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"I don't want to be the conscience of anybody."
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Am I the only one who is a "personal" film watcher?? In other words, an emotional viewer -- no, not "viewer" ... I live films. Or rather, the other way around. Films live me, as it feels as if everyday we're in one, all of us. In our own personal film. But we all bring them together in moments like these ... Cinema.
I love films for how they make me react, reflect, feel, have inspired me to become a filmmaker, impact ... linger. VIVA ZAPATA! (1952), a biographical film (in a fictionalized account) about real life "peasant" to power Mexican Revolutionary, Emiliano Zapata (1879-1919), is such a film.
It all begins in the year of 1909. However, if history isn't your strong suit, or if you haven't brushed up on the Mexican Revolution since high school, you won't need to ... Thus the emotional watch experience. |
I remember watching this film for the first time, in awaiting anticipation, as this was a film, early on in my Brando watching career, I had not seen yet. Only in clips through documentaries and biographies on the tele. I'd scan my TCM Now Playing Guide faithfully until one month it showed up as a Primetime line up, gift wrapped with Robert Osborne at the helm ready to enter our living room as he did every night and every holiday occasion.
I too remember my Mom, already laughing, in that comical way only she could pull off, "Marlon Brando as the Mexican Revolutionary? I've *got* to see this!"
Being fresh into my Marlon Brando education, the glitter in my eyes were only interested at the time in the first glimpse I could get of Brando. This wasn't going to be another "Do you take sinners here?" revelation when Brando hit the screen. This time, I wanted to be prepared and aware.
I too remember my Mom, already laughing, in that comical way only she could pull off, "Marlon Brando as the Mexican Revolutionary? I've *got* to see this!"
Being fresh into my Marlon Brando education, the glitter in my eyes were only interested at the time in the first glimpse I could get of Brando. This wasn't going to be another "Do you take sinners here?" revelation when Brando hit the screen. This time, I wanted to be prepared and aware.
As the film begins, you'll notice a crowd of Indians from the Mexican state of Morelos who have arrived to the Capitol. I observed ... No Brando. The landowners, now inside for an audience with Mexican President, Porfirio Diaz, gather to voice, albeit reluctantly, their suffering and wanting return in loss of their stolen land ... Still, no Brando. And yet, the curtain parts ... and the Act begins.
Brando's performance as Emiliano, though Tyrone Power was FOX's first choice and Richard Conte wanted the role, is purely as convincing as he is as Vito Corleone. And a role Brando didn't even realize he had taken! As in those days, he never read a contract and didn't know he was under a two picture deal with the studio.
The beauty of Brando, at least for me, is understanding not to understand the way he approaches the character, or the scene. Just be aware, in the moment, follow along and be observant. Trust what he's doing. Not everything, every risk he took was a winner. Kim Hunter, James Garner, among others have mentioned this from first hand witnessing. But both, as well as others, have credited him for being honest about it. Good or bad.
The beauty of Brando, at least for me, is understanding not to understand the way he approaches the character, or the scene. Just be aware, in the moment, follow along and be observant. Trust what he's doing. Not everything, every risk he took was a winner. Kim Hunter, James Garner, among others have mentioned this from first hand witnessing. But both, as well as others, have credited him for being honest about it. Good or bad.
Marlon kept trying to figure out how he could show that this once-privileged and rich Rudolf was now so broke he was driving a cab. He kept racking his brain to come up with a solution, but he never told me what he planned to do. |
Finally came the day for performing ... He sat down and removed one boot, revealing a sock with a big hole in it ...
It was pure Marlon. Simple and brilliant, communicating everything we had to know about the character's economic straits." |
-Karl Malden (on Marlon in Brando's preparation/performance as "Rudolf Maximillian von Hapsburg" in Robert Sherwood's 'Reunion in Vienna' for class at the studio, 1947), MARLON BRANDO by Patricia Bosworth
In every aspect of this film, you're drawn into a reality of emotion in large part to the style, sets, and location of the film (filmed from Colorado to Zapata County in San Ygnacio, Texas) all brought to life by the realistic performances of its actors; leads, supporting and extras. You get a sense of looking in on a real town, with real people, as if you're let into this time in life, not as a spectator but as a member, as you begin to feel what they must've felt during this time. Maybe still do. Anywhere at anytime. This I would think was due not by John Steinbeck's words alone (wrote the original screenplay and a book titled 'Zapata', as well as used Edgcomb Pinchon's book 'Zapata the Unconquerable' as a blueprint), but also due to Kazan's need for authenticity to the actual locations, rummaging through collections of photographs by Agustin Casasola, inspiring the director to recreate the style from still to life visually.
Something Quinn (as Emiliano's brother, Eufemio), who comes out like a boxer to the role, as if he's sizing up every person who crosses his path. A lion in the field, waiting ... approaching from the outskirts of the plains, silently for the attack, couldn't care less about ... Kazan's (or Brando's) need for authenticity. Causing Quinn to play his own cards while filming.
In real life, Quinn's father having been involved in the revolution, learned early on, Kazan, not interested in any ideas or suggestions by Quinn, did take interest if it meant it came by way of something Quinn had "learned" from his father's personal experience. So Quinn did what any actor would do ... he played the part ... Okay, he lied. Enters the stone scene in the film ...
