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 وداعا الإسطورة مارلون براندو
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Actor Marlon Brando Dies at 80
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By BOB THOMAS, Associated Press Writer
LOS ANGELES - Actor Marlon Brando (news) has died at age 80. The death occurred at an undisclosed Los Angeles hospital Thursday, attorney David J. Seeley said Friday. The cause of death was being withheld, Seeley said, noting the actor "was a very private man."
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Slideshow: Actor Marlon Brando Dies at 80
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Brando revolutionized American acting with his Method performances in "A Streetcar Named Desire" and "On the Waterfront" and went on to create the iconic character of Don Vito Corleone in "The Godfather."
Brando, whose unpredictable behavior made him equally fascinating off the screen, was acclaimed the greatest actor of his generation, a two-time winner of the Academy Award who influenced some of the best actors of the generation that followed, among them Al Pacino, Robert De Niro (news) and Jack Nicholson.
"Marlon would hate the idea of people chiming in to give their comments about his death. All I'll say is that it makes me sad he's gone," said Francis Ford Coppola, who directed "The Godfather."
Brando was the unforgettable embodiment of the brutish Stanley Kowalski of "A Streetcar Named Desire," the mixed up Terry Malloy of "On the Waterfront" (which won him his first Oscar) and the wily Corleone of "The Godfather."
But his private life may best be defined by a line from "The Wild One," in which Brando, playing a motorcycle gang leader, is asked what he's rebelling against.
"Whattaya got?" was his famous reply.
His image was a studio's nightmare. Millions of words were written about his weight, his many romances and three marriages, his tireless — and, for some, tiresome — support of the American Indian and other causes, his battles with film producers and directors, his refuge on a Tahitian isle.
His most famous act of rebellion was his refusal in 1973 to accept the best actor Oscar for "The Godfather." Instead, he sent a woman who called herself Sasheen Littlefeather to read a diatribe about Hollywood's treatment of Native Americans.
It was roundly booed.
Brando's private life turned tragic years later with his son's conviction for killing the boyfriend of his half sister, Cheyenne Brando, in 1990. Five years later, Cheyenne committed suicide, still depressed over the killing.
Still, the undying spotlight never made him conform.
"I am myself," he once declared, "and if I have to hit my head against a brick wall to remain true to myself, I will do it."
Nothing could diminish his reputation as an actor of startling power and invention.
Starting with Kowalski in the stage version of "A Streetcar Named Desire" and a startling series of screen portrayals, Brando changed the nature of American acting.
Schooled at the Actors Studio in New York, he created a naturalism that was sometimes derided for its mumbling, grungy attitudes. But audiences were electrified, and a new generation of actors adopted his style.
"He influenced more young actors of my generation than any actor," longime friend and "Godfather" co-star James Caan (news) said Friday through his publicist. "Anyone who denies this never understood what it was all about."
Marlon Brando Jr. came from the American heartland, born in Omaha, Neb., on April 3, 1924. He was a distant, conservative man of French, English and Irish stock; the original family name was Brandeau.
His mother, the former Dorothy Pennebaker, was small, willowy, compassionate and filled with creative energy. Her ambitions often were unrealized, and she underwent periods of problem drinking. She had given birth to two daughters, Frances and Jocelyn, before Marlon was born.
He grew up a pudgy, mischievous boy who was called Bud to distinguish him from his father. Jocelyn was charged with getting Bud to kindergarten, a difficult task. She solved it by leading him on a leash.
Young Marlon first became exposed to the theater through his mother, who became a leader and occasional actress in the Omaha Community Playhouse. When a leading man dropped out of a play, she pleaded with a young neighbor just home from college to take the role. Henry Fonda (news) reluctantly agreed. Mrs. Brando also encouraged another young Omaha native, Dorothy McGuire.
The lives of Dorothy Brando and her children were upset when the father was transferred to Evanston, Ill., when Bud was 6. The family later moved to Santa Ana, Calif., and finally to Libertyville, Ill.
Bud was constantly being reprimanded for misbehavior at school, infuriating his father. The boy also displayed a talent for playacting, both in elaborate pranks and in plays and recitations. He proved a skilled pantomimist, especially in his depiction of the death of John Dillinger.
His exasperated father sent the boy to military school in an effort to instill discipline. He was expelled. Unable to join the war because of 4-F status, Brando at 19 moved to New York and stayed with his sister Frances, an art student.
Jocelyn Brando studied acting with Stella Adler, and Marlon decided to join her. It changed his life. After a week with the young man, Adler declared: "Within a year, Marlon Brando will be the best young actor in the American theater."
