Tom hardy battman6/9/2023 ![]() De Niro’s Johnny Boy is a bum and proud of it he’s a psycho and proud of it. This is not your father’s “instead of a bum, which is what I am” Brando performance. He was to Brando what the Rolling Stones were to Elvis - and, fittingly, De Niro makes the first great entrance of his Brando-of-the-’70s period to “Jumpin’ Jack Flash,” in “Mean Streets,” his arms wrapped around two young women as he strolls forward in slow motion, in his pork-pie hat and too-wide tie, looking like an escaped lunatic. ![]() ![]() Robert De Niro was the first to update the Brando mystique to the next generation. That was Brando’s poetry.Ī dozen years later, when the New Hollywood was taking shape, many of the actors who’d grown up in the shadow of Brando absorbed his attraction to characters who would have been on the margins before, and to their gritty, lurching way of speaking. The new heroes were people who couldn’t fully express who they were (at least, not with words), and that was part of their shambling, broken-souled beauty. And the everyday music of Brando’s magnetically low-key, throwaway speech was part of it. (By the time the raging brushfire of rock ‘n’ roll came onto the scene, Brando had already lit the fuse with “The Wild One.”) Those who were used to hearing every actor in a movie enunciate their dialogue as if it were the King’s English couldn’t understand - literally - what Brando was saying.īeyond that, Brando played the kinds of characters who’d never been front and center in a Hollywood movie before - most famously Terry Malloy, the inarticulate working-class loser-brute of “On the Waterfront.” This wasn’t just an acting revolution it was a who-gets-to-be-a-hero-in-America revolution. Brando, starting with his first film, “The Men” (1950), brought a new mode of naturalistic acting to Hollywood that was so revolutionary it would change not just movies but the world. In the 1950s, the word “mumbling” got stuck to the name Marlon Brando, and there were several reasons for that.
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