Abstract
This paper envisions any changes in the film "East of Eden" if Marlon Brando had been cast as Cal. It also discusses what Brando would have brought to the portrayal of the character of Cal as well as to the overall character of the film. The paper concludes that there would have been a substantial change, not only to the character of Cal but also to the whole movie.

From the Paper
"This paper will examine changes, if any, that casting Marlon Brando in the role of Cal in East of Eden, would have brought to the portrayal of the character of Cal as well as to the overall character of the film. This paper will argue that there would have been a substantial change, not only to the character of Cal but also to the whole movie. Primarily one of the main themes of the film, the loss of innocence, and the transformation of the boy into the man would have been less convincing with Brando in the main role. Overall, James Dean was more suited for the role on Cal, even if the writer of this paper generally prefers Brando."

Tags:brando, james dean, east of eden

Abstract
The essay focuses on the enduring themes and images occurring in the film in relation to other modern films, and examines the performance of Marlon Brando. It provides a technical, aesthetic and thematic analysis of the movie. The writer states that there are two ways to look at this film, one with an historical understanding of the political environment at the time the film was made, and the other without any such knowledge but watched for entertainment.

From the Paper
"On the Waterfront directed by Elia Kazan is a good example of a film that has stood the test of time, mainly due to the themes it deals with and the way in which it is visually presented. Although directly linked to Kazan's own experiences with HUAC, it contains themes and messages that give it continued relevance. It is concerned primarily with the role and status of the informer but also holds messages regarding social and moral conscience, religious ideology and the question of right and wrong which are universal and everlasting themes relevant to all humanity."

Tags:cold, huac, imagery, informants, studies, violent, war

Abstract
This paper explains that "A Streetcar Named Desire" was generally seen as being immoral and decadent, and it was decried by many critics; but it was nominated for twelve Oscars and was awarded four Oscars, three of which were in the acting categories. The author points out that the black-and-white and rather old-fashioned look of the film actually added to the foreboding and emotionally charged atmosphere in the film. The paper states that the most impressive aspect of the film was its depth and psychological complexity combined with acting ability, creative daring, and superb and imaginative direction.

From the Paper
"The play is set in the French Quarter of New Orleans after the Second World War. The plot revolves around the arrival of Blanche DuBois at her sister's residence as she searches for meaning in her life. She has been forced to leave her hometown as a result of trying to seduce a boy whom she was teaching. Her encounter with the brutish Stanley, who is love with her sister Stella, sets the scene for the mistrust, violence and psychological complexity."

Tags:black, white, oscar, atmosphere, acting

Abstract
This paper explains that, in "On the Waterfront," Kazan directed a simple story of good against evil, moral values against corruption, and what it means to sacrifice oneself for the good of others. The author believes that Kazan's direction turned this simple message into an incredibly powerful film that will never age. The author points out that Kazan assembled a brilliant cast: Marlon Brando as the protagonist, Rod Steiger as his brother, Lee J. Cobb as the union mob boss, Karl Malden as the local priest, and Eva Marie Saint as Brando's love interest. The paper relates that Kazan used simple and uncomplicated shots, thus adding more power to each scene.

From the Paper
"There were several scenes that Kazan's direction made powerful and memorable. To show just how Friendly ran the docks and how this effected the men, Kazan shot a scene in which one of Friendly's goons throws tokens up in the air and watches the men scramble for them. A man had to be picked, had to have a token to work on the docks. This scene shows the desperateness of the men and how Friendly operation controlled their livelihoods. Kazan used the roof scenes with Terry and his pigeons to give a glimpse into his character, the real Terry. The taxi cab scene with Terry and Charlie shows the intimacy between the two brothers as Charlie breaks down upon hearing Terry's confrontation that Charlie was responsible for ending his fighting career. Kazan used the ship's horn to block Terry's confession to Edie, allowing the audience to only hear bits and pieces, however, the look on her face lets the audience know that he has told her the truth. Kazan could have used complicated dialogue to convey the message of these scenes; however, he instead, shot them simple and uncomplicated, thus adding more power to each scene, the less said the better."

Tags:simple, brando, timeless, values, shots

Abstract
"In this paper, it is shown that "Guys and Dolls" offers a limited range of vocal sensibilities that are needed to fulfill plot expectations and important cues for character development. Since Brando had not been able to sing as well as Sinatra or other members of the cast, it is clear that this limitation devolves the criterion for a successful film musical. The paper argues that without the full camera view to envision the dance movements of the Broadway, the film also is ineffectual in giving the full musical experience to viewers.

From the Paper
"This movie review will analyze the cinematic ineffectiveness of Guys and Dolls (1955) in contrast to the theatrical "popularity" of the Broadway version. The basis of the Broadway production elicits a far greater range of songs, and with a more variety in how spatial movements can be placed in the theater. The film actually diminishes the wider format of a stage view, and limits the facets of movement, vocal projection, and presence of the actors. In essence, this film presents many innovative stage design principles found in theater, but lacks a "Broadway authenticity" due to the inexperience and limitations of cinematic direction and cast. The plot of Guys and Dolls revolves around Sky Masterson (Marlon Brando) and Nathan Detroit (Frank Sinatra) who make a bet on a romantic intrigue. Detroit needs the money from Masterson, since he wishes to get involved in a high stakes gambling venture."