It took longer. He appeared in such plays as "I Remember Mama," "A Flag is Born" (a Jewish pageant with Paul Muni) and "Truckline Cafe." The latter was directed by Elia Kazan, who would remember him for "A Streetcar Named Desire" in 1947.
The Tennessee Williams play made Brando famous, and his first signs of discomfort emerged. The press made much of his motorcycle, leather jackets and T-shirts, his bongo drum playing. He hated the clamor of fans and suffered through interviews.
The image of Stanley seemed to have fallen on Brando, and he once protested to an interviewer: "Kowalski was always right, and never afraid. He never wondered, he never doubted. His ego was very secure. And he had the kind of brutal aggressiveness that I hate. I'm afraid of it. I detest the character."
Brando suffered through the tedium of his two-year contract with "Streetcar," and he never appeared in another play. For his first film he declined several big studio offers and joined independent Stanley Kramer for "The Men" in 1950. To research the story of paraplegic war veterans, he spent a month in a Veterans Administration hospital.
His impact on screen acting was demonstrated by Academy nominations as best actor in four successive years: as Kowalski in "A Streetcar Named Desire" (1951); as the Mexican revolutionary in "Viva Zapata!" (1952); as Marc Anthony in "Julius Caesar" (1953); and as Terry Malloy in "On the Waterfront" (1954).
Although he remained in Hollywood, he refused to be part of it.
"Hollywood is ruled by fear and love of money," he told a reporter. "But it can't rule me because I'm not afraid of anything and I don't love money."
His films after "Waterfront" failed to challenge his unique talent. Most were commercial enterprises: "Desiree," "Guys and Dolls," "The Teahouse of the August Moon," "Sayonara," "The Young Lions." He tried directing himself in a Western, "One-eyed Jacks," going wildly over budget.
A remake of "Mutiny on the Bounty" in 1962, with Brando as Fletcher Christian, seemed to bolster his reputation as a difficult star. He was blamed for a change in directors and a runaway budget though he disclaimed responsibility for either.
The "Bounty" experience affected Brando's life in a profound way: he fell in love with Tahiti and its people. Tahitian beauty Tarita who appeared in the film became his third wife and mother of two of his children. He bought an island, Tetiaroa, which he intended to make part environmental laboratory and part resort.
Although he remained a leading star, Brando's career waned in the '60s with a series of failures. He was impressive, however, in several movies, among them the comedy "Bedtime Story" and the John Huston drama "Reflections in a Golden Eye."
His box office power seemed finished until Coppola chose him to play Mafia leader Corleone in "The Godfather" in 1972. The film was an overwhelming critical and commercial success and Brando's jowly, raspy-voiced Don became one of the screen's most unforgettable characters.
"I don't think the film is about the Mafia at all," Brando told Newsweek. "I think it is about the corporate mind. In a way, the Mafia is the best example of capitalists we have."
The actor followed with "Last Tango in Paris." One of his greatest performances was overshadowed by an uproar over the erotic nature of the Bernardo Bertolucci film.
In his memoir, "Songs My Mother Taught Me," Brando wrote of being emotionally drained by "Last Tango," an improvised film which included several autobiographical speeches.
Most of his later films were undistinguished. One hundred pounds heavier, he hired himself out at huge salaries for such commercial enterprises as "Superman" and "Christopher Columbus: The Discovery."
He was more effective as the insane army officer in Coppola's "Apocalypse Now" and parodying his "Godfather" role in the hit comedy "The Freshman."
His crusades for civil rights, the American Indian and other causes kept him in the public eye throughout his career. So did his romances and marriages. He married actress Anna Kashfi in 1957, believing her to be East Indian. She was revealed to be Irish, and they separated a year later.
In 1960 he married a Mexican actress, Movita, who had appeared in the first "Mutiny on the Bounty." They were divorced after he met Tarita. All three wives were pregnant when he married them. He had nine children.
In May 1990, Brando's first son, Christian, shot and killed Dag Drollet, 26, the Tahitian lover of Christian's half sister Cheyenne, at the family's hilltop home above Beverly Hills. Christian, 31, claimed the shooting was accidental.
After a heavily publicized trial, Christian was found guilty of voluntary manslaughter and use of a gun. He was sentenced to 10 years.
Before the sentencing, Marlon Brando delivered an hour of rambling testimony in which he said he and his ex-wife had failed Christian. He commented softly to members of the Drollet family: "I'm sorry. ... If I could trade places with Dag, I would. I'm prepared for the consequences."
Afterward, Drollet's father said he thought Marlon Brando was acting and his son was "getting away with murder."
