visiting there.
I had nothing to give to them.
They had everything to give to me.
They don't care who you are,
they don't care what you do.
They don't know
that you're a movie star.
They couldn't care less.
You cannot lay dollars down
on the table and buy their soul.
Very warm, loving people.
They come up and put their arm
around you,
come and kiss you for no reason at all.
They just take love for granted.
INTERVIEWER: ls there any actress
that you've especially enjoyed
working with, and why？
(BRANDO LAUGHS)
RANDO: That is funny.
Don't look at me.
If you took some kid
and you brought him up in Tahiti,
he'd be a completely different kid.
He wouldn't have this cruel, mean
ociety killing him every day,
killing the life out of him.
All these kids of mine
are filled with love from Tahiti.
Here comes Cheyenne.
Hi, honey. She's going to give you
a little song here.
- Ready？
- (CHEYENNE SPEAKS FRENCH)
(CHEYENNE SINGS IN FRENCH)
(CHEYENNE LAUGHS)
RANDO: Ah, beautiful.
That's my very favorite song.
I love to hear you sing that.
Tahitians have the beauty
of sleeping children.
And when they waken,
they will waken into the nightmare
that the white man lives in,
the nightmare of the want of things.
MAN OVER PHONE: Hello. Don Wagner.
If you're back from vacation,
give me a call.
(HANGS UP)
WOMAN OVER PHONE:
I want to get a ｓｃｒｉｐｔ to Marlon Brando.
United Artists gave me your number.
(HANGS UP)
WAGNER OVER PHONE:
We're trying to locate you, Marlon,
and I don't know where you are.
If you get the message,
can you talk to us a little bit？
(HANGS UP)
AN OVER PHONE: Hello？
Hello？ I can't believe
there isn't somebody there. Hello？
H it-
RANDO:
I'm interested in making enough money
o I can say "fuck you" to money,
ut that's all.
Acting afforded me
the opportunity of time.
I didn't have to do anything.
I only had to do it once a year
for three months at the most.
It became just a way of making a living.
LAWRENCE JAMESON:
You're certainly unprincipled.
Lying and cheating
come naturally to you.
You're completely without moral qualms.
Yeah, you see, everybody's got
a good side if you look for it.
RANDO: Lying for a living,
that's what acting is.
All I've done is just learned
how to be aware of the process.
All of you are actors.
And good actors,
ecause you're all liars.
When you're saying something
you don't mean,
or refraining from saying something
that you really do mean,
that's acting.
Let me give you an example.
You're coming home, four o'clock
in the morning, reeking of whiskey,
and there she is, waiting at
the top of the stairs, your wife.
You wouldn't believe me, sweetheart.
You wouldn't believe
what happened to me.
Your mind is going 10,000 mph.
You're lying at the speed of light.
You're lying to save your life.
The last thing in the world
you want her to know is the truth.
You lie for peace,
you lie for tranquility,
you lie for love.
o, we all act.
ome people get paid for that.
In my experience, with the camera,
if you're a liar
or you're telling a lie,
you better be able to do it
with consummate skill.
If you're not thinking properly,
if you're not in your part,
it just shows up and there's nothing
you can do about it.
(BUZZER)
I was ridiculous in the part
that I played.
Everything went bad.
Take off those pajamas.
This is silly.
We'll see how silly this is.
(SQUEALS)
What is your name？
Candy.
RANDO: Probably the worst movie
I ever made in my life was called Candy.
Oh Jesus, Mother Mary.
How can you do that to yourself？
Haven't you got any fucking pride left？
I've lost the audience.
You can see it
when you walk into a restaurant.
quot;Are you still making movies？"
If you've made a hit movie,
you get the full 32-teeth display.
You gotta be somebody.
If you're not anybody,
you've committed a sin.
And you're on your own.
You're on a goat trail way up,
and you're alone.
= RANDO: Hello？
Hello？
ensitivity is too high.
The sensitivity is too high.
The neurotic individual's entire
elf-esteem shrinks to nothing
if he does not receive admiration.
