Listen to Me Marlon


Action / Biography / Documentary


Uploaded By: LINUS
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November 16, 2015 at 01:49 PM



Marlon Brando as Himself
Burt Reynolds as Himself
Roger Moore as Himself
720p 1080p
813.26 MB
23.976 fps
1hr 43 min
P/S 3 / 10
1.69 GB
23.976 fps
1hr 43 min
P/S 3 / 8

Movie Reviews

Reviewed by mikevonbach 6 / 10

Some people are Born Special 'El Brando was one. LooK in your Mirror

This film deals with conquering fear the fear we all have within us . We Can live Free in our own way is what i received from this documentary . Without Money we live in fear. Fear of not having it ---It being money makes us all bend into a shape that changes what we are . Brando was fortunate to find a place in this world where he didn't have to bend And that is what he gave to his audience . Humans crave,clammier,cling, to those that can transport us to another place a Happier,dangerous,sexier, More beautiful Place threw music or movies the arts . Brando made me wonder are we all Connected . I believe we are all connected not with blood but by our collective thoughts .

Humans that can create art in what ever form bring us together Naked and pure . Brando won't be forgotten He gave us a vision of freedom both on and off the stage . The truth is we are all on the stage . Acknowledge this We at this very moment are at the edge of a 100 foot cliff . Some of us will jump and land safely many of us will not land safely ...The most beautiful part is we all must jump and find out . BRANDO JUMPED AND JUMPED AND JUMPED He conquered his fear .

Reviewed by Allguns Allguns 10 / 10

Sublimely, achingly beautiful

Not just a bio-documentary. Far beyond that... Listen to Me Marlon is the presentation of a legend... AS A MAN... By the own legend...

To younger people, such as myself, Marlon Brando was Don Vito Corleone (The Godfather), Colonel Kurtz (Apocalypse Now), Stanley (A Streetcar Named Desire), among many other great performances. But who was the man behind those iconic characters?

In Listen to Me Marlon, is delivered a compilation of many recordings by the actor to the actor himself. I don't think that he would be very pleased to have such tapes out there!

Troubled, charming, talented, politically engaged, passionate... The many faces of the man. Of the liar. When would I imagine that the man who played Don Vito Corleone and Colonel Kurtz, had problems with Francis Ford Coppola? And the tragedies of his personal life? How could I think about Brando as a ordinary guy?

He was no ordinary. And his tapes show it very clearly. Marlon was one unique human being. NO! Not one, two or even more... Marlon talks to himself. But himself is not Marlon... He was no ordinary...

As an art, the movie is beautiful. Not a typical boring documentary, with some footage, a couple interviews, and so and so. The director Stevan Riley was able to capture so many beautiful shots alongside with the music and the very voice of the actor. Flawless...

I know now many more than I ever imagined about Marlon Brando. And now it's like the experience of watching his work means to open so many other doors... Flawless bio-doc. It's a must see if you are interest in the motion picture industry as a whole.

Reviewed by Johann_Cat 7 / 10

Fascinating Tapes; Music, less so

This makes largely creative use of Brando's career-long tendency to create diaries on audio tape. He also made self-hypnosis or relaxation tapes that are used here to very interesting effect; these are poignant, funny, and profound at once. Brando was shrewd and insightful, but the tapes also demonstrate the difficulty of healing private wounds through introspection alone. He resisted anyone who tried to be close to him; if they succeeded, as Bertolucci seemed to, he felt betrayed. These monologues are the stuff of Sophocles and Samuel Beckett; these tapes also play like some grand, involuted novel. I am less fascinated by the way this was edited, which is often abrupt and involves oscillatory panning or camera movements that suggest a rough ferry ride. His words are often dynamic enough. A holographic computer image of Brando's head, seeming to date from around 1998, is made to animate many of Brando's words, about once every ten minutes or so, like a child in a mask over-doing a joke at a party. This is at once spooky and quaint (if the 1990s are now quaint) but seems over-used. The photographic choices from Brando's career are often good, but Brando's childhood home (suggested in a fantasy sequence) is furnished like some impoverished house from 1980, among a few such anachronisms. My strongest criticism of this still engaging movie is for its use of music. It is needlessly chronic--it never shuts up-- serving as a constant, indicative background, when Brando's voice would often suffice. And this soundtrack music itself is not great--at its best, it is Philip Glassy stuff, but often it sounds like a melodramatic "dark" variety of 1980s "new age" music. The music is extremely high in the soundtrack mix, and strangest of all, the director/ sound editors chose to let this new-agey soundtrack compete obnoxiously with any original music that may have been part of any film clip. So when we see famous clips from his major movies, like "Streetcar," the original music mixes dissonantly with the faux- Glass, new age music. I found the sound editing a real distraction that shouldn't have passed the draft stage.

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