The tragedy was compounded in 1995, when Cheyenne, said to still be depressed over Drollet's death, committed suicide. She was 25.
Details about funeral plans weren't disclosed and Seeley said arrangements would be private.
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 Re: وداعا الإسطورة مارلون براندو (Re: jini)
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آخر فبلم:
مارلون براندو بفيلم تونسي
20/5/2004
كشف المخرج التونسي رضا الباهي على هامش مهرجان كان السينمائي ان الممثل الاميركي الشهير مارلون براندو البالغ من العمر 80 عاما سيشارك في فيلمه الجديد الذي سيحمل عنوان براندو وبراندو وسيصور على مدى تسعة اسابيع خلال الصيف المقبل.
وقال رضا الباهي انه عمل مع براندو على تعديل السيناريو في بيته في لوس انجليس حيث سيتم تصوير مشاهد من الفيلم ايضا.
وستقوم المنتجة الاميركية نورمان هايمان منتجة فيلم العلاقات الخطرة اضافة الى المخرج والممثل بوب هوسكنز بانتاج هذا الفيلم الذي يأتي بعد النجاح الذي لقيه فيلم رضا الباهي السابق صندوق عجب الذي نال عددا من الجوائز وعرض في مهرجان البندقية قبل عامين.
وعن سيناريو الفيلم اوضح الباهي انه يعرض الحلم الاميركي الذي يراود بعض الشباب العرب وخاصة بعد احداث الحادي عشر من ايلول/سبتمبر 2001 وما يجري حاليا على الساحة العراقية والعربية. فالفيلم يصور هذه الصحوة عبر شخصية ممثل كبير يستقبل شابا عربيا يؤدي ادواره في تونس والعالم العربي كما قال.
ويصف الباهي فيلمه بانه كوميدي، ساخر لكن سخريته مرة وسوداء، وتعبر عن وضعية صعبة للعرب تحت مظلة الاميركيين.
وكشف الباهي ان محادثاته الطويلة مع براندو تناولت مختلف نواحي السياسة والحياة والجوانب المهنية في عمل براندو وقد اهتمت دار نشر انكليزية بنشر هذه الحوارات لكن الباهي يريد قبل الموافقة طلب اذن براندو.
المصدر: القناة دوت كوم
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Re: وداعا الإسطورة مارلون براندو (Re: Raja)
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فقد كبير للسينما
اعتقد ان براندو قد اتخذ مواقفا مناصرة للفلسطينيين،
او شئ من هذا القبيل قبل فترة،
فتعرض لنقد عنيف من بعض الصحف
وبعدها ابتعد او ابعد عن الاضواء لعدة سنوات.
على اى حال فهو ممثل قدير وله اسلوبه الخاص وصوته فى تاريخ السينما.
وقبل ايام رحل الفنان السامق رى شارلس
الحكاية شنو؟
كلهم دفعة تقريبا
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Re: وداعا الإسطورة مارلون براندو (Re: jini)
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Marlon Brando
Biography
Marlon Brando as Kurtz in a new scene in Miramax's Apocalypse Now Redux - 2001
Marlon Brando in Warner Brothers' Superman: The Movie - 1978
Marlon Brando was quite simply one of the most celebrated and influential screen and stage actors of the postwar era; he rewrote the rules of performing, and nothing was ever the same again. Brooding, lusty, and intense, his greatest contribution was popularizing Method acting, a highly interpretive performance style which brought unforeseen dimensions of power and depth to the craft; in comparison, most other screen icons appeared shallow, even a little silly. A combative and often contradictory man, Brando refused to play by the rules of the Hollywood game, openly expressing his loathing for the film industry and for the very nature of celebrity, yet often exploiting his fame to bring attention to political causes and later accepting any role offered him as long as the price was right. He is one of the screen's greatest enigmas, and there will never be another quite like him.
Born April 3, 1924, in Omaha, NE, Brando's rebellious streak manifested itself early, resulting in his expulsion from military school. His first career was as a ditch digger, but his father ultimately grew so frustrated with his son's seeming lack of ambition that he offered to finance whatever more meaningful path the young man chose to pursue. Brando opted to become an actor -- his mother operated a local theatrical group -- and he soon relocated to New York City to study the Stanislavsky method under Stella Adler. He later worked at the Actors' Studio under the tutelage of Lee Strasberg, and his dedication to the principles of Method acting was to become absolute. After making his professional debut in 1943's Bobino, Brando bowed on Broadway a year later in I Remember Mama; for 1946's Truckline Cafe, the critics voted him Broadway's Most Promising Actor.