To be admired and to be respected
is a protection against helplessness
and against insignificance.
And because
he's continually sensing humiliation,
it will be difficult for him
to have anyone as a friend.
I used to think I'd never grow up.
I thought that life would go on forever.
And then I worried,
omewhere in the middle years,
life is going away and I haven't done
this and I haven't done that.
I've been denied that experience,
I've denied myself that experience.
There was a famous dancer, Ulanova.
And she asked what would be her dream.
quot;If I can dance for one minute,
erfectly...
that is all I would ever ask."
Francis Coppola wanted me
for the part of the The Godfather,
ut the studio was fighting it.
It was demeaning to do a screen test,
ut I needed a part at that time.
I wasn't sure
I could play that part either.
I got some cotton and I put some here,
little bit of cotton down there.
(SPEAKS HOARSELY)
And the first thing you know,
I'm talking like this.
(NORMAL VOICE) Like I took a shot
in the throat or something.
(MUMBLES)
Mumbled my way through it.
The greatest fear an actor has is fear.
How you're gonna be judged.
I don't wanna get caught trying,
I don't wanna get caught being afraid
that my story, my pretending,
my lie
is going to be disbelieved.
That's gonna steal
your performance away.
You have to look at the cameraman,
the producer lurking in the comer
and say,
quot;I don't give a fuck about any of you."
And if by chance an honest man
like yourself should make enemies,
then they would become my enemies.
And then they will fear you.
RANDO: Putting on a mask,
uilding a life...
Little by little I got into this part.
And then suddenly,
omething gets a hold of you.
What is the nature of criminality？
Where does it come from？
We have this antiquated belief
in the myth of goodness and evil.
I don't believe in either one of those.
And I thought it would be interesting
to play a gangster,
ot from the point of view
that he was the bad guy,
ut that he was very gentle.
A hero.
It is not hard to do the big things.
You can act like a man...
RANDO: To scream and yell,
to get mad and to let somebody have it
right in the mouth.
It's much harder to do nothing.
They shot Sonny on the causeway.
He's dead.
(SIGHS)
RANDO:
Just to sit there and think is a lot.
I want all inquiries made.
I want no acts of vengeance.
This war stops now.
RANDO:
hakespeare addressing all artists.
uit the action to the word
and the word to the action.
To hold the mirror up to nature,
to show virtue her own feature,
corn her own image
and the very age and body of the time
its form and pressure.
There wasn't enough time, Michael.
There wasn't enough time.
We'll get there, Pop.
RANDO: Everything that we do
hould reflect the atmosphere
of our lives.
We're living now
in this mad, crazy, murderous world.
If I were brought up in that society,
I'd be like them.
Under certain circumstances,
you could do the same thing.
If anybody would ever try
to take advantage of my children,
hurting somebody that I love,
I'd fight for them,
I would kill them.
(TAPE RECORDER CLICKS)
CHRISTIAN OVER PHONE: Hi, Dad,
I hope you're feeling fine and, uh...
I don't know.
I'm just here. I'm working really hard.
When you come down, I was wondering
if you would send my schoolbooks,
'cause I'm kinda getting behind
on my schoolwork and... You know？
Well, I'll see you whenever
you come, if you come.
(HANGS UP)
FEMALE REPORTER: Marlon Brando's son
Christian has been kidnapped.
olice initially suspected
mafia involvement
following Brando's portrayal
of godfather Vito Corleone.
MAN: Marlon Brando told me,
quot;Mr Annes, we want him found,
we want him brought back
to Los Angeles,
o matter what it takes."
FEMALE REPORTER:
Annes flew into Mexico in a helicopter
and recovered the 13-year-old boy.
ARMES: Christian was found
with a bunch of hippie characters.
He had a terrible case of bronchial
eumonia and he could barely speak.
Why did they say they had him there
in the first place？
They stated they had the boy there
ecause Anna,
eing the mother of the boy,
romised them 10,000 dollars
to hide him out from Marlon Brando.
MALE REPORTER: Christian Brando was
the source of a lengthy custody battle.
