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  3. Marion Brando is the overwhehningly outstanding creative artist among contemporary American film actors. Kirk Douglas can someti

Marion Brando is the overwhehningly outstanding creative artist among contemporary American film actors. Kirk Douglas can someti

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问题      Marion Brando is the overwhehningly outstanding creative artist among contemporary American film actors. Kirk Douglas can sometimes match Brando in force, but he lacks Brando’s subtlety and pathos’; Burt Lancaster has comparable ambition but small talent. Brando begins with a good actor’s instrument -- his body. Not a huge man, he is both solid and lithe. We are, perhaps, too much aware of the basic physical effect of his chest partially covered by a torn undershirt. But, more to the point, Marlon Brando seems to carry in him a silently humming dynamo of energy, bridled and instantly ready. Whenever he moves, something seems to impend. Indisputably, there is in acting an element that is often called star quality; in Brando, it is this constant hint of possible lightning.
     Actors, even more than most artists, are restricted by their personalities, but Brando strives to expand as far as possible, to use himself in playing other people rather than to bring those people to himself.  In The Young Lions, for instance, we can see at once that he has caught perfectly the stiff cordiality, the slightly declamatory speech, the somewhat angular movements, the charm and the consciousness of charm that create another man -- Diestl -- for us. Yet, Brando shows us that paradox which is part of the fascination of acting because he is also always and unmistakably Brando, not some flavorless hack with a wig and a putty nose and a laboriously disguised voice.
     Brando has evolved a personal style which relies largely on understatement and the liberal use of pauses. Often the effect is heartbreaking; remember the poignancy he evoked from the vapid monosyllabic "Wow" in On the Waterfront, when he realized that his brother was threatening his life. Occasionally, his style lapses out of meaning and into mannerism; some of Sayonara could have used compression.
     But in essence, Brando reflects in his style -- as actors often do -- the prevalent artistic vein of his day.  Kemble exemplified the classic, elegant 18th century; Kean, the wild, torrential romantics of the early 19th century; Irving, the elaborate majesty of the late Victorians. I compare Brando to these luminaries only to draw a parallel. He is a taciturn realist: an epitome not of that joyous, realistic revolution which swept away the humbug that had obscured the contours of the world, but of that generation, born into realism, which has seen its world with harsh clarity, and whose work is to reconcile itself to that world’s revealed boundaries and to find its triumphs inwardly.
Brando’s success is evidenced by his ability to ______.
选项 A、modulate his voice as well as change his appearance for any role he may play
B、retain his own personality while playing other people
C、become the character he portrays
D、utilize make-up effectively
答案B
解析 第二段写道：演员都受自身性格的束缚，但Brando总是在扮演角色时充分利用自己的性格特征，而不是让角色来适应他的性格特征。本段还列举了他塑造Diestl的例子。
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