Brando's groundbreaking star turn in the 1947 production of Tennessee Williams' A Streetcar Named Desire delivered on all of that promise and much, much more; as the inarticulate brute Stanley Kowalski, Brando stunned audiences with a performance of remarkable honesty, sexuality, and intensity, and overnight he became the rage of Broadway. Hollywood quickly came calling, but he resisted the studios' overtures with characteristic contempt -- he was a new breed of star, an anti-star, really, and he refused to play ball, dismissing influential critics and making no concessions toward glamour or decorum. It all only served to make Hollywood want him more, of course, and in 1950 Brando agreed to star in the independent Stanley Kramer production The Men as a paraplegic war victim; in typical Method fashion, he spent a month in an actual veteran's hospital in preparation for the role.
While The Men was not a commercial hit, critics tripped over themselves in their attempts to praise Brando's performance, and in 1951 it was announced that he and director Elia Kazan were set to reprise their earlier work for a screen adaptation of Streetcar. The results were hugely successful, the picture winning an Academy Award for Best Film; Brando earned his first Best Actor nomination, but lost despite Oscars for his co-stars, Vivien Leigh, Karl Malden, and Kim Hunter. Again with Kazan, he next starred in the title role of 1952's Viva Zapata! After walking out of the French production Le Rouge et le Noir over a dispute with director Claude Autant-Lara, Brando portrayed Mark Antony in the 1953 MGM production of Julius Caesar, sparking considerable controversy over his idiosyncratic approach to the Bard and earning a third consecutive Oscar bid.
In 1954, The Wild One was another curve ball, casting Brando as the rebellious leader of a motorcycle gang and forever establishing him as a poster boy for attitude, angst, and anomie. That same year, he delivered perhaps his definitive screen performance as a washed-up boxer in Kazan's visceral On the Waterfront. On his fourth attempt, Brando finally won an Academy Award, and the film itself also garnered Best Picture honors. However, his next picture, Desiree, was his first disappointment. Despite gaining much publicity for his portrayal of Napoleon, the project made a subpar showing both artistically and financially. Brando continued to prove his versatility by co-starring with Frank Sinatra in a film adaptation of the hit Broadway musical Guys and Dolls. Another Broadway-to-screen adaptation, The Teahouse of the August Moon, followed in 1956 before he began work on the following year's Sayonara, for which he garnered yet another Oscar nomination.
In 1958's The Young Lions, Brando co-starred for the first and only time with Montgomery Clift, another great actor of his generation; it was a hit, but his next project, 1960's The Fugitive Kind, was a financial disaster. He then announced plans to mount his own independent production. After both Stanley Kubrick and Sam Peckinpah both walked off the project, Brando himself grabbed the directorial reins. The result, the idiosyncratic 1961 Western One-Eyed Jacks, performed respectably at the box office, but was such a costly proposition that it could hardly be expected ever to earn a profit. In 1962, Mutiny on the Bounty underwent a similarly troubled birthing process; Brando rejected numerous screenplay revisions, and MGM spent a record 19 million dollars to bring the picture to the screen. When it too failed, his diminishing box-office stature, combined with his increasingly temperamental behavior, made him a target of scorn for the first time in his career.
The downward spiral continued: Brando himself remained compulsively watchable, but suddenly the material itself, like 1963's The Ugly American, 1966's The Chase, and 1967's A Countess From Hong Kong, was self-indulgent and far beneath his abilities. His mysterious career choices, as well as his often inscrutable personal and professional behavior -- he was quoted as declaring acting a "neurotic, unimportant job" -- became the topic of much discussion throughout the industry. He continued to push himself in risky projects like 1967's Reflections in a Golden Eye, an adaptation of a Carson McCullers novel in which he portrayed a closeted homosexual, but the end result lacked the old magic. While Brando still commanded respect from the media and his fellow performers, much of Hollywood began to perceive him as a bad and unnecessary risk, a perception which features like 1968's Candy, 1969's Queimada!, and 1971's The Nightcomers did little to alter.
The Brando renaissance began with 1972's The Godfather; against the objections of Paramount, director Francis Ford Coppola cast him to play the aging head of a Mafia crime family, and according to most reports, his on-set behavior was impeccable. Onscreen, Brando was brilliant, delivering his best performance in well over a decade. He won his second Academy Award, but became the subject of much controversy when he refused the honor, instead sending one Sacheen Littlefeather -- supposedly a Native American spokeswoman, but later revealed to be a Hispanic actress -- to the Oscar telecast podium to deliver a speech attacking the U.S. government's history of crimes against the native population. Controversy continued to dog Brando upon the release of 1973's Last Tango in Paris, Bernardo Bertolucci's masterful examination of a sexual liaison between an American widower and a young Frenchwoman; though critically acclaimed, the picture was denounced as obscene in many quarters.
