Posted by
Bill Cherry on Friday, October 31, 2008 11:33:26 PM
MARLON BRANDO
Ever since I was a junior at Galveston's Ball High School, I've been an off-and-on reader of The New Yorker. Actually more "on" than "off." If you were to add up the years I've had subscriptions, for an example, they'd probably total 40 or more. And when I wasn't subscribing, I frequently peaked at one at the library or from the magazine rack at Barnes and Noble.
What I have with the magazine is very definitely a love-hate relationship. And right now it's definitely a hate one.
For the past couple of years, The New Yorker has been relentless in its criticism of everything Republican, to the point that over and over its articles have been mean-spirited. And that would upset me just as much if it had played the very same tricks on Democrats.
Subscribers to The New Yorker have been enticed to be regular readers because it claims to focus on the arts -- theater, dance, fiction, non-fiction and, in general, articles about the people who make up Manhattan. That's where the staff and contract writers excel.
I don't buy the magazine to read zillion page political dronings. So, as I have at least three time in the past when they've done this, I'm letting my subscription run out this month rather than renew it.
But before I do, I want to recommend to you a superb seven page article titled "Method Man," written by Claudia Roth Pierpoint in the October 27, 2008 edition. It is a thorough accounting of the founding, rise and service to the theater of America's greatest actor, Marlon Brando.
I suppose he was the first actor to exemplify Method Acting, and maybe the only actor who ever really pulled it off. Ms. Pierpoint's description of how Brando changed Tennessee Williams' "A Streetcar Named Desire," and essentially stole the show from British actress Jessica Tandy, is fascinating, for an example.
And that Brando was sure he was "washed up and unemployable" when Mario Puzzo insisted that he had always thought Brando should play Dom Corleone in "The Godfather" is yet another story.
"'The Godfather' was not only Brando's redemption but Hollywood's, proving that a big commercial movie could be a work of beauty and significance," Ms. Pierpoint says. "Everyone agreed that it was the kind of movie Brando should have been making all along."
Those interested in the theater, those interested in Marlon Brando, will savor this article in the current issue of The New Yorker.

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