Brando, Marlon. (1924–2004). Signed Photograph. Sensational and rare signed photograph of the extraordinary and handsome bare chested young actor as Mark Antony in the 1953 American film adaptation of the Shakespearean play, William Shakespeare's Julius Caesar. Directed by Joseph L. Mankiewicz, this photograph was used on the theatrical release poster. Small creases and wear along upper edge, lower right corner with a tiny ding, overall very fine. 8 x 10 inches (20.3 x 25.4 cm.). A very uncommon and ideal uninscribed example.
Obtained in person by Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.
Brando's casting was met with some skepticism when it was announced, as he had acquired the nickname of "The Mumbler" following his performance in A Streetcar Named Desire (1951). But Brando asked John Gielgud for advice in declaiming Shakespeare, and adopted all of Gielgud's recommendations, his performance turning out so well that the New York Times' Bosley Crowther stated in his review of the film: “Happily, Mr. Brando's diction, which has been guttural and slurred in previous films, is clear and precise in this instance. In him a major talent has emerged.” Brando was so dedicated in his performance during shooting that Gielgud offered to direct him in a stage production of Hamlet, a proposition that Brando seriously considered but ultimately turned down. During filming, James Mason became concerned that Brando was stealing the audience's sympathy away from him and his character, Brutus, so Mason appealed to Mankiewicz, with whom he had bonded earlier while making the film 5 Fingers, requesting that the director stop Brando from dominating the film and "put the focus back where it belongs. Namely on me!" The subsequent shift in directorial attention didn't escape Brando, who threatened to walk off the film if Mankiewicz "threw one more scene to Mason", alleging a ménage à trois among Mankiewicz, Mason and his wife Pamela Mason. Despite the feuding, production continued with only minimal disruption, thanks to what Gielgud called, "Mankiewicz's consummate tact that kept us together as a working unit."
Brando, Marlon. (1924–2004). Signed Photograph. Sensational and rare signed photograph of the extraordinary and handsome bare chested young actor as Mark Antony in the 1953 American film adaptation of the Shakespearean play, William Shakespeare's Julius Caesar. Directed by Joseph L. Mankiewicz, this photograph was used on the theatrical release poster. Small creases and wear along upper edge, lower right corner with a tiny ding, overall very fine. 8 x 10 inches (20.3 x 25.4 cm.). A very uncommon and ideal uninscribed example.
Obtained in person by Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.
Brando's casting was met with some skepticism when it was announced, as he had acquired the nickname of "The Mumbler" following his performance in A Streetcar Named Desire (1951). But Brando asked John Gielgud for advice in declaiming Shakespeare, and adopted all of Gielgud's recommendations, his performance turning out so well that the New York Times' Bosley Crowther stated in his review of the film: “Happily, Mr. Brando's diction, which has been guttural and slurred in previous films, is clear and precise in this instance. In him a major talent has emerged.” Brando was so dedicated in his performance during shooting that Gielgud offered to direct him in a stage production of Hamlet, a proposition that Brando seriously considered but ultimately turned down. During filming, James Mason became concerned that Brando was stealing the audience's sympathy away from him and his character, Brutus, so Mason appealed to Mankiewicz, with whom he had bonded earlier while making the film 5 Fingers, requesting that the director stop Brando from dominating the film and "put the focus back where it belongs. Namely on me!" The subsequent shift in directorial attention didn't escape Brando, who threatened to walk off the film if Mankiewicz "threw one more scene to Mason", alleging a ménage à trois among Mankiewicz, Mason and his wife Pamela Mason. Despite the feuding, production continued with only minimal disruption, thanks to what Gielgud called, "Mankiewicz's consummate tact that kept us together as a working unit."