Despite his resurrection, Brando did not reappear onscreen for three years, finally resurfacing in The Missouri Breaks opposite Jack Nicholson. Although he had by now long maintained that he continued to act only for the money, the eccentricity of his career choices allowed many fans to shrug off such assertions; however, never before had Brando appeared in so blatantly commercial a project as 1978's Superman, earning an unprecedented 3.7 million dollars for what essentially amounted to a cameo performance. His next appearance, in Coppola's 1979 Vietnam epic Apocalypse Now, was largely incoherent, while for 1980's The Formula, he appeared in only three scenes. And for a decade, that was it: Brando vanished, living in self-imposed exile on his island in the Pacific, growing obese, and refusing the few overtures producers made for him to come back to Hollywood.
Only in 1989 did a project appeal to Brando's deep political convictions, and he co-starred in the anti-Apartheid drama A Dry White Season, earning an Academy Award nomination for his supporting role as an attorney. A year later, he headlined The Freshman, gracefully parodying his Godfather performance. Tragedy struck in 1990 when his son, Christian, killed the lover of Brando's pregnant daughter, Cheyenne; a long legal battle ensued, and Christian was found guilty of murder and imprisoned. Even more tragically, Cheyenne later committed suicide. The trial placed a severe strain on Brando's finances, and he reluctantly returned to performing, appearing in the atrocious Christopher Columbus: The Discovery in 1992. He also wrote an autobiography, Songs My Mother Taught Me. Don Juan DeMarco, co-starring Johnny Depp, followed in 1995, and after 1996's The Island of Dr. Moreau, Brando starred in Depp's directorial debut The Brave the next year. In 1998, he appeared in Yves Simoneau's Free Money, headlining a cast that included Donald Sutherland, Mira Sorvino, Martin Sheen, and Charlie Sheen.
Again absent from the public eye in the first year of the new millennium, Brando made news again in 2001 as health problems forced him out of a cameo role in director Keenan Ivory Wayans' horror spoof sequel Scary Movie 2. Replaced on short notice by actor James Woods, and with a few minor changes to the script to accommodate its new actor, Scary Movie 2 nevertheless finished filming on schedule and was released in July of 2001. Shortly after, Brando made his first film appearance in three years with his role in director Frank Oz's one-last-heist thriller The Score (2001). Though the film's production was plagued with rumors of Brando's curious on-set tirades and bizarre behavior, filmgoers remained eager to see the actor re-teamed with former Godfather cohort Robert DeNiro, with Edward Norton and Angela Bassett rounding out the exciting cast. ~ Jason Ankeny, All Movie Guide
المصدر: Yahoo! Movies
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Re: وداعا الإسطورة مارلون براندو (Re: jini)
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افلام مارلون براندو:
• Broadway: The Golden Age (2004)
• Cowboy Justice - Eight Films on Four DVDs (2003)
• Apocalypse Now Redux (2001)
• The Score (2001)
• Free Money (1999)
• The Island of Dr. Moreau (1996)
• Don Juan de Marco (1995)
• Christopher Columbus - The Discovery (1992)
• The Freshman (1990)
• A Dry White Season (1989)
• The Formula (1980)
• Apocalypse Now (1979)
• Superman: The Movie (197
• The Missouri Breaks (1976)
• The Godfather (1972)
• Last Tango in Paris (1972)
• The Nightcomers (1972)
• Burn (1970)
• Candy (196
• The Night of the Following Day (196
• A Countess From Hong Kong (1967)
• Reflections in a Golden Eye (1967)
• The Appaloosa (1966)
• The Chase (1966)
• Morituri (1965)
• Bedtime Story (1963)
• The Ugly American (1963)
• Mutiny on the Bounty (1962)
• One-Eyed Jacks (1961)
• The Fugitive Kind (1960)
• The Young Lions (195
• Sayonara (1957)
• The Teahouse of the August Moon (1956)
• Guys and Dolls (1955)
• Desiree (1954)
• On the Waterfront (1954)
• The Wild One (1954)
• Julius Caesar (1953)
• Viva Zapata! (1952)
• A Streetcar Named Desire (1951)
• The Men (1950)
المصدر: Yahoo! Movies
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Re: وداعا الإسطورة مارلون براندو (Re: jini)
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اصابة الهدف .. يجمع بين ثلاثة من عمالقة السينما
بقلم: محمود الزواوي
يجمع الفيلم الجديد «اصابة الهدف» بين ثلاثة ممثلين متميزين هم مارلون براندو (77 سنة) وروبرت دينيرو (57 سنة) وادوارد نورتون (31 سنة). ويصف مخرج الفيلم فرانك اوز ابطال فيلمه بأنه اعظم ممثلي اجيالهم. ويضيف الناقد السينمائي الامريكي جيف فايس الى ذلك قوله «ان بإمكان هؤلاء الممثلين الثلاثة ان يقرأوا دليل الهاتف بصوت عال او ان يستخدموا نصاً سينمائياً ضعيفاً ليقدموا عملاً سينمائياً جيداً.