Tags:guys, dolls, brando

Abstract
This paper explains that the mission of Captain Kurtz in "Apocalypse Now" was embarked upon because a supposedly good government led him to the jungle, rather than an avowedly rapacious company as in Conrad's "Heart of Darkness," making 'the horror' of what occurs even sharper to the viewer as well as to the captain. It points out that Captain Kurtz thus seems more sympathetic in the film, as opposed to the novel's Mr. Kurtz. The author shows how the movie scene, with the grotesquely deployed human body parts, highlights the inability of the native population, whom Kurtz has been sent to help, to understand the Americans; in contrast, the heads upon the poles by Conrad's Mr. Kurtz merely stresses the dark brutality of the African continent and Kurtz's willingness to make use of native techniques of warfare to enact psychological control over his populace. The paper relates that the madness of Marlon Brando's Captain Kurtz becomes a symptom of the madness of the Vietnam war rather than an act or symptom of a supposed leader's private psychological disintegration as in the book.

From the Paper
"Marlow finds Mr. Kurtz in an obscure location in the interior. Human heads mounted on poles surround Kurtz. But unlike "Apocalypse Now," which also has a scene featuring human body parts, grotesquely deployed, Captain Kurtz's heads were not won in a hypocritical attempt to improve the populace. Mr. Kurtz used them to establish his domination and control over fearful and cowering natives. In contrast, Coppala's Captain Kurtz, although calcified in his heart, and turned brutal and mad by the events he has witnessed, shows a more compassionate side to Willard when the two men discuss Coppala's even more horrific scene of native, human dismemberment."

Tags:horror, governmet, war, corporation, psychological

Abstract
This paper discusses how "The Public Enemy" (1931) and "On the Waterfront" (1954) are perhaps, two of the most well known films from the early to mid 20th century. It looks at how these films portray illegal activity and gangster infiltration into the mainstream during two different decades. James Cagney plays Tom Powers, a magnetic, cocky, completely amoral, emotionally brutal, ruthless, and terribly lethal individual in "The Public Enemy", while Marlon Brando stars as Terry Malloy, an inarticulate, struggling, brutish hero and small-time ex-boxer in "On The Waterfront". The paper attempts to show how both characters are involved in criminal activity even though their differences in attitude and personality are completely opposite.

From the Paper
"The opening scene of The Public Enemy pans across views of pre-Prohibition Chicago. Exposed to this scene of life on the South Side of Chicago, are two poor Irish boys: Tom Powers and his neighborhood friend Matt Doyle. We are first introduced to Tom as he stands outside of a bar, and swigs beer from a bucket. Shortly thereafter, he is causing trouble in a department store, which draws the attention of a police officer. Tom also enjoys playing a trick on Matt's sister, by putting a stick in her path while she is roller-skating. She states of his well-known reputation: "You're the meanest boy in town... Jail, that's where you'll be some day, Tom Powers!" This scene sums up Tom's character: relentless, self-centered, and destructive, and also displays his lack of respect towards women. "

Tags:Tom, Powers, Terry, Malloy, Prohibition

Abstract
This paper explains that, for almost ninety years, Stella Adler, who was born into one of the most distinguished and celebrated acting families in theater, had a successful career acting, directing and teaching. The author relates that she founded the Stella Adler Conservatory of Acting in New York City in 1949 and taught such as famous students as Marlon Brando, Robert De Niro and Warren Beatty. The paper stated that Stella Adler had the best teaching approach: She was tough but her students did not fear her, they respected her and listened.

From the Paper
"From 1927 through 1931, Adler played over 100 roles in various productions. Her association with the Group Theater began in 1931. This famous organization was formed by Harold Clurman, Lee Strasberg and Cheryl Crawford. Adler won high praise for her performances in "Success Story" by John Howard Lawson, and later in two seminal Clifford Odets plays: "Awake and Sing" and "Paradise Lost". She married Harold Clurman in 1943, having previously married and divorced Horace Eleascheff. Her marriage to Clurman ended in divorce in 1960. She stayed with the Group Theater for a decade and lamented and deplored the fact that there was a dearth of good roles for women. She felt that the theater was geared for men and that the plays were written for men only. However, she credited the company for bringing the best out of her and for revitalizing her life in theater."

Tags:family, conservatory, tough, agitate, director

Abstract
This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.

From the Paper
"Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."

Tags:illegal, mobster, Mafia, family, organization, drug, business, gang, Brando

Abstract
This research paper discusses method acting and how this style has given rise to Robert DeNiro's stardom. The author looks at how DeNiro became famous for immersing himself in the characters he plays. According to this style of acting he follows, DeNiro feels like his characters and rather than exposing his private life, becomes like the character he is playing, often through changing his physical characteristics to achieve this goal.

From the Paper
"Method Acting can be defined as "an acting technique that involves intense analysis and identification with the character." American Method Acting originated in Russia with Konstantin Stanislavski, who opened the Moscow Art Theater in 1898; this theater is primarily associated with the productions of the plays of Anton Chekhov and the beginning of Russian dramatic realism. By observing himself as an actor, as well as the other actors with whom he worked, and more especially by studying the great dramatic artists in Russia and abroad, Stanislavski developed an approach to the teaching of acting that became known as the "Stanislavski system.""

Tags:stanislavski, stanislavksi, character, personality, emotion, appearance, godfather, goodfellas, corleone, brando, taxi, driver, cape, fear, james, dean, clift, elia, kazan