FEMALE REPORTER:
A history which saw Christian
used as a pawn in a bitter divorce
and a string
of scandalous public headlines.
ANNA OVER PHONE:
I just happen to be his mother.
You are not anybody, is that clear？
(HANGS UP)
RANDO: When it comes to my son
and my children,
you're speaking to someone
that has a different impulse.
FEMALE REPORTER:
For the very private Marlon Brando,
the public spotlight
was once again painfully bright.
(DOG BARKS IN THE DISTANCE)
RANDO: This is the to-do list.
Check Christian's house
and get the door fixed.
Change the locks.
Make them larger.
Install camera
at the gate with radio transmission
at both gates.
ut lights on so we can see at night
who the fuck it is out there.
I'm not going to lay myself
at the feet of the American public
and invite them into my soul.
My soul is a private place.
If they think I'm going to bare my soul
for the next movie,
they're gonna choke
on their shrimp salad.
I don't know what to call you.
I don't have a name.
- You want to know my name？
- No, I don't want to know your name.
You don't have a name
and I don't have a name either.
o names here. Not one name.
ERTOLUCCI: I was curious
about the person in front of me,
and the person in front of me
was Brando.
RANDO:
ertolucci wanted to get a perfect
autobiographical sketch of myself
in this film.
He wanted me to be me.
ERTOLUCCI: I want the person I see
when I go to have dinner with him,
when we talk and quarrel and discuss.
RANDO: And I thought,
quot;I'm not going to do that."
quot;I'm not going to do that for you."
quot;What the fuck do you think I am？"
ERTOLUCCI: He was obsessed by privacy.
He never wanted anybody
to go deep inside him.
RANDO: Smart con people find out
where you want to go emotionally.
They find out what your direction is
and then they help you along with that,
reinforcing it,
guiding it to their own sweet ends.
Marlon, there is nothing to fear.
It's very important
to trust in this process.
ERTOLUCCI:
Marlon, say something about your past.
how in my film what you really are.
My father was a drunk.
Tough.
Whore-fucker, bar fighter,
uper masculine.
And it was tough.
My mother was very...
very poetic.
ut also a drunk.
ERTOLUCCI: Go deeper and deeper...
Every time more and more real.
Marlon was invading
the character of Paul.
RANDO:
You lied to me and I trusted you.
You lied and you knew you were lying.
Go on, tell me something sweet.
mile at me and say...
I just misunderstood.
Go on, tell me.
RANDO: Maybe you're desperate for love,
always have been in your life.
ut you've been distrustful of people.
Is there anything about them
that scares us,
that's dangerous, that's gonna hurt us？
'Cause a lot of people
are frightened to death of love.
(TRAIN APPROACHES)
Fucking God!
RANDO: Last Tango in Paris
was a very hard film for me.
I realized,
quot;You know you're naked, Marlon."
ERTOLUCCI: When he saw the movie,
he was shocked.
He felt betrayed by me,
ecause I stole from him
o many sincere things.
REPORTER: After his comeback
as the ageing romantic hero
of Last Tango in Paris,
and as the Godfather,
Marlon Brando is once again
the brightest
and most bankable of Hollywood stars.
(FANFARE ON TV)
RESENTER:
Live, the Academy Awards presentation.
The winner is...
Marlon Brando in The Godfather.
(APPLAUSE)
RESENTER: Accepting the award
for Marlon Brando in The Godfather,
Miss Sacheen Little-feather.
Hello. I'm representing Marlon Brando
this evening
and he has asked me to tell you
that he very regretfully cannot accept
this very generous award.
And the reasons for this being
are the treatment
of American Indians today
y the film industry... excuse me.
(BOOING AND APPLAUSE)
I beg we will meet
with love and generosity.
Thank you on behalf of Marlon Brando.
INTERVIEWER: Tell me then, way back,
when you were interested
in the Indians' fishing fights
efore it was fashionable to be so,
what triggered that？
What we have learned about the Indians
has been largely taught to us
y Hollywood and by motion pictures.
eeing Indians represented as savage,
as ugly, as nasty and vicious.
