This piece included in my Marlon Brando Series is in tribute to the Turner Classic Movies #SummerUnderTheStars
(For my other two pieces on SABRINA (1954), shown on TCM during Audrey Hepburn's day: read "The moon's reaching for me"
and for my update on THE UNIVITED (1944) shown on TCM for Ruth Hussey's day: read "The smell of mimosa")
Dominique Revue
(For my other two pieces on SABRINA (1954), shown on TCM during Audrey Hepburn's day: read "The moon's reaching for me"
and for my update on THE UNIVITED (1944) shown on TCM for Ruth Hussey's day: read "The smell of mimosa")
Dominique Revue
Those were the words stated by Marlon Brando to the press at a press junket held at the Hampshire Hotel in New York, supposedly to promote the film … MORITURI (1965). Though, for Brando, it was anything but. It was an appearance he was forced to make by the studio (Fox) under his contract. A contract dating back to his 1950's years. A press junket that was filmed and shot by Albert (1926-2015) and David (1931-1987) Maysles, which you may know as … MEET MARLON BRANDO (though both years, 1965 and 1966, have been credited, hear Albert Maysles, via "Web of Stories," in an interview before his passing, discuss how he and his brother came to film this junket, including more Albert Maysles' stories: watch here.)
With that statement, Marlon Brando was released from doing any further promoting of the film. And though we don't get much on any details in promotion of MORITURI, we do get some information on everything else. From a film favorite of mine, GUYS AND DOLLS (1955) (my CINEMA COFFEE piece here) where Marlon explains how his singing voice was edited for the film, sounding as if he never took a breath in the final edit, to his conversations on Black Americans and Government … albeit, it would be difficult not to notice this conversation was conducted with a very attractive black woman Bud sought out as she passed by. So laughingly funny my Mom and I found this entire encounter from both parties, the first time we watched it (I believe it was announced as being aired for the first time on tele (at least in the US)), I had to look it up some time later as the whole interaction stuck with my Mom and I as an inside joke, and found I wasn't the only one who noticed this exchange close to 50 years later. And in my research, found out, much to even Maysles' surprise at the time, they actually knew the woman who was passing by from years before! It's a worth the watch interview of all Brando interviews film fans of his should see (which I'm quite sure we all have) if unseen.
"Morituri Te Salutant" (Those who are about to die salute you). |
Not to be confused with the 1948 German film of the same name, this MORITURI, written by Daniel Taradash and directed by Bernhard Wicki, pairs Marlon Brando with Yul Brynner. A duo, in name, the publicity tried to capitalize on. "Brando and Brynner." And though you may be curious to know how or if the two got along. They did. Bud saying:
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"...Yul did something in that picture that impressed me. In one scene I thought his acting was very stagy and artificial, but when I saw the scene on film it succeeded because the lighting was effective, and I learned he had suggested to the lighting man how to light the scene. I had never paid much attention to lighting, and it made me realize that the man who sets it up can do a lot for your performance or break your neck if he wants to. With lights he can add drama to your face, make it dull, or put you in darkness. From then on, I began checking with the lighting man before doing a scene, using a mirror to see what effect different lighting gave my appearance and performance." |
While Brynner, when asked who his favorite actor was:
Coming off of my last CINEMA COFFEE piece in my Marlon Brando Series (for the series, start here), I'll try to keep this piece a bit shorter than that particular one I just left you with on ONE-EYED JACKS (1961) (read here).
The storyline in today's write up, set during WWII, puts Brando in a similar position, though a different execution than, that of THE YOUNG LIONS (1957) (my CINEMA COFFEE piece here), a Nazi. Though in this case, an anti-Nazi "Robert Crain," who doesn't believe there are any benefits of war. Quite content with living his life as he is now, on a British Dominion in India, with some music, books, a female companion when needed, a art collection and what he values most … His privacy. Something any Brando fan would know for Marlon, imitates art and life. His privacy.
