SHOW BUSINESS |
When Brando takes over
EVEN
THE SEA
HAS
ΤΟ
EMOTE!
by
David Lewin
ACTING,"
said
Marlon Brando,
"Is just like slicing baloney only the
pay is better. But what I want is control-artis- tic control over what I do."
Today at fast Marlon Brando has that control. At a cost of more than £11,000 a day for six
months, he has directed his first m. Ite has starred in it. He helped write the script. He had the final authority over every finished foot.
The cost went up to come- side of the camera before a thing in excess of £2,000,000, "take"; "Is it true your head is and after six months' shoot- shaped like an Ice-cream cone?” Ing another six months were
His own needed to cut the picture from
cominent on one of something
cenes: over four hours to his love
"Warm for fewer than three.
May," and on another "Alan Ladd," which meant don't print it is not relaxed enough.
It is called "One-Eyed Jacks," u violent, sex-crammed open-
An executive at the studio air epic of hate and revenge.
nale! while all this was going It is probably the most ex-
on: "This is more than a fim; pensive extension of a man's it is a way of life." ego and his profile there has The picture, with its largely Ever been, -, for "One-Eyed unknown cas!, has Bually ar- Jacks" started with a budget rived in London. It will open in of £700,000,
asholing the West End sometime this and schedule of 12 weeks.
month.
Brando brought with him his own particular ways of shooting a fim. One day he spent four hours sitting by the side of the Pacific Ocean waiting for it to be more dramatic for a shot.
Unknown
Thea the original director of The film left and Bruto took aver-be called it "being an
emotional traffic cop."
To get a certain reaction from a Method-trained actor, Som Gilman, Brando called from the
Lonely
the bank hold-up apeclails: he
Brando's description
of o, plays in "One-Eyed Jacks," is this: "He ha a touch of the vain, and a childish and dispro- portionate sense of virtue and manly ethles. He is lonely and generally distrustful of human contacts."
it is a part that Brando ob. viously understands.
London Express Service,
AUSTRALIA
IS LESS THAN
A DAY AWAY
-Director barred-
TONY
HONY RICHARDSON, highly boosted young British director of "Look Back in Angor" (and racontly returned from making "Sanctuary" in Hollywood), stirring angrily against officialdom.
His next fim is to be "The shire wero tine, very co-opera- Loneliness of The Long Dis- tive. Then the Commissioners got tance Runner," based on Ainu to hear about us," Richardson Siltoe's story about Juvenile sakl refused to win a Borstal race delinquency-and the boy who
because. R would prove he's on the side of the Establishment,
But Slitoe, playwright John Osborne, and Richardson have been refused admlaston to two Borstals to gather background material.
The Borstal
governors at Dover and Wetherby in York-
"The iron curtain came down. We were told we could not visit a Borstal, could not talk to the last. Each time we were told; We have not enough staff show you around.'
10
"You'd think we were going to make some dreadful revela- tion."
-(London Express Service).
"
BRANDO... slicing baloney the Mothod way
My long love affair
a
with semi-colon
—as Miss Frankau calls her writing life
ONE TO
READ AGAIN
PEN TO PAPER, By Pamela Frankau. Heinemann. 18s. RICHARD CHURCH TO enjoy this "Novelist's Notebook"-as Miss chooses. John Christopher.
mann. Vols.
1 and 2. 18.
Frankau subtitles her latest volume it is By Romain Rolland. Heino- quite unnecessary to have read any of its 30 each. predecessors. From the hard labour of making Even inumorial boden them, in love and anguish, this novelist of 53 has out of plat distilled a book of witty, practical wisdom about time, and publishers forget to the mechanics of storytelling and the dilemmas of the gap. John Christopher was first published in English writing. for a living.
in 1010, in four volumes. Rolland won the Nobel Prize
Irura Uime 10
fe
1:1 the background Pamela Shu herself is dominated by for this great novel, the Framkau's private life flickers "the two-druft habit" of the story of a musleal genius of the stormlly in parking asides about Rough and the Smooth. For calibre of Beethoven, lovers, debts and separations, a every book of 100,000 words,
"sad and shameful adventure in she writes at least 200,000-by Indeed, the experiences - ami Berlin," a conversion to Roman hund.
circumstances of his hero, on Catholicism.
of a drunken orchestral player
And the spliegue is a loving Outlining such difficulties as in a small Rhineland town, re- and most polmant account of title-trouble" and her inability call these of Beethoven's curly FILT complex relationship with to describe real places she has lite, just as Christopher's inter her novelist-father. Gilbert never visited, Miss Frankau years in Paris recall a phase int
the prime importance Wagner's te. stresses
Frankou.
a wild passion for the hyphen.
to
of
But Pen to Paper Is primarily of reading every Jing of eoncerned with 品 woman's dialogue aloud, and of making Most novels about musicians writing life, in which the main cheelt stick a routine of are vague and sloppy. John
amours include 'my long love work day by day.
Christopher is firm and factual. affair with the semi-colon and
The mon of genius, BR he On the way she pungently struggles out of the rut attacks such targets as English provincialem, and the draw- Jaziness about language, "Maga- backta of his own rough, in- zine-Think," orthodox rules of educated personality, really punctuation.
comes to life, both as man and novels, ns And she protests against the musician.
The routine
Misa Frankat
aims, in making
"Characters thal
defines her
exket, an spreading Anglo-American ad- The four volumes are now illusion of reallly variously diction to taking umbrage being reprinted; long overdue. preserved; a story that moves, "Never, surely, were so many As I re-read the other day I old in neceptable language." offended to easily by so litic." was as deeply impressed as when
In describing the dimeuitica
Iret rend it 45 years ago. It is
*Volumes 3 and 4 will be -(London) Exprons Service). printed later this year.
of realising those ambitions sha empliarists" that "the only way
welling,"
to learn to write well is to Keep
Richard Findlater a masterpiece,
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