Everything we are taught about
the American Indian is wrong.
There have been 400 treaties
written by the United States
in good faith with the Indians
and every single one of them was broken.
We like to see ourselves
as perhaps John Wayne sees us.
That we are a country
that stands for freedom,
for tightness, for justice.
It just simply doesn't apply.
And we were the most rapacious,
aggressive, destructive,
torturing, monstrous people,
who swept from one coast to the other
murdering and causing mayhem
among the Indians...
(ONE PERSON APPLAUDS LOUDLY)
There is one Indian in here.
(LAUGHTER AND APPLAUSE)
ut that isn't revealed,
'cause we don't like
that image of ourselves.
I don't think the Americans
want to face the truth.
(WHISPERS)
We are all living on stolen land.
I've seen so many of my friends killed.
hot. Stabbed.
Where do you draw the line？
At what point do you say,
quot;God damn it, this is my turf."
quot;I was here first."
quot;One more step on this land
and you're gonna get it."
I was with Indian armed resistance
in Kenosha, Wisconsin...
insisting a piece of land
elonged to them.
(GUNSHOT)
Then I heard the rifle shot
from the National Guard.
(GUNFIRE)
ullets started sizzling by me.
(MIMICS THE HISS OF PASSING BULLETS)
Four feet away from death.
There was an effort
on the part of the government
to cover up the military involvement.
And any cover-ups
are going to be looked into.
After Watergate and all that corruption
going on, we just can't afford it.
INTERVIEWER:
Are most Indian phones tapped？
RANDO: Of course.
- INTERVIEWER: ls yours？
- BRANDO: Of course.
INTERVIEWER: Do you think that you
are considered a dangerous person
to the FBI？
RANDO: I'm putting myself on the line
and I have to make it my business
to find out,
and all these bones
are gonna come out of the graves.
o they lie.
Congressmen, presidents, all of them.
They lie when they're alone,
they lie when they're asleep.
They never see faces
without lies anymore,
except the dead ones.
They're the true assassins,
the true murderers.
Are you an assassin？
I'm a soldier.
You're neither.
You're an errand boy.
ent by grocery clerks.
To collect a bill.
RANDO: These are random notes
on the subject
of the picture Apocalypse Now.
Find out the details
of actual special forces operations
in the jungle of this kind.
I want to get
as many reports as possible.
Check the gruesome pictures
in Life magazine.
Also the pictures
that Larry Burrows took.
eople talk about how proud they are
of their son who died in Vietnam,
fighting for his country.
They had parents so hogwashed
that rather than alter
their belief system,
would kill their children.
Conviction of the myth is everything.
We need myths,
we live by myths.
We die for myths.
I read the ｓｃｒｉｐｔ and it was stupid.
It was awful.
I told Francis, "You are making
an enormous error."
This guy , Kurt, don'! misuse him.
I rewrote the entire ｓｃｒｉｐｔ.
And I have it all on tape.
I have a tape of everything.
Here is a story note.
The guy has to be intelligent.
He is without mercy,
ot because he's a merciless man,
ut simply because
that's the logic of it.
If you're gonna have a war,
you get all in or all out.
To kill without feeling,
without passion...
without judgment, without judgment...
RANDO:
I told Francis how I wanted to be lit.
Half shadow and half light.
He should be mysterious,
a mythological figure.
He is the heart of darkness.
RANDO AS KURTZ: Horror has a face,
and you must make a friend of horror.
Horror and moral terror
are your friends.
RANDO: And I felt myself coming apart,
litting in two, and it scared me.
And yet I've gone so far.
I don't think...
that I can ever return.
RANDO: And then I said to myself,
why are you so frightened？
Let the fear take you.
The horror.
RANDO: And go with the fear.
The horror.
My film is not about Vietnam.
(TRANSLATES INTO FRENCH)
- It is Vietnam.
- (TRANSLATES INTO FRENCH)
It was crazy.
REPORTER: Director Francis Ford Coppola
had to contend with shooting
in the Philippine jungle,
a raging civil war and Marlon Brando.
Coppola was appalled
when Brando arrived grossly overweight
and had to be filmed in shadowy light.
COPPOLA:
He was already heavy when I hired him.
ut he was so fat,
he was very, very shy about it.
REPORTER: But that was the least
of the director's problems.
ulling his notorious delaying tactics,
rando was up to his old tricks again
with endless ｓｃｒｉｐｔ conferences,
costing the production
hundreds of thousands of dollars.
COPPOLA: Clearly he had just
kind of left me in a tough spot.
RANDO: Francis Coppola, he's a prick,
a card-carrying prick.
I mean the cocksucker.
How could he do that to me？
I saved his fucking ass
and he shows his appreciation
y dumping on me.
Let the tension flow out of you.
Let it flow out of your mind.
Five, four...
Going down in an airplane.
oftly coming in.
One, zero.
You hear the Tahitians singing.
Far, distant laughter.
And it's just after the sun
has gone down.
A star comes.
The first star of the evening.
eace and love.
And I'm looking
at this very deep, indescribable night.
I think, "God, I've no importance."
quot;Whatever I do or don't do,
or what anybody does
is no more important than
the grains of sand that I'm lying on."
(SPORTS COMMENTARY ON TV)
RANDO: I've had 110 fights.
Lost twelve.
I'm really...
I've taken too many fucking punches.
I don't want to be stressed anymore.
(SPORTS COMMENTARY ON TV)
RANDO: You want me to play this guy？
I'll play that guy.
I'm just a service person.
ow, no more bullshit.
We come to
how are you going to fill up my pockets？
What are you gonna give me？
I've made as much as 14 million dollars
for 12 days' work
on a rather silly movie.
My friends, you know me to be
either rash nor impulsive.
And I tell you that we must evacuate
this planet immediately.
RANDO: I used to paste the cue card
on actors' faces.
It saved me a lot of time.
And I had things that I'd much rather do
other than studying the fucking lines.
I have found this other way to do it.
I had a pocket recorder
and I had a thing in my ear,
like a hearing aid.
Let's take a little walk.
Do you mind if I get on this side？
I got bum ears.
- Sure.
- My machine is on this side.
RANDO: I'd get fed lines,
just a suggestion of a line,
and then I'd take the line and mould it.
It's effective.
I was using it in that movie.
I can't even remember the name of it.
Your eyes are closing,
getting heavier and heavier.
Just think of all the good things
that you like.
Like apple pie and ice cream
and brownies and milk.
ut you must eat them
ot quite so often.
Day by day, minute by minute,
econd by second, you will lose fat.
When you get as fat as me,
you gotta start thinking,
quot;Well, what's the matter
with the machine？"
The machine isn't working right.
It's something out of balance here.
Food was always a friend.
When I was a kid,
I'd come home from school
and I'd open the icebox
and there'd be apple pie in there
and cheese and...
They'd say to me, "Come on, Mar,
why don't you be a pal and take me out？"
quot;I'm freezing in here."
The dishes were in the sink
and the house was unkempt.
I had the fear that everybody was dead
and pretending to be alive.
One time, my old man
was punching my mother
and I went up the stairs
and I went in the room.
And I had so much adrenaline,
and I looked at him
and I fucking put my eyes
right through him
and I said, "if you hit her again,
I am going to kill you."
(GUNSHOT)
(POLICE SIREN)
OLICE OFFICER: Copy. All available
units responding to a shooting.
REPORTER: The son of actor Marlon Brando
facing murder charges this morning.
32-year-old Christian Brando accused
of shooting his half-sister's boyfriend.
REPORTER 2:
Ayoung man, Christian Brando.
His half-sister, Cheyenne Brando.
And her boyfriend.
It was a triangle that proved fatal
and brought tragedy to the home
of one of the world's most famous stars.
LAWYER: "I shot him, man."
quot;But not on purpose."
quot;it was an accident."
REPORTER: The two men had quarreled
over Drollet's treatment
of Cheyenne Brando.
Mistreatment police say allegedly
included physical beating.
