Marlon on the set of Apocalypse Now

Marlon Brando spent a lot of time with the Ifugao extras on the set of Apocalypse Now, and the indigenous people of the Philippines.  Marlon loved and appreciated their non-Western, simplistic way of life.  They loved Marlon because he was a warm and kind human being, and not necessarily because he was a big Hollywood star.

Anal sex in Last Tango

Last Tango in Paris stars Marlon Brando as a grieving window who loses himself in a passionate anonymous affair with a young French woman - played by Maria Schneider - who is engaged to another man.

There is much nudity in the film but the one scene that caused the most controversy was the one in which Marlon Brando used butter as a lubricant prior to anal sex.

Schneider at the time of the film gave many frank interviews about her colourful sex life and appeared to be unconcerned by the uproar the film created but later on she was to change her stance.

Of the butter scene she is quoted as saying in a Daily Mail interview: "I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. Marlon said to me: 'Maria, don't worry, it's just a movie,' but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci [the director]. After the scene, Marlon didn't console me or apologise. Thankfully, there was just one take."

She remained friends with Brando after the film although she admitted they did not speak of the film as Brando too sought to disassociate himself from the movie.

After her death Bertolucci said: "Her death came too soon, before I could hold her again tenderly, and tell her that I felt connected to her as on the first day, and for once, to ask her to forgive me. Maria accused me of having robbed her of her youth and only today am I wondering whether there wasn't some truth to that.”

Brando, Coppola, and the Apocalypse that wasn't

Susan L. Mizruchi

Huffington Post 7/15/14

 It was the late 1970s and one of Hollywood's hottest directors had undertaken an incredible challenge: to make cinematic sense of America's devastating war in Vietnam. The film shoot was wildly out of control: typhoons and cost overruns, a death from an accident on set, and a heart attack suffered by lead actor Martin Sheen. As some tell it, the biggest of all the problems on the terribly vexed set of Apocalypse Now was Marlon Brando.

According to director Francis Ford Coppola, Brando showed up entirely unprepared: he was grossly overweight, had not read Joseph Conrad's The Heart of Darkness (the novel upon which the film was based), and was eager to stall the production to increase his already inflated salary.

Except this is not what happened. Letters between Brando and Coppola, audios of the two discussing the film's conception on a houseboat while filming was suspended, and Brando's personal script, notes, and the many books he read and annotated for the film -- reveal that Brando not only was well prepared for the production, but also contributed ideas and script revisions that shaped the entire film.

Marlon Brando died on July 1, 2004. Now in the aftermath of the tenth anniversary of his death, it is time to acknowledge what has been overlooked: that our foremost American actor had a mind. His curiosity about the world around him was even greater than his more legendary appetites for women and food.

Contrary to Coppola's claim, Brando read Conrad's Heart of Darkness (his 4,000 book library contained multiple editions of the novel). He shaved his head, deliberately, to suit Conrad's description of Colonel Kurtz, Brando's character, as "impressively bald."

Brando's reading to prepare for the film included numerous other books and materials: The Pentagon Papers, writings by anthropologist James Frazer and philosopher Hannah Arendt, T.S. Eliot's "Hollow Men," first-person accounts of the U.S. Vietnam mission, and more.

Coppola recognized how crucial Brando's knowledge was to his film. Writing the actor just before he arrived on set, Coppola admitted that directing the film had become a "nightmare" that he would rely on Brando to get through. "Together we can accomplish anything," he wrote -- "even make a movie about Vietnam."

In fact, Coppola relied on Brando so much that Brando himself -- who had famously remarked that the only people who could write better acting lines were Tennessee Williams and Shakespeare -- became uncomfortable with the authority he was granted. As he wrote to Coppola in a letter, "It's not really my job to be involved in the overall concept of the script."

Regardless of Brando's discomfort, audiotapes of discussions between the two confirm that Coppola drew heavily on Brando's vision of Kurtz, and of the whole film.

Michael Herr, the Vietnam War novelist who revised the screenplay on set, recalled that Brando "wrote a stream of brilliant lines for his character." Even Coppola's biographer, Peter Cowie, notes that Kurtz's domain "houses the core of the film's meaning, and Kurtz's scenes alight unerringly on the reasons for the American predicament in Vietnam."

If Coppola in fact relied heavily on Brando, then why have we been told otherwise? Coppola needed a scapegoat. By then a world-famous director who had won two Academy Awards, Coppola this time was in over his head. As the director later admitted, the film production was akin to its subject -- Vietnam. Instead of focusing on his inability to control the fiasco, Coppola turned on Brando.

The actor was an easy target: deeply idiosyncratic and ambivalent toward fame, he made a point of rejecting his celebrity and exploiting it on behalf of causes he believed in. In 1973, just after Coppola had won an Academy Award for the adapted screenplay of The Godfather, Brando had refused to accept the Best Actor Oscar for his role in the same film. Instead, he sent an Indian emissary -- Apache tribe member Sacheen Littlefeather -- to decline the award to protest Hollywood's denigration of American Indians in film. It was an act that won him praise among activists and aroused contempt in Hollywood.