الا ان حقيقة الامر هي ان هؤلاء الممثلين المتفوقين تعاملوا مع نص سينمائى جيد من اعداد الكاتبين السينمائيين كاريو سالم وداني تيلور لتقديم فيلم جيد يحظى بإعجاب النقاد ويلقى تجاوباً جماهيرياً كبيراً، وهو اقل ما يمكن ان نتوقعه لفيلم يقوم ببطولته افضل ما عرفته هوليوود من مواهب في التمثيل. ويضم ابطاله الثلاثة ممثلين يجمعان بينهما اربع من جوائز الاوسكار، بينها جائزة لكل منهما عن القيام بدور زعيم المافيا دون كورليوني في فيلم «العراب» (1972) لمارلون براندو وفيلم «العراب ـ الجزء الثاني» (1974) لروبرت دينيرو.
يتعلق فيلم «اصابة الهدف» بموضوع سينمائي قديم هو عمليات السرقة الضخمة التي توفر مادة سينمائية دسمة لما تشتمل عليه من اثارة وتشويق ومطاردات. وقد انتشرت شعبية هذا اللون من الافلام بشكل خاص في فترتي الخمسينيات والستينيات من القرن الماضي، الا انها قديمة قدم السينما الامريكية نفسها. فقد كان اول فيلم روائي امريكي قصير، وهو المعلم السينمائي «حادث السطو الكبير على القطار» (1903) من هذا اللون السينمائي.
يدور فيلم «حول حادث سرقة صولجان ملكي قديم قيمته 30 مليون دولار من مقر الجمارك بمدينة مونتريال الكندية. وتضم عملية السرقة فريقاً مؤلفاً من ثلاث شخصيات رئيسية بينهم مخطط عملية السطو وهو رجل مسن وغريب الاطوار اسمه ماكس (الممثل مارلون براندو) يعرض على صديق حميم متخصص في فتح الخزانات الحديدية اسمه نيك (الممثل روبرت دينيرو) سرقة الصولجان الفرنسي النفيس الذي يعود الى القرن السابع عشر بعد ان يكون الاخير قد اعتزل حياة الاجرام وتفرغ لادارة ناد ليلي ناجح يملكه في المدينة بإلحاح من خطيبته مضيفة الطيران ديان (الممثلة انجيلا باسيت) التي تريد ان تتزوج منه وتعيش حياة مستقرة بعيداً عن حياة الاجرام. ويوافق نيك على تنفيذ العملية، على ان تكون اخر عملية سطو يشارك فيها قبل ان يعتزل حياة الاجرام نهائياً. مع انه يدرك انه يقوم لأول مرة بخرق قاعدتين دأب على التقيد بهما على الدوام، وهما ان ينفذ عمليات السطو بمفرده دون شركاء والا ينفذ اية عملية في المدينة التي يعيش فيها لكي يظل بعيداً عن الشبهات.
والشخصية الثالثة في الفريق هو شاب متهور ومغرور اسمه جاك يعمل في مبنى الجمارك (الممثل ادوارد نورتون) وقد امضى عدة اسابيع في تحري ودراسة معالم المبنى من الداخل بكل تفاصيله من انظمته الامنية الى موقع الصولجان الملكي. وعلاوة على ذلك فإن هذا الشاب يخفي هويته الحقيقية ويعمل تحت اسم مستعار ويتظاهر بأنه مصاب بمرض الشلل المخي. مما يكسبه تعاطف الحراس ويسمح له بالتجول بحرية تامة في المبنى الذي تفرض عليه حراسة مشددة.
وعندما يعلم الشريك المسن ماكس ان موقع الصولجان الذي ينوون سرقته على وشك ان يتغير، يعمل على الاسراع في تنفيذ الخطة، دون ان يطلع شريكه نيك على بواطن الامور. كما ان لدى اللص الشاب جاك هدفاً اخر وهو ان يظهر لشريكه الاكبر والاكثر خبرة من هو اللص الاكثر براعة ودهاء.