LAWYER:
quot;Two guys with a loaded gun, wrestling."
quot;it goes off and he's dead."
I saw Dag laying there
and I breathed into his mouth
and I called 911.
REPORTER: Asking leniency for his son,
rando said Christian's life had been
filled with struggle and unhappiness,
traumatized by a bitter divorce.
I think that
erhaps I failed as a father.
And certainly there were things
that I could've done differently,
had I known better at the time.
I am at fault in this.
And if I could trade places with Dag,
I would.
The total sentence imposed
is ten years in the state prison.
REPORTER: Cheyenne Brando is suffering
from mental and physical problems
and cannot travel here
to testify about what she knows.
Cheyenne is doing her best...
Excuse me... sorry.
REPORTER: Another personal tragedy
for actor Marlon Brando.
His 25-year-old daughter Cheyenne
has committed suicide at her home
in Tahiti.
Cheyenne Brando reportedly
had made several suicide attempts
efore hanging herself yesterday.
REPORTER 2: For Marlon Brando,
Tahiti will never quite be
the same again.
When in disgrace
with fortune and men's eyes,
I all alone beweep my outcast state,
and trouble deaf heaven
with my bootless cries,
and look upon myself and curse my fate.
RANDO: There are times
when you wake up in the morning
and you turn over and feel,
quot;Sh
《马龙，听我说》观后感(九)：马男·白兰度
一位记者问白兰度，你知道吗，你会被选为历史上最伟大的演员？ 晚年发福的白兰度撇嘴一笑，摸了一下从他膝边走过的狗，说，最伟大的演员就是我的狗，它每次想要吃东西时，都会表现得特别爱我。 这就是白兰度心中，伟大演员的定义。 白兰度是个好学生。 他在十几岁时，就住进了表演课老师斯黛拉·阿德勒的家，她在巴黎从斯坦尼斯拉夫斯基那里，学到了再现真实的表演方法，白兰度又从她那里学到了斯坦尼的真实。 他开始觉得，别人的表演，都太模式化了，太脸谱化了，太假了，他们只是在表演，所以他觉得加里库柏的表演像燕麦片，太粗糙；鲍嘉是香脆麦片，很干脆；克拉克盖博是水果圈，太干瘪？ 这就不难明白，他为何会对最伟大演员这个称呼，毫不领情，甚至用自己的狗来讽刺，因为他想当的，并不仅仅是一个早餐麦片式的演员。 他要真实地表演。 