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direct experience, that prejudice is a stupid limitation on man's life.
None of these answers, of course, is definitive or even earth-shakingly new. But Brando the actor gives them an importance — even, as he gropes agonizingly toward them, an excitement — which is shattering. He makes the sophisticated aware of an impolite world that sees radicalism where they have come to see only cliches. As for the younger generation, those who are Brando's age or younger, they respond to his honesty and his obvious agony.
Older generations, brought up on the notion that movie heroes should be romanticized and idealized males, remain disconcerted by the phenomenon of Brando. Perhaps they see too clearly in him the failures of the world they made. Perhaps the oft-raised cry that they do not understand him is a way of saying they understand him all too well and wish to shut out that understanding.
But this much they should admit: as a movie actor he has no peer in this generation. That he consistently underplays, yet still packs more emotion into a scene than anyone else, is a sign of a charisma that may be an act of God. But that he can grant importance to material that is frequently trivial or, at best, cheaply exciting, is a mark of the genuine actor's ability to invest bad roles with human importance. And one more thing: He does not mumble unless the role calls for it. When he does, he is good enough to communicate the emotional meaning of what he is doing, even if you can't quite hear his every word. Furthermore, the screen is the ideal medium for his style. There is no need to shout here, and no need to enunciate in the manner of a high-school forensics coach. Brando's objectives in a scene are always clear and always easy to see — if you know how to read him.
As for Brando himself, it is hard to say where he is going. He has declared that he wishes shortly to be "a has-been" as an actor so he may be free to direct. Like his screen characters, he has done much searching (his metaphor having been, chiefly, the psychoanalytic), and of late he has managed to delay unconscionably the production of two expensive films, sending them way over budget. This may be his way of getting his wish, or it may mean that he is still involved in his personal search. Whatever he finds, his efforts have struck a responsive chord in his generation. It has seen in him a child of his times, a perfect screen incarnation of its own inward gropings. So long as that is true, Brando is on safe ground when he says, "The only thing an actor owes his public is not to bore them." As things stand, he runs no such risk.
Brando, Lee J. Cobb slug it out in On the Waterfront.
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