وتتخلل عملية السطو ـ كما هو متوقع ـ الكثير من المفاجآت التي تنطوي على عناصر الاثارة والتشويق والتوتر التي تشد المشاهد حتى اللحظات الاخيرة من الفيلم.
وقد نجح المخرج فرانك اوز وكتاب سيناريو فيلم «اصابة الهدف» في تقديم عمل سينمائي يؤكد سرعة الايقاع وتطوير شخصيات الفيلم والتركيز على التفاصيل بدلاً من الاعتماد على المؤثرات البصرية واساليب المونتاج المصطنعة. كما تستخدم حركات الكاميرا في الفيلم لتشويق المشاهد بدلاً من ارغامه على تقبل الاحداث.
ومع ان المخرج فرانك اوز البريطاني المولد تخصص في اخراج الافلام الكوميدية كفيلم «بوفنجر» و«محل الرعب الصغير» و«في الداخل والخارج» بعد ان اقترنت شخصيته بتقديم اصوات شخصيات الرسوم المتحركة والعرائس كشخصية «مس بيجي»، فقد نجح في الانتقال بسلاسة الى الاعمال السينمائية الجادة في اول فيلم يقدمه من هذا اللون السينمائي، اي فيلم «اصابة الهدف». وحافظ على تقديم عمل فني رفيع المستوى يليق بأبطال فيلمه الثلاثة الذين ترك لهم مساحة كبيرة للابداع الفردي، مدركاً انه يتعامل مع مجموعة نادرة من المواهب التي يندر ان يجتمع مثلها في فيلم واحد.
ومع ذلك، فقد واجه انتاج فيلم «اصابة الهدف» المشكلات التقليدية التي يتعرض لها اي فيلم يظهر فيه الممثل مارلون براندو الذي امضى الثلاثين سنة الاخيرة في مناكفة وتنغيص حياة المخرجين وغيرهم من العاملين معه بمطالبة المستحيلة وسلوكه الغريب واساليبه التهريجية.
ومع ان الممثلين الذين يصعب التعامل معهم موجودون في هوليوود منذ ايامها الاولى، ولم يختلفوا في اي وقت، فإن مارلون براندو يمثل حالة خاصة متطرفة بمزاجه المتقلب وشخصيته غريبة الاطوار. وقد اصطدم مارلون براندو مع المخرج فرانك اوز في الايام الاولى لتصوير مشاهد فيلم «اصابة الهدف» ورفض وجوده معه في نفس الموقع اثناء تصوير تلك المشاهد، مما ارغم المخرج على توجيه اللقطات التي ظهر فيها مارلون براندو من موقع اخر بمساعدة الممثل روبرت دينيرو الذي ناب عنه. واصر مارلون براندو ـ على سبيل المثال ـ على الظهور بدون ملابس اثناء تصوير المشاهد القريبة التي تسلط فيها الكاميرا على الوجه، والتي لا يظهر فيها جسمه، معللاً ذلك بارتفاع درجة الحرارة في موقع التصوير. الا ان تعاون زملائه الممثلين ـ وعلى رأسهم روبرت دينيرو وادوارد نورتون ـ اسهم في تسهيل المهمة وفي تقديم فيلم رفيع المستوى.
ورغم السلوك غير اللائق للممثل مارلون براندو، فإن اداءه في فيلم «اصابة الهدف» يعد واحداً من افضل ما قدمه في تاريخه السينمائي الذي يمتد نصف قرن. ولعل موهبته الفذة في التمثيل وكونه اعظم ممثلي عصره يعلل سبب عودة المخرجين والممثلين اليه لاستخدامه في افلامهم رغم سلوكه غير السوي ورغم بدانته المتزايدة خلال السنوات الاخيرة.
ولا يقل اداء الممثلين روبرت دينيرو وادوارد نورتون في الفيلم عن مستوى اداء مارلون براندو، وهو شيء طبيعي عندما يلتقي ثلاثة ممثلين بمثل هذه المواهب الفياضة في فيلم واحد.
وتجدر الاشارة الى ان دور روبرت دينيرو كان قد عرض اصلاً على الممثل مايكل دوجلاس، كما عرض دور ادوارد نورتون على الممثل بين افليك اللذين اعتذرا عن اداء هذين الدورين. اما قيام مارلون براندو بدوره في الفيلم، فلم يكن موقع شك في اي وقت. بل ان كاتب السيناريو الرئيسي للفيلم كاريو سالم يؤكد انه كتب الدور وهو يفكر في مارلون براندو بالذات بحيث يكون هذا الدور مناسباً له.