他桀骜不驯，他独具一格，他忠于自我，他真的做到了真实表演。 真实的结果就是，他和电影公司起了冲突，他觉得他的人物不够丰满，他觉得导演很无能，他觉得剧本需要修改，他在努力表达着真实的自己，他不知不觉，把斯坦尼的真实表演，从摄影机前的角色，延伸到了摄影机之外的人生一切。 很快，一个真实的白兰度，遭到了电影公司的厌恶。 他开始在电影圈之外，寻找真实的自我，他用20万美元买下了大溪地一个岛屿的居住权，他说那里的天空和夕阳是世界上最美的东西，一切的表演，一切的电影，都比不上沙滩上的一粒沙重要，真实。 他冒着子弹，走进了印第安原住民武装，去支持他们与政府军的对抗，他走进马丁路德金的队伍，去为黑人争取民权。 这些都印证了他的那句话，表演与电影，比不上一粒沙重要。 他选择了印度裔和大溪地女人作为妻子，来证明他对白人主流意识形态的远离。 他有时也为了赚钱出演电影，他连台词都不背，而是贴在对方演员脸上，看了一眼之后即兴发挥，他用这种不认真，来表达对电影工业的蔑视。 “我们中没有艺术家，只有钱，只有商人。” 他没有办法说服自己去做麦片式的表演，也没有办法说服自己去做一个麦片式的人。他经常回忆，小时放学回家，就可以吃母亲准备的香甜苹果派，那种尽情肆意的香甜，才是他的人生追求，而不是麦片式的，虽然健康，却没有味道。 晚年的他，继续用他从小就钟爱的甜食，吃肥了身体，也填充了他孤独的心。 他真实，而孤独。 他毕生都在与不快乐的童年经历中挣扎。酗酒的母亲，打人的父亲，离他而去的保姆，他觉得他被爱遗弃。 “我们表演得很好，在外人面前，我扮演孝顺的儿子，父母扮演有爱心的父母，但那完全是表演出来的假象。” 这正像是《马男波杰克》里，时不时像幽灵一样出现的马男母亲，和她对儿子从小到大都没有停过的诅咒一样，是他生活颓丧与对爱不自信的暗黑动力之源。 正像波杰克没有办法强装鸡血表演一样，白兰度也没有办法接受他认为不真实的表演与人生。 即便是科波拉与他合作教父令他重回影帝宝座，他却因为《现代启示录》的剧本中对战争的表现是错误的，而说科波拉是个混蛋。 虽然白兰度认同真实表演和真实人生，但他却把二者划分得很清楚。 “我不会让观众走进我的内心，因为我的内心，是我的私人领地。” 正像他的家一样，每一道门，都添加了巨大的锁，和监控摄像头，他把自己的私生活和内心，全部都隐藏起来，不受侵扰，来保证自己的真实。 他甚至录制了许多录音带，自说自话，来把最真实的自我，讲给自己听。 唯一一个走进他内心的人，是贝托鲁奇，他用高超的导演诱骗技巧，让白兰度在《巴黎最后的探戈》里，表露出了幼年不快乐、晚年孤独绝望的内心世界。白兰度看完片子后震惊了，说贝托鲁奇，你从我这里偷走了好多东西。 他用大溪地的大自然、与世隔绝的隐居、录音带式的自我讲述，在抗衡着世间对他的桀骜和颓丧的评价，他始终信守着斯坦尼斯拉夫斯基式的真实。 斯坦尼说，演员与观众之间要有一堵墙，才能让演员真正沉浸在自我的角色中，真实地表演。白兰度的做法很直接，他就真的用高墙大院把观众拦在了外面，自己在家中尽情演自己。 像马男波杰克一样，在外界眼中，白兰度是个失败者，他晚年发福，妻离子散，家中枪击，满头白发的他不得不出庭作证，女儿自尽，这一切都好像在向全社会宣布，一个离经叛道、远离大众、不愿合作的人，得到了应有的审判和下场。 然而，白兰度却在访谈中轻易地回击了，你们喜欢的最伟大的演员，不过是条会讨好表演的狗。 而我白兰度，才是我自己。 忽然发现，另一个信仰斯坦尼的人，有着和白兰度非常相似的孤独版人生轨迹，他的名字，叫周星驰。
《马龙，听我说》观后感(十)：《马龙，听我说》：他人生的碎片上映射着世人的眼泪
（芷宁写于2016年3月6日）
纪录片《马龙，听我说（Listen to Me Marlon）》采用了大量马龙·白兰度自录的视频和音频，并做了有机的穿插和整合，可以说，这个穿插和整合做得靠谱，令影片具有了细致精巧的架构和张弛有度的节奏，仿佛对白兰度那大量走心的“自说自话”做了一番有序的梳理，令其更具有言说的魅力和言外的意义，不易产生观影疲沓感，更利于心领神会，同时，大量的适时新闻画面和白兰度片场照片的剪辑，让这部充斥着大量言语的纪录片具有了更为详实可信的影像背景。
