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![oldhollywood:
Marlon Brando, 1950 (photo by Philippe Halsman) (via)
“I have read the play [Orpheus Descending] three times since yesterday and am going to read it again. I think that it is the best play that you have done so far. I have been afraid for you sometimes, because success sings a deadly lullaby to most people. Success is a real and subtle whore, who would like nothing better than to catch you sleeping and bite your cock off.”
-Brando, in a 1955 letter to Tennessee Williams (full letter here)(via)](http://25.media.tumblr.com/tumblr_lxtm4n02Qx1qzdvhio1_r5_500.jpg)
Marlon Brando, 1950 (photo by Philippe Halsman) (via)
“I have read the play [Orpheus Descending] three times since yesterday and am going to read it again. I think that it is the best play that you have done so far. I have been afraid for you sometimes, because success sings a deadly lullaby to most people. Success is a real and subtle whore, who would like nothing better than to catch you sleeping and bite your cock off.”
-Brando, in a 1955 letter to Tennessee Williams (full letter here)(via)
Mercy.
(via fuckyeahmeninsuits)
Mary Murphy and Marlon Brando in ‘The Wild One’, 1953.
(via theniftyfifties)
(via theniftyfifties)
(via fuckyeahmeninsuits)
Marlon Brando by Cecil Beaton, 1954.
![oldhollywood:
Marlon Brando applying his make-up on the set of On the Waterfront (1954, dir. Elia Kazan)
“[In On the Waterfront] there was a scene in a taxicab, where I turn to my brother, who’s come to turn me over to the gangsters, and I lament to him that he never looked after me, he never gave me a chance, that I could have been a contender, I coulda been somebody, instead of a bum…It was very moving. And people often spoke about that, ‘Oh, my God, what a wonderful scene, Marlon, blah blah blah blah blah.’
It wasn’t wonderful at all. The situation was wonderful. Everybody feels like he could have been a contender, he could have been somebody, everybody feels as though he’s partly bum, some part of him. He is not fulfilled and he could have done better, he could have been better. Everybody feels a sense of loss about something. So that was what touched people. It wasn’t the scene itself. There are other scenes where you’ll find actors being expert, but since the audience can’t clearly identify with them, they just pass unnoticed. Wonderful scenes never get mentioned, only those scenes that affect people.”
-Brando, quoted in Lawrence Grobel’s Conversations with Brando (1993)](http://24.media.tumblr.com/tumblr_lhtty1HZ971qzdvhio1_r4_500.jpg)
Marlon Brando applying his make-up on the set of On the Waterfront (1954, dir. Elia Kazan)
“[In On the Waterfront] there was a scene in a taxicab, where I turn to my brother, who’s come to turn me over to the gangsters, and I lament to him that he never looked after me, he never gave me a chance, that I could have been a contender, I coulda been somebody, instead of a bum…It was very moving. And people often spoke about that, ‘Oh, my God, what a wonderful scene, Marlon, blah blah blah blah blah.’
It wasn’t wonderful at all. The situation was wonderful. Everybody feels like he could have been a contender, he could have been somebody, everybody feels as though he’s partly bum, some part of him. He is not fulfilled and he could have done better, he could have been better. Everybody feels a sense of loss about something. So that was what touched people. It wasn’t the scene itself. There are other scenes where you’ll find actors being expert, but since the audience can’t clearly identify with them, they just pass unnoticed. Wonderful scenes never get mentioned, only those scenes that affect people.”
-Brando, quoted in Lawrence Grobel’s Conversations with Brando (1993)
