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As consistent as Wayne’s screen image was, he also had some significant departures, but these deviations strengthened, rather than weakened, his established image because they stressed the norm; they were equivalent to casting against type, which is also based on audiences’ familiarity with actors’ typical roles.
Part Eight of Nine:
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One of the anomalies of Brando’s career was that, with the exception of Kazan, who directed him in three pictures, Brando was never associated with a specific filmmaker. For whatever reason, he seldom worked with the same director more than once, the exceptions being Coppola (“The Godfather” and “Apocalypse Now”) and Bertolucci (“Last Tango” and “1900”).
His image glorified virile masculinity; fans admired him for being a man’s man. “It is not enough for an actor to look the part and say his lines well,” John Ford said of Wayne, “something else has to come across to audiences, something which no director can instill or create: the quality of being a real man.”
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At the height of his career, from the 1940s to the early 1960s, Olivier was hailed as the greatest classical player and Shakespearean interpreter of his time. To celebrate this event, www.EmanuelLevy.com published individual reviews of many of Olivier pictures. Film critics and scholars have always compared his work and achievements to […]
The distinctive John Wayte screen persona can be described in terms of specific basic elements, the most important of which were: a forceful screen presence, physical and moral strength, virile masculinity, honesty and sincerity, the portrayal of distinctly American heroes, and indestructibility.
Part Four of Nine:
