Marlon Brando Movie:

				Label: 20th Century Fox Salesrank:
		MPAA Rating: Media: DVD

Viva Zapata! Reviews:
Brando in VivaZapata and Sayonara
2005-02-03 - Orange Park, FL. Fyi...i have both on VHS and have played them over and over and over again.
Both are on my list of 'Top 10 Favorite Movies' since MY birth in '32.
How many out there, who have watched VivaZapata as closely as i have, noticed one minor flaw that did not make it to the cutting room floor or directors retake of the scene?...when Brando is taken captive by the soldiers and taken off walking behind their horses, rope around his neck and hands tied behind his back, then Tony Quinn and partner jump on their horses and take off like mad to inform the farmers about what has happened...a pistol pops out of the right holster and falls to the ground. (one might just assume they came back for it when noticed it gone?...who knows, and it sure did not ruin the movie for me, but i always look for that pistol to fall in that scene, do you?) Oh, as far as Sayonara, Red Buttons and his Korean bride and what they went through to get married will be in my memory forever, having served in The Army during the Korean conflict myself...and viewed this similar situation many times in Germany. Brando and cast rate 5 Stars in this one too, in my opinion. R M Stickrod 2/3/05 dick-jean-(...)

More true than reality
2004-12-01 - Steinbeck, Brando and Kazan, all at their best! Really no more need be said, except for the fact that the supporting actors equal these principles. The most enigmatic and poetic presence in the film is that of Albert Salmi, who is to this movie as Death is to Bergman's "The Seventh Seal". Death is more insulting in Mexico than it is in the U.S., a fact well-understood by John Steinbeck, and personified by the probably fictional Salmi character of the "journalist". All this having been noted, let it be added that the character who haunts the memory in retrospect is Anthony Quinn in his portrayal of Emiliano Zapata's brother, a man out of his depth, and hounded by the Furies. Sex is also more pointed within Mexican culture; more surrounded by dangers and proscriptions. Jean Peters carries this aspect of the story beautifully in three stages: as proud virgin, lush wife, and grieving widow. Without the triangulating beacons of her scenes the movie would be unrelievedly male. This film is a tour de force of all the Arts concerned, excelling "Grapes of Wrath" as a Steinbeck vehicle, and equalling "Streetcar" and "Waterfront" as a Marlon Brando acting vehicle and an Elia Kazan directing vehicle. The entire conjunction of disciplines meshes perfectly as a great black and white film.

One of the great classic soundtracks
2004-09-20 - This music demonstrates why Alex North was known in the tiny soundtrack community as "The Boss" during the 1950s. It's passionate music with a Mexican theme, by one of the very best Hollywood composers, and one who had studied Mexican music with Silvestre Revueltas himself. A score from the period when composers believed in their work. Every North score I've heard was good; many were outstanding. This is one of his best. (I'm listening to it now.) Compare, by the way, Korngold's score of around 1940 for the film Juarez (if you can find it.) Not one of his finest, but worth listening to.

A huge fresco of Mexican Revolution.
2004-04-26 - Actually this was the film that triggered my interest on the Mexican Revolution.
I've seen it many times and always found new details to take into account. As I read more and more on the subject my appreciation of this movie increases.
It presents the viewer with a big fresco of the Revolution that convulsed that country for more than ten years.
I admire the strange capacity of the film to show condensed in each scene, many key issues of why and how the Revolution exploded and continue growing along the years, with an immitigable fire.

Director Elia Kazan has been criticized for his appearance on the Un-American Activities Committee that lead many people related to cinematography to be ostracized.
This been said, regardless of his political stand, he had directed many great Oscar winner films as: "Gentleman's Agreement" (1947), "Streetcar Named Desire" (1951); "East of Eden" (1955); "Splendor on the Grass" (1961) and the present "Viva Zapata!" (1952).
He had directed two "Movie Icons" as Marlon Brando (more than once) and James Dean obtaining the best from them. All his films explored the inner depth of human soul with unflinching stare.

Since the first shot, showing a very accurate characterization of President Porfirio Diaz (Fay Roope) and giving an inkling of the type of ruler he was, an enormous gallery of Mexican historical figure are made known.
Francisco Madero's (Harold Gordon) personality and idealistic naïveté is depicted with very few strokes.
Huerta's (Frank Silvera) wickedness and treachery is shown too.

Above all of them Emiliano Zapata's figure impersonated by an inspired Marlon Brando stands with an epic height. His ideals, stubbornness, charisma and internal sorrows leading him to the final sacrifice, are shown convincingly.

A special mention must be done of Anthony Quinn's superb performance, which entitled him to win the Oscar. He not only has the physique du role, but an internal conviction to give flesh to Eufemio, Zapata's brother, a semi cultured and brave centaur, product of his times and environment.

Josefa (Jean Peters) the fiancée and later wife of Emiliano shows all the traits of a high middle class woman romantically requested by a rural hero. The scene played with Brando in the church's atrium is wonderful.
The only character that gives a discordant note is the fictional Fernando, representing an addict to revolution for revolution in itself.

Joseph MacDonald's black and white photography is very beautiful. Steinbeck's screenplay has a solid internal coherence that shows all along the film.

A Classic Movie not diminished by the more than fifty years passed.
Reviewed by Max Yofre.



Superb acting makes this film great
2004-03-20 - A bit of trivia!
I've seen Viva Zapata a number of times and even discussed the film personally with Elia Kazan in New York City.
Tyrone Power was to portray Zapata (Zanuck fought Kazan on that issue and won) and, thank God, Brando took over the role when Power refused to sign an extension to his contract with Fox. He would have been miscast - most likely.
Then for the part of Josefa, Kazan wanted Julie Harris. Zanuck insisted that he hire Fox contract player Jean Peters. In this case Zanuck was right. Jean had played other latino girls and looked the part. Harris would have had to wear a black wig and hide her numerous freckles (the Irish in her would have been hard to cover up). Brando also liked Jean Peters better than Harris, but for other reasons; he had intentions to romance the actress - although her chaotic encounter with his pet racoon who bit her in the rib-cage during the filming, dowsed all his efforts to bed her. At any rate, Peters was a good choice in the end. Despite Kazan's worries that she wouldn't be believable, she is first rate in this flick and has two great scenes (the one in the church in which she threatens Brando with her hair pin and the one where she teaches him to read on their honeymoon bed) - plus, of course, her final scene in the movie, in which she becomes hysterical and is outstanding.
Anthony Quinn got an Oscar for this one, and well deserved. Kazan, Brando and Peters would have probaly won recognition as well if it weren't for the fact that Kazan was called by HUAC (the MacCarthy witch hunt of the 40's and 50's) and had decided "to name names" to the investigating committee - that made him an unpopular figure in Hollywood and the film was ignored (and Brando became quite cool towards his favorite director after that).
As for the movie - even if it does not follow the life of the Mexican hero to the T, the John Steinbeck script is far superior than others depicting Pancho Villa, Che and other revolutionary heros - and this one is probaly more factual. Kazan's direction is enigmatic and the cinematography and camera angles used by Joe MacDonald are excellent.
This one is a MUST SEE!!!