The storyline in today's write up, set during WWII, puts Brando in a similar position, though a different execution than, that of THE YOUNG LIONS (1957) (my CINEMA COFFEE piece here), a Nazi. Though in this case, an anti-Nazi "Robert Crain," who doesn't believe there are any benefits of war. Quite content with living his life as he is now, on a British Dominion in India, with some music, books, a female companion when needed, a art collection and what he values most … His privacy. Something any Brando fan would know for Marlon, imitates art and life. His privacy.
All this is set up and taken place in the first ten minutes of the film, with an exchange between former (MUTINY ON THE BOUNTY (1962)), then present, and future (SUPERMAN (1978)) on-screen pairings between Trevor Howard and Marlon Brando. Where in just a few minutes, we see Howard's British "Colonel Statter" ... there's no other word for it, blackmail "Robert," who will soon be known as "Kyle," to become a spy for the Allies (aka the United Nations) using his skills as an engineer and his birth as a German to board a German merchant ship, commanded by Brynner's character, a Captain and a father to a son (too serving in the war) "Captain Mueller," and stop the ship from sinking. All a part of the mission to put the ship into the Allies hands, thus to take control of the war from the German's.
A scene that continues to roll into my favorite scene to follow. When Brando's character is being escorted into his hotel room in Calcutta by Howard, just prior of being given his orders as to what to expect and what is to take place once Brando, as "Kyle," boards the ship and starts his mission. The way Howard looks briefly toward camera as if to say, *inwardly curses* "... Not this again -- " seemingly, visually, and obviously irritated after Brando has clearly inserted some dialogue of his own whilst the camera rolls. Trevor's face? Priceless ... And hilarious.
Due to the experience Brando and Howard had during MUTINY ON THE BOUNTY (1962) (my CINEMA COFFEE piece here), Bud later apologized to Trevor for his behavior, thus Trevor's cameo in MORITURI.
A scene that continues to roll into my favorite scene to follow. When Brando's character is being escorted into his hotel room in Calcutta by Howard, just prior of being given his orders as to what to expect and what is to take place once Brando, as "Kyle," boards the ship and starts his mission. The way Howard looks briefly toward camera as if to say, *inwardly curses* "... Not this again -- " seemingly, visually, and obviously irritated after Brando has clearly inserted some dialogue of his own whilst the camera rolls. Trevor's face? Priceless ... And hilarious.
Due to the experience Brando and Howard had during MUTINY ON THE BOUNTY (1962) (my CINEMA COFFEE piece here), Bud later apologized to Trevor for his behavior, thus Trevor's cameo in MORITURI.
In spite of the positive and good reviews this film gets today when brought into the classic film discussion amongst those who have seen it, and in spite of the "Brando and Brynner" pairing, this film was not a commercial success during its time. Staying in the theater for only two weeks. Being re-released under the title SABOTEUR: CODE NAME MORITURI because of its poor Box Office.
In addition to Janet Margolin (NEVADA SMITH (1966), THE GREATEST STORY EVER TOLD (1965), BUONA SERA, MRS. CAMPBELL (1968)), who shows up later in the film and adds more character and detail to the already involved and evolving story, Hans Christian Blech, Martin Benrath, and even an appearance, though brief, by Ivan Triesault (GILDA (1946) ... I'm lookin' at you. My CINEMA COFFEE piece here), we get a rare sight on-screen, in film, of seeing best friends in real life, Marlon Brando and Wally Cox, whom is almost unrecognizable in and as his character, "Dr. Ambach." Not surprisingly though, given Wally's acting/comedic ability ("Mr. Peepers," "Underdog," "The Adventures of Hiram Holliday," even the "Shoe Salesman" in the unfinished SOMETHING'S GOT TO GIVE (1962) with Marilyn Monroe, Dean Martin and Cyd Charisse, later remade with James Garner, Doris Day and Polly Bergan MOVE OVER DARLING (1963), in the MY FAVORITE WIFE (1940) starring Cary Grant, Irene Dunne and Gail Patrick, remake), he really disappears into the drug-addicted doctor. Brando and Cox, lifelong friends from way back, in Evanston, Illinois, when Bud and Wally first met, according to Brando, at around 7 or 8 years old, the two had not worked together on-screen previously.