What better way for Coppola to absolve himself, then, than to focus on Brando? He knew that Hollywood, with its resentments toward Brando, would jump on the story, and he also knew that Brando would not offer a counterargument. In typical fashion, Brando avoided a public slugfest and instead wrote to Coppola privately to express his dismay about the betrayal.

This is not to say that Brando was perfect: as he himself acknowledged, he had many flaws. He did not weigh 300 pounds in Apocalypse Now as some rumors suggested, but at 210 pounds he was still 30 pounds overweight, the result of an overeating habit akin to his family's propensity for alcoholism (his parents and sisters were all alcoholics). More generally, his self-indulgent lifestyle harmed his children and created untold misery for himself and the many women in his life.

But these personal qualities should not detract from Brando's legacy. His success was due not only to looks and talent, but to his extensive preparations for his roles. He was a genius in the minds of those who directed him (Elia Kazan), those who wrote for him (Tennessee Williams), and those in a position to know (Laurence Olivier).

With Brando's 4000-book library, his personal film scripts, his letters, his audio archive -- all available since his death -- we now have the documents to debunk the myths surrounding him, and give America's greatest actor credit for his contribution to the history of film.

Brando as Colonel Kurtz

When Marlon Brando arrived on the set of "Apocalypse Now" he shocked everybody because he was enormous, somewhere around 300 pounds.  The director, Francis Ford Coppola, had a lot of difficulty with this situation, as he had envisioned Kurtz as lean and hungry.  Worse yet, Brando hadn't learned his lines or done any preparation whatsoever for the role.  The production was shut down for a week while Coppola read Brando the script out loud, with about nine-hundred members of the cast and crew sitting by idly.

The Nightcomers

The Nightcomers is a 1971 British horror film directed by Michael Winner and starring Marlon Brando, Stephanie Beacham, Thora Hird, Harry Andrews and Anna Palk. It is a prequel to The Turn of the Screw, which later became the 1961 film The Innocents. The manor house in the film is Sawston Hall, a 16th-century Tudor manor house in Sawston, Cambridgeshire.

Viva Zapata!

"Viva Zapata!" is the story of Mexican revolutionary Emiliano Zapata, played by Marlon Brando, who led a rebellion against the corrupt, oppressive dictatorship of president Porfirio Diaz in the early 20th century.

Throughout the 1940s, various studios were interested in making a Zapata biopic, but the Production Code Authority frowned on the idea, worried that a film about the revolutionary leader might be perceived as pro-Communist, that Zapata had an antagonistic relationship with Catholic Church leaders in Mexico, and that any inaccuracies in the film might damage U.S. relations with Mexico.

A Zapata biopic finally became a reality when "Grapes of Wrath" author Steinbeck, who'd been researching Zapata for years, teamed up with A-list director Kazan. Both men were former Communists who had become disenchanted with Communism as practiced by the tyrannical government of Joseph Stalin in the Soviet Union. Their take on Zapata was a cautionary tale about how revolutionary movements tend to become as corrupt and oppressive as the established orders they overthrow. To them, Zapata was unique for gaining power via rebellion and then walking away from it.

Streetcar Named Desire

Stanley Kowalski lives in the working class Faubourg Marigny neighborhood of New Orleans with his wife, Stella (née Dubois), and is employed as a factory parts salesman. He was an Army engineer in WWII, having served as a Master Sergeant. He has a vicious temper, and fights often with his wife, leading to instances of domestic violence.

Stanley's life becomes more complicated when Stella's sister Blanche shows up at their door for a seemingly indefinite "visit." The two despise each other almost on sight; the spoiled, aristocratic Blanche openly looks down upon Stanley, whom she derides as an "ape", and she often calls him a Polack, while Stanley is enraged at what he sees as a constant reminder that he is not good enough for Stella. His resentment grows almost unbearable when Blanche starts dating his friend, Mitch, and lets Stella briefly take refuge with her after an argument in which he hits her.

Stanley starts asking questions of a street merchant who knew Blanche in her old life, and finds out that Blanche is staying with the Kowalskis because she is homeless; her family's ancestral mansion, Belle Reve, has been mortgaged. He also learns that she was paid to leave Mississippi to quell gossip about her many affairs, which she began after her husband, a closeted homosexual, committed suicide. Overjoyed to have the upper hand, Stanley tells Mitch about Blanche's secret past, which scares Mitch into ending the relationship.

The night that Stella gives birth to their son, Stanley goes out and gets drunk in celebration, and finds a similarly drunk Blanche, lost in fantasies of better times, when he returns home. He makes a crude, drunken pass at her, which she rebuffs, disgusted. Enraged, Stanley overpowers and rapes her. This final assault on what she had left of her dignity sends Blanche over the edge into a nervous breakdown. Weeks later, Stella has Blanche committed to a mental institution at Stanley's insistence. Although in the movie Stella later decides to leave Stanley in fear of her child's life, in the play, she stays with Stanley.

Marlon Brando was nominated for an Oscar but lost to Humphrey Bogart who won for his role in The African Queen.