MISTER ACT BY GRAHAM DASELER 34THPARALLEL MAGAZINE ISSUE 38
Back in the nineteen-thirties and forties screen acting, at least for the marquee stars, revolved around playing versions of themselves. Cary Grant was always Cary Grant, with slight deviations from film to film. A few standouts—James Cagney, Bette Davis, Walter Huston—might stretch their artistic limbs a bit more than the rest, but even they tended not to wander too far from their default screen selves. Then along came Marlon Brando and the method actors in the nineteen-fifties and showed the world a whole new type of acting, naturalistic and protean. For years, Brando’s name was shorthand for great acting. Nobody was better. Until, suddenly, a whole bunch of actors were.
RED PARROT FISH BY REBECCA DIMYAN 34THPARALLEL MAGAZINE ISSUE 38