<div>BURN! (1969) -- Alas, we are presented with the cut/<br>dubbed version rather than the complete original.<br>You get Brando's voice but little else</div> <div> </div> <div>Brian:</div> <div> </div> <div>Would you say more? I saw Burn (Quemada) when it first came out, and it had a terrific impact, at least on us then-young lefties in NYC. But I have no idea which version I saw. It was a commercial release, and in Times Square, too. Fifty cents for the movie. 75 cents for a plate of meetballs and spaghetti across the street. Life was good. Did any of us ever get to see the unexpurgated version? Which is which? What are the differences? </div> <div> </div> <div>Mike Hirsch<br><br> </div> <div><span class="gmail_quote">On 11/3/05, <b class="gmail_sendername">BklynMagus</b> <<a href="mailto:magcomm@ix.netcom.com">magcomm@ix.netcom.com</a>> wrote:</span> <blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Dear List:<br><br>A while back we spoke of Marlon Brando.<br><br>Four of his films are coming out on dvd on Tuesday. <br><br>Here is my handy homo-guide to the releases:<br><br>THE FUGITIVE KIND (1959) -- Joanna's favorite (if I<br>remember).  Presented in 1:66 original aspect ratio,<br>the acting is fine, as is Sideny Lumet's direction and <br>Boris Kaufman's cinematography.  It is the last<br>Brando performance before he pivots even further<br>toward strangeness, which will produce great results<br>in the late '60's/early '70's, but some clunkers along<br> the way.<br><br>BURN! (1969) -- Alas, we are presented with the cut/<br>dubbed version rather than the complete original.<br>You get Brando's voice but little else.<br><br>THE MISSOURI BREAKS (1976) -- The last film of that <br>intense '70's loose trilogy: THE GODFATHER; LAST<br>TANGO IN PARIS and this Arthur Penn film.  Brando<br>seems to be acting outside of the movie -- almost in<br>aesthetic dialectic with it -- Penn admirably holds it<br> together and Jack is game, but Nicholson's plot-<br>resolving action seems motivated by the dictates of<br>both the narrative and Brando's anarchic performance.<br>Undervalued at its time of release, this film is ready to <br>be rediscovered (along with Arthur Penn's other great<br>'70's film recently released on dvd -- NIGHT MOVES<br>(1975) -- a film noir to end all films noirs.<br><br>A DRY WHITE SEASON (1989) -- Brando's last important<br> performance before flesh and caricature immobilized him,<br>A DRY WHITE SEASON is also the first Hollywood studio<br>film to be helmed by a Black woman -- Euzhan Palcy.<br>Brando thought the film important enough to do for free <br>(and was rewarded with an eighth and final Academy<br>Award nomination), but the role is small -- only two scenes<br>at the center of the film that serve as a hinge between the<br>halves of the story.  But what a pair of scenes!  For a final <br>time Brando summons what made him so watchable and<br>effortlessly conveys his mastery to the audience.<br><br>Brian Dauth<br>Queer Buddhist Resister<br><br><br>___________________________________<br><a href="http://mailman.lbo-talk.org/mailman/listinfo/lbo-talk"> http://mailman.lbo-talk.org/mailman/listinfo/lbo-talk</a><br></blockquote></div><br><br clear="all"><br>-- <br>________________________________________<br>`And these words shall then become<br>Like oppression's thundered doom <br>Ringing through each heart and brain,<br>Heard again -- again -- again--<br>`Rise like Lions after slumber<br>In unvanquishable number--<br>Shake your chains to earth like dew<br>Which in sleep had fallen on you--<br> Ye are many -- they are few.'<br>--------Shelley, "The Mask of Anarchy:<br>Written on the Occasion of the Massacre at Manchester" [1819]<br><br>