In addition to Janet Margolin (NEVADA SMITH (1966), THE GREATEST STORY EVER TOLD (1965), BUONA SERA, MRS. CAMPBELL (1968)), who shows up later in the film and adds more character and detail to the already involved and evolving story, Hans Christian Blech, Martin Benrath, and even an appearance, though brief, by Ivan Triesault (GILDA (1946) ... I'm lookin' at you. My CINEMA COFFEE piece here), we get a rare sight on-screen, in film, of seeing best friends in real life, Marlon Brando and Wally Cox, whom is almost unrecognizable in and as his character, "Dr. Ambach." Not surprisingly though, given Wally's acting/comedic ability ("Mr. Peepers," "Underdog," "The Adventures of Hiram Holliday," even the "Shoe Salesman" in the unfinished SOMETHING'S GOT TO GIVE (1962) with Marilyn Monroe, Dean Martin and Cyd Charisse, later remade with James Garner, Doris Day and Polly Bergan MOVE OVER DARLING (1963), in the MY FAVORITE WIFE (1940) starring Cary Grant, Irene Dunne and Gail Patrick, remake), he really disappears into the drug-addicted doctor. Brando and Cox, lifelong friends from way back, in Evanston, Illinois, when Bud and Wally first met, according to Brando, at around 7 or 8 years old, the two had not worked together on-screen previously.
As for the film itself, it takes place for the majority of its 2hr 3min run on water and onboard the ship (rented in Japan by the film's production and sailed to the Catalina Island). But you don't feel wanting to transfer to a different setting, as there is enough of the ship to go around. For it is on this ship we get a good dose of acting interaction between and from Brando and Brynner. And interesting pairing that doesn't disappoint.
I wanted to specifically single this film out when Turner Classic Movies announced that Marlon Brando was to be featured in this year's SUMMER UNDER THE STARS line-up, August 3, 2019, because, of all the films scheduled to show, six of which are included already in the thirteen CINEMA COFFEE pieces I have included in my Marlon Brando Series so far, this one seems, in my opinion, to be the one least known, shown, discussed, heard of, or seen in Brando's filmography, especially during his post 1950's period. A film I found out about on my own, toward the earlier years of my "Brando education," by just walking through the media section at Target one night with my Mom, seeing Marlon on the cover, and knew, sight unseen, having no idea what it was about, it was Brando. Which meant it was a must buy, must watch film. |
Soon thereafter my purchase, it became a movie night watch. I can't say at its first showing it was an instant hit with me, but as the few years have passed, and as I myself have grown a few years older, my perspective on cinema, has evolved and matured. Though I'm still right in there with the don't-give-me-your-AN-AMERICAN-IN-PARIS-esque-"I-just-wanted-to-discuss-your-work"-opinion, just let-me-have-my-feel-good-watch-couldn't-care-less-if-it's-a-fan-fave-or-anyone-else-likes-it-or-not film.
Even if you're not a Brando fan (I don't judge anyone who isn't, so you don't have to write me about all the reasons you're not. Don't spoil my fun), and if you've never warmed to Brynner's acting, still, no judging, you're entitled, I'd encourage you, just as a film fan, to give this film a once over. You may be surprised by Brando, Brynner and the film itself.
Even if you're not a Brando fan (I don't judge anyone who isn't, so you don't have to write me about all the reasons you're not. Don't spoil my fun), and if you've never warmed to Brynner's acting, still, no judging, you're entitled, I'd encourage you, just as a film fan, to give this film a once over. You may be surprised by Brando, Brynner and the film itself.
Whether or not you agree with Brynner on that statement, you can decide for yourself coming up soon, this Saturday, August 3, 2019, on Turner Classic Movies, at 11:15AM CT!
For Brando's full schedule, along with the other actors featured in this year's SUTS line-up, visit: SUMMER UNDER THE STARS
For Brando's full schedule, along with the other actors featured in this year's SUTS line-up, visit: SUMMER UNDER THE STARS
This is a good time to grab your mug and have a cup of coffee, cappuccino, latte, or chai … #ForMyMom
For the other 13 CINEMA COFFEE blog pieces included in my Marlon Brando Series … Start HERE!
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