In real life, Quinn's father having been involved in the revolution, learned early on, Kazan, not interested in any ideas or suggestions by Quinn, did take interest if it meant it came by way of something Quinn had "learned" from his father's personal experience. So Quinn did what any actor would do ... he played the part ... Okay, he lied. Enters the stone scene in the film ...
... Once Zapata is captured and carried off:
... in a kind of Morse code, to send messages to each other. It never happened, but I knew it would make a strong scene."
-Anthony Quinn, One Man Tango (autobio)
It's no wonder Quinn won for his performance. And though a friendship between Brando and Quinn was one Kazan tried to insist, causing friction between the two, making them ride the train together in the same compartment the whole way to their filming location in Brownsville, Texas, I have to agree with Quinn as he mentions, it really didn't need it. The way the two "Stanley Kowalski's" from Broadway handle each of their characters, the way they come together, the way they "dance around" each other in the ring ... Championship.
In his autobio "Songs My Mother Taught Me," (which I can't recommend enough as a read. Of all the Brando books I've read on him or about him, none of them give you "him, himself "as he does in his own words. Alright, moving on from my plug in which I have no connection with the Brando Estate whatsoever, just a fan girl who became intrigued in large part because of all the "media Brando" I saw of him growing up during his later years, that caused me to separate tabloid from truth. Alright. Carry on.) Brando felt the film actually lacked authenticity because he thought it a mistake Kazan didn't require everyone in the film to speak with a Mexican accent. Even critical of his own adaptation of a slight one, feeling it wasn't good enough.
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In spite of Kazan, Brando, or Quinn's take on authenticity, the film earned 5 Academy Award nominations and one win:
Actor
Original Musical Score
Art Direction (Interior)
Story and Screenplay
Supporting Actor (Winner: Anthony Quinn)
Brando would earn a BAFTA Award for Best Foreign Actor, (1953), and Best Actor at the Cannes Film Festival, 1952.
Actor
Original Musical Score
Art Direction (Interior)
Story and Screenplay
Supporting Actor (Winner: Anthony Quinn)
Brando would earn a BAFTA Award for Best Foreign Actor, (1953), and Best Actor at the Cannes Film Festival, 1952.
There's more than a few scenes that stand out for me as raw acting by Brando and memorable performances from the entire cast. As when Brando (in my Mom's words) "jacks up" his soon to be father-in-law down with a tight grip jerk ... He meant business. But it's when Brando has to be held back bodily by three grown men as Emiliano Zapata (Brando) attacks one of the horse handlers after he witnesses the handler beating a hungry boy from "stealing". What a moment. Brando is explosive. The lengths and depths it takes for those men to hold him back, is a battle.
Jean Peters really shines in a scene so simple, she almost steals it away from Quinn and Brando, while the three are in a church. Peters with her guardian, while Brando tries to will Peters to his way of thinking on marrying him, with Quinn keeping the guardian quiet ... with his hands securely to her mouth. Peters use of her sharp hair pin is a seductive, even if painful, play any woman would feel triumphant to use to hold a man like Brando's "Zapata" in his place.
Let this film take you were it leads you. Buy the ticket and take the ride. I'm sure when it's over you'll get back on. I found out, having not seen this film in a while, you become more aware just how powerful this film is. Joseph Wiseman, who is perfection in this role, is an actor, prior to this film, I had only experienced through DR. NO (my Mom and I were official Bond Fan Girls), and DETECTIVE STORY (1951) starring Kirk Douglas, who almost steals that film away ... and from Kirk Douglas, that's hard to do. So seeing him here after such a short, albeit repetitive, filmography guide, he confirms in this role what you already know; he can keep up, he can stand out, and he can act.
You'll also notice a memorable performance by "Fred Flintstone", Alan Reed as "Pancho Villa" and witness the film debut of Henry Silva, who is still with us at 89 years old.
Whatever pre-notion you may have going into this film or may keep you from watching this film, check your hat at the door and come in and enjoy the show. If you come away not satisfied, the next recommend is on me with a double feature.
Be sure to tune in Tuesday on TCM at 7PM CT or follow along with my #31DaysOfOscar Brando series on Twitter @DominiqueRevue.
See you later this week for my 4th blog in my series with A STREETCAR NAMED DESIRE (airing on TCM Friday at 12:15PM CT).
Whatever pre-notion you may have going into this film or may keep you from watching this film, check your hat at the door and come in and enjoy the show. If you come away not satisfied, the next recommend is on me with a double feature.
Be sure to tune in Tuesday on TCM at 7PM CT or follow along with my #31DaysOfOscar Brando series on Twitter @DominiqueRevue.
See you later this week for my 4th blog in my series with A STREETCAR NAMED DESIRE (airing on TCM Friday at 12:15PM CT).
To view my other pieces thus far in my #31DaysOfOscar: Start here
Or to follow along in my series, visit my Twitter account @DominiqueRevue
For more of my personally made gifs, visit my channel at: @DominiqueRevue
Or to follow along in my series, visit my Twitter account @DominiqueRevue
For more of my personally made gifs, visit my channel at: @DominiqueRevue