وقد بلغت تكاليف انتاج فيلم «اصابة الهدف» 70 مليون دولار دفع منها 15 مليون دولار كأجر للممثل روبرت دينيرو و 3 ملايين لمارلون براندو لقاء عمله لمدة ثلاثة اسابيع، مما يؤكد المكانة الفنية لهذا الممثل الموهوب الذي تجاوز، السابعة والسبعين سنة من العمر. وحصد الفيلم الاكثر من 37 مليون دولار خلال الاسبوعين الاولين لعرضه، وهو بين الافلام الخمسة الاولى التي تحقق اعلى ايرادات في دور السينما الامريكية. ويعرض فيلم «اصابة الهدف» حالياً في قرابة 2200 من صالات العرض الامريكية.
ويقدم فيلم «اصابة الهدف» قصة سينمائية مشوقة تستهوي قطاعاً عريضاً من جمهور السينما، كما انه يقدم لقاء نادراً بين اثنين من عمالقة ممثلي هوليوود هما مارلون براندو وروبرت دينيرو اللذان ينضم اليهما في الفيلم ممثل موهوب اخر هو ادوارد نورتون الذي لا شك في اننا سنراه في الكثير من الاعمال السينمائية المتميزة على مدى سنين عديدة في المستقبل.
المصدر: بيان الثقافة - جريدة البيان الأحد 14 جمادى الآخرة 1422هـ 2 سبتمبر 2001 -العدد86
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Re: وداعا الإسطورة مارلون براندو (Re: jini)
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وفاة الممثل مارلون براندو (العراب)
لوس انجليس- (اف ب)
ذكرت وسائل الاعلام الاميركية اليوم الجمعة ان الممثل الاميركي مارلون براندو الذي يعد احد اعظم الممثلين في القرن العشرين, توفي عن 80 عاما.
وتوفي براندو الفائز بجائزتي اوسكار كافضل ممثل عن دوره في فيلم "اون ذي ووتر فرونت" (على الواجهة المائية) وفيلم "ذي غاد فاذر" (العراب), في احد مستشفيات لوس انجيليس في وقت متاخر من امس الخميس.
وعاش براندو لسنوات عديدة بعيدا عن الاضواء في منزله في لوس انجليس, ورغم وصوله الى قمة النجاح السينمائي, فان التقارير قالت انه توفي مفلسا وغارقا في الديون.
ونقلت شبكات التلفزيون الاميركية عن ديفيد سيلي محامي براندو اعلانه وفاة النجم, الا انه لم يحدد سبب الوفاة.
وعاش براندو حياة حافلة شهدت الكثير من النجاحات غير المسبوقة والمآسي القاسية والتي كان من بينها انتحار ابنته شايان ومحاكمة ابنه كريستيان بتهمة قتل خطيب شايان الذي كان يسيء معاملتها عام 1990.
ولد براندو في نيسان/ابريل من عام 1924 في اوماها بولاية نبراسكا (وسط غرب), واصبح اسطورة لجيله كشخصية قاسية وعميقة ولكن حساسة في فيلم "على الواجهة المائية" (1954) وعندما لعب شخصية ستانلي كوالسكي في فيلم "ستريت كار نيمد ديزاير" (عربة اسمها الرغبة) (1951) وكمتمرد يركب الدراجة النارية في فيلم "ذي وايلد وان" (الشرس) (1953).
وفاز بجائزي اوسكار عن دوره في "اون ذي ووتر فرونت" (على الواجهة المائية) وعلى دوره كرجل المافيا دون كورليوني في فيلم "ذي غاد فاذر" (العراب) عام 1972.
الا انه فقد شكله المميز والجذاب في مرحلة لاحقة من عمره وزاد وزنه كثيرا بسبب شهيته وحبه للطعام. واصبح معروفا بحبه للانعزال على تلال لوس انجليس وعلاقاته الاسطورية مع النساء.
وفي التسعينات قال براندو في احدى المقابلات انه انسحب من حياة الاضواء بسبب الضغط النفسي الذي يتسببه البقاء باستمرار محطا للانظار.
وقال "لقد عانيت من الكثير من الماسي في حياتي بسبب شهرتي وثروتي".
ولبراندو 11 ابنا على الاقل وثلاث زوجات سابقات, كما عرف في حياته الكثير من النساء ومن بينهم مدبرة منزله.
المصدر: العربية نت.
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jini
Raja
Rawia
Ahmed Elmardi
Adil Osman
أحمد أمين
فيس بوك
تويتر
انستقرام
يوتيوب
بنتيريست