A match for Brando

Anthony Quinn did not have the usual filmstar looks, but the fact that he was so sought after is testimony to his versatility, says V. GANGADHAR about the actor who died recently.

ANTHONY Quinn may have won a couple of Oscars and starred in several memorable films like "Viva Zapata", "Lust for Life", and "Secret of Santa Vittoria", but he would not have made an impact on Bollywood. How could an actor whose looked as though his face had been run over by a truck and who growled all the time act in the namby-pamby roles of Hindi cinema.

Hollywood was different and recognised the actor's genius even during the early 1950s. He was director Elia Kazan's first choice to play the hero's (played by Marlon Brando) brother in "Zapata". The film was on the famous Mexican revolutionary Zapata.

Brando had just conquered Hollywood with "A Streetcar Named Desire" and was not easy to work with. But he respected Kazan who had directed the film. Quinn was a no-nonsense actor who was unimpressed by anyone's celebrity status.

But thanks to Kazan's diplomatic handling, the two stars hit it off well, despite some intense competition on the sets. Recalled Kazan in Elia Kazan: A Life: "I think Marlon got a lot from his contact with Tony Quinn. It took time, but a true friendship developed out of the intense competition; who was the more macho? I didn't discourage the competition."

The film required the actors to be on horseback most of the time. Brando was a fine rider, but not in the same class as Quinn, who dominated a horse. Brando noted and admired it.

But Quinn had misgivings on the sets. He knew Kazan's intense admiration for Brando. Kazan understood the Brando style of acting, which seldom needed interference from the director. Said Kazan: "Sometimes, the best direction consists of reading an actor's face and, when you see the right thing there, simply nodding. A few words, a smile, a touch will do it. Then wait for a miracle. In the case of Marlon, it often happened."

During the early days of "Zapata", Quinn often sulked because he felt Kazan was paying more attention to Brando. The director informed Brando who then took a hand. He befriended Quinn, spent long hours with him and the two often painted the town red. The complaint was quickly forgotten.

Quinn was totally involved in the film and, as Kazan recalled, the idea for the most memorable piece of "direction" came from him. "It was the scene where Tony wants to call the people together, to rescue his brother whom the police are taking to detention. He picked up two small stones and began to beat them together. Then others near him did the same, and soon everyone in the area was doing it. Tony, a half Mexican, had heard of this people's telegraph while growing up in the country. The people were able to rescue their leader and we had a great scene thanks to Tony."

Unfortunately, Quinn and Brando did not work together again. Quinn made more than 100 films and, despite acquiring a reputation of being a "stud", managed his career better than Brando. His output was as significant as the great contribution of Brando's films. That should put him very high on the Hollywood talent list.

Send this article to Friends by E-Mail

Section  : Entertainment
Previous : Masters not quite masterly
Next     : Epic interpretations