在编剧名单中，除了该片导演斯蒂文·莱利的名字，还看到了皮特·艾德盖，此君担任第一编剧的1999年版的《奥涅金》，在普希金经典原作的基础上，对人性、爱情、婚姻、环境等方面做了适度的剖析延展，从而令这部费因斯家的才女玛莎·费因斯执导，才子拉尔夫·费因斯联袂丽芙·泰勒主演的影片充满了令人欲罢不能的气质。
对于马龙·白兰度这位伟大演员的经历，影迷们大多耳熟能详，对其不幸的个人生活和乖戾极端的个性，也不乏听闻，但其思想深度、哲思意识、内心深处的自卑忧虑和恐惧，大约是很多人所不了解的，这部纪录片似乎在这方面做了一次有益的补足，那些颇具深意的言语经由白兰度自己娓娓道来，似乎有了一种聆听长者谈心的亲切感，其中大部分的人生体悟也颇有借鉴价值，结合回思白兰度的一生，不由得徒增悲怆感，或许，艺术的灵魂大抵都是孤独又固执的。
影片伊始便告知观众——“马龙·白兰度一生中录制了许多个小时的私人录音，直到现在才首次曝光。”于是，大家会发觉这部纪录片和《艾米》类似，利用私人录像录音，使其成为叙事的主要组成部分，并以其支撑影片主创们提炼出的看上去客观的观点，当然，不可否认，他们的私人录像录音本身就具有一定程度的关注热度。
和很多敏感多思的演艺人士一样，白兰度有着很不幸的童年生活，在录音里，白兰度坦诚自己的童年遭遇，并说：“当你小时候不受欢迎，没有得到爱，你会寻找一个能被接受的身份。”经由自己的经历，白兰度反思出这样的话：“我花了好一阵子才明白，你得当自己的心理分析师，除非我们探讨自己的内心，否则永远无法清楚看到世界，没有人是天生邪恶，多数人只是想克服他们在10岁之前就积累起来的不好的情绪习惯。”
对人类世界，这个天生羞怯自卑却又表现得过分自尊的表演大师有着天然的好奇心，“我向来对人们有无止境的好奇，我喜欢走在街上看路人的表情”；“脸能隐藏很多事情，人们总是在隐藏事情，我总是很喜欢猜测人们对自己不了解的地方。”对于电影，白兰度表示：“电影院之所以没有灯光，是因为你带着自己的幻想在看电影”，对于表演，白兰度看得更为深刻，“我们都会演戏，只是有些人凭借这个赚钱”；“演员真的对人们有贡献，他们给我们金钱买不到的礼物，注入力量，美丽和雄伟的东西，超越他们自身的东西，而我们很需要那些。”对于越来越风行的一类电影表现形式，白兰度也颇有见地，他担心数字化技术会成为电影发展的主要趋势，那些用电脑制作复制的面孔和表情，会取代演员们实际的有体验的真情实感的表演。
对这个充斥着虚假矫饰的世界，内心坦诚的白兰度有着发自内心的厌恶：“我开始担心大家都已经死了，却还假装活着。”而他对彼时远离尘嚣的大溪地的喜爱，则仿佛是一种对纯粹自然的爱惜和维护，“你听到大溪地人的歌声，从远处传来的笑声。太阳刚刚下山，一颗星星出现，夜空的第一颗星星，和平与爱。我看着一望无际，无法用言语形容的夜晚，我心想：‘老天，我一点都不重要，无论我做什么或不做什么，或者任何人做的事情，都没有比我身下的沙粒更重要。’”然而造化弄人，白兰度的一个女儿却在他位于大溪地的家里自杀了，这个他用以避世的世外桃源成了无边的伤心地，而儿子被告上法庭的轰动性新闻，也令彼时年迈的他身心俱疲……
大约因白兰度的表演成就和特立独行的言行举止，令无风也要起浪的媒体和好事者对他非常青睐，在各种随意议论和肆意报道的夹击下，这位生性自卑、对世间有着深深恐惧感的老人家越来越深居简出，通过自制的录音，表达着他的思想和感悟，“想要保住精神健全和对现实的认知很困难，成功会剥夺这两样东西”；“你能想象每天晚上都要重新揭开自己最痛的伤口，让自己难过有多痛苦。”
大银幕上的光芒四射，与生俱来的巨星风范，人物塑造上的超凡实力以及个人生活的残破悲剧，所有这些仿佛一出充满困苦迷惑忧戚的大戏，比任何编剧的撰写都更具有戏剧性，在纪录片所选取的白兰度人生的碎片上，观众看到了他的人生，也映射着自己的人生，于是人们不禁泪光闪闪……
（杂志约稿）