On television, Brando won the Primetime Emmy Award for Outstanding Supporting Actor in a Limited Series or Movie for his role in the ABC miniseries Roots: The Next Generations (1979), after which he took a nine-year hiatus from acting.

He was also offered the opportunity to portray one of the principal characters in the Broadway premiere of Eugene O'Neill's The Iceman Cometh, but turned the part down after falling asleep while trying to read the massive script and pronouncing the play "ineptly written and poorly constructed".

"[30][page needed] In 1947, Brando performed a screen test for an early Warner Brothers script for the novel Rebel Without a Cause (1944), which bore no relation to the film eventually produced in 1955.

The New York Times reviewer Bosley Crowther wrote that Brando as Ken "is so vividly real, dynamic and sensitive that his illusion is complete" and noted, "Out of stiff and frozen silences he can lash into a passionate rage with the tearful and flailing frenzy of a taut cable suddenly cut.

In the biopic Marlon Brando: The Wild One, Sam Shaw says: "Secretly, before the picture started, he went to Mexico to the very town where Zapata lived and was born in and it was there that he studied the speech patterns of people, their behavior, movement.

Directed by Joseph L. Mankiewicz and co-starring British stage actor John Gielgud, Brando delivered an impressive performance, especially during Antony's noted "Friends, Romans, countrymen ..." speech.

In his biography on the actor, Stefan Kanfer writes, "Marlon's autobiography devotes one line to his work on that film: Among all those British professionals, 'for me to walk onto a movie set and play Mark Anthony was asinine'—yet another example of his persistent self-denigration, and wholly incorrect.

"[41] During the filming of Julius Caesar, Brando learned that Elia Kazan had cooperated with congressional investigators, naming a whole string of "subversives" to the House Committee on Un-American Activities (HUAC).

[citation needed] To Brando's expressed puzzlement, the movie inspired teen rebellion and made him a role model to the nascent rock-and-roll generation and future stars such as James Dean and Elvis Presley.

According to biographer Stefan Kanfer, the director believed that Sinatra, who grew up in Hoboken (where the film takes place and was shot), would work as Malloy, but eventually producer Sam Spiegel wooed Brando to the part, signing him for $100,000.

Pauline Kael was not particularly impressed by the movie, but noted "Marlon Brando starved himself to play the pixie interpreter Sakini, and he looks as if he's enjoying the stunt—talking with a mad accent, grinning boyishly, bending forward, and doing tricky movements with his legs.

By all accounts, Brando was devastated by her death, with biographer Peter Manso telling A&E's Biography, "She was the one who could give him approval like no one else could and, after his mother died, it seems that Marlon stops caring."

In an earlier review of The Appaloosa in 1966, Kael wrote that the actor was "trapped in another dog of a movie ... Not for the first time, Mr. Brando gives us a heavy-lidded, adenoidally openmouthed caricature of the inarticulate, stalwart loner."

Brando's performance as Vito Corleone, the "Don", in The Godfather (1972), Francis Ford Coppola's adaptation of Mario Puzo's 1969 bestselling novel of the same name, was a career turning point, putting him back in the Top Ten and winning him his second Best Actor Oscar.

[62] The studio originally intended the film to be a low-budget production set in contemporary times without any major actors, but the phenomenal success of the novel gave Evans the clout to turn The Godfather into a prestige picture.

"[67] Jaffe eventually set three conditions for the casting of Brando: That he would have to take a fee far below what he typically received; he would have to agree to accept financial responsibility for any production delays his behavior cost; and he had to submit to a screen test.

"[70] When word of this executive interference reached Brando, he threatened to walk off the picture, writing in his memoir: "I strongly believe that directors are entitled to independence and freedom to realize their vision.

[74] After refusing to touch the statue at the podium, she announced to the crowd that Brando was rejecting the award in protest of "the treatment of American Indians today by the film industry ... and on television and movie reruns and also with recent happenings at Wounded Knee."

The film features several intense, graphic scenes involving Brando, including Paul anally raping Jeanne using butter as a lubricant, which it was alleged was not consensual.

As biographer Stefan Kanfer describes, Penn had difficulty controlling Brando, who seemed intent on going over the top with his border-ruffian-turned-contract-killer Robert E. Lee Clayton: "Marlon made him a cross-dressing psychopath.

Over the next hour, also for no apparent reason, Clayton assumes the intonation of a British upper-class twit and an elderly frontier woman, complete with a granny dress and matching bonnet.

[126][127] In Songs My Mother Taught Me, Brando wrote that he met Marilyn Monroe at a party where she played piano, unnoticed by anybody else there, that they had an affair and maintained an intermittent relationship for many years, and that he received a telephone call from her several days before she died.

In A&E's Biography episode on Brando, actor and co-star Martin Sheen states: "I'll never forget the night that Reverend King was shot and I turned on the news and Marlon was walking through Harlem with Mayor Lindsay.

[174] By this time, Brando was already involved in films that carried messages about human rights: Sayonara, which addressed interracial romance, and The Ugly American, depicting the conduct of U.S. officials abroad and the deleterious effect on the citizens of foreign countries.

[176] Brando ended his financial support for the group over his perception of its increasing radicalization, specifically a passage in a Panther pamphlet put out by Eldridge Cleaver advocating indiscriminate violence, "for the Revolution.

It also notes the apparent paradox of his talent: "He is regarded as the most influential actor of his generation, yet his open disdain for the acting profession ... often manifested itself in the form of questionable choices and uninspired performances.

"[193] Sociologist Suzanne McDonald-Walker states: "Marlon Brando, sporting leather jacket, jeans, and moody glare, became a cultural icon summing up 'the road' in all its maverick glory.

"[194] His portrayal of the gang leader Johnny Strabler in The Wild One has become an enduring image, used both as a symbol of rebelliousness and a fashion accessory that includes a Perfecto style motorcycle jacket, a tilted cap, jeans and sunglasses.

Bob Dylan's 2020 song "My Own Version of You" references one of his most famous performances in the line: "I'll take the Scarface Pacino and the Godfather Brando / Mix 'em up in a tank and get a robot commando.

[207][208] In his autobiography Songs My Mother Taught Me, Brando observed: I've always thought that one benefit of acting is that it gives actors a chance to express feelings that they are normally unable to vent in real life.