Marlon Brando, known as one of the greatest actors of all time, was infamous not just for his talent but also for his difficult demeanor on set. His penchant for making outlandish demands in his contracts became legendary, and his habit of using cue cards instead of memorizing lines often frustrated fellow filmmakers and cast members alike. By the latter years of his career, many studio executives chose to steer clear of Brando due to his increasingly complicated nature. Adding to his list of grievances, Brando engaged in a notable feud with none other than Burt Reynolds, a superstar of the ‘70s. This rivalry stemmed in part from a lack of respect perceived by Brando, leading him to take extreme measures to prevent Reynolds from being cast in significant roles, particularly in The Godfather. But what exactly ignited such animosity between these two Hollywood heavyweights?
To fully grasp the dynamics of this ill-fated rivalry, it’s essential to understand Reynolds’ stature in the industry during the 1970s. At that time, Reynolds was already a massive draw, starring in films that resonated with audiences. Remarkably, he turned down several pivotal roles that could have propelled him even further, including a chance to play James Bond and the iconic part of Michael Corleone in The Godfather. However, it seems that taking a pass on the latter was not entirely his choice. The conflict arose during the early development of The Godfather, when director Francis Ford Coppola was keen to cast Reynolds as the young Michael Corleone, the character Brando would portray as the adult Vito Corleone. However, Brando was vehemently opposed to this casting decision. Reports suggest that he threatened to walk away from the project if Reynolds was brought onboard, resulting in Coppola having to look elsewhere and ultimately choosing Al Pacino for the role. Now, it’s hard to picture anyone other than Al Pacino giving life to Michael Corleone, but Brando’s strong rejection of Reynolds remains intriguing. Diving deeper into their pasts reveals a potential source of Brando’s disdain. In the late ’50s, Reynolds began making a name for himself primarily through television, where his charming looks drew comparisons to a younger Marlon Brando. During his peak, Brando was often hailed as a sex symbol of the screen. However, as time progressed, his appeal waned, making it tough for him to witness Reynolds’ rise, particularly after a May 1963 episode of The Twilight Zone where Reynolds parodied Brando’s distinctive voice and mannerisms. This perceived slight reportedly left Brando with a lasting grudge against Reynolds. Reynolds didn’t exactly enjoy being compared to Brando either. It’s rumored that he grew out his signature mustache in the ‘70s to set himself apart from Brando’s legacy. Interestingly, despite losing out on the Michael Corleone role, Reynolds hardly let it get to him—he found greater success that same year with the thriller Deliverance. The rivalry didn’t end with The Godfather. Fast forward a few years, and Coppola found himself considering Reynolds again, this time for the film Apocalypse Now. However, Brando was already attached to the project, and once again he expressed outright disdain at the prospect of Reynolds joining the cast. An audio recording captured Brando saying Reynolds made him want “to throw up,” while he claimed Reynolds epitomized narcissism. Ironically, the comments about Reynolds came from an actor who showed up to the set of Apocalypse Now weighing around 300 pounds, unprepared and unwilling to collaborate with Dennis Hopper, one of his co-stars. Yet, Brando’s criticism of Reynolds did not stop there; he accused him of being fake in his persona and behaviors, particularly regarding how he presented himself on television. After these public spat, Reynolds rebounded quite well. He starred in the wildly successful comedy Smokey and the Bandit, released alongside Star Wars, establishing himself as a comedic force rather than just a dramatic leading man. As the years went by, the two actors continued on their separate paths, rarely crossing each other’s at professional gatherings. Years later, Reynolds took the opportunity to poke fun at Brando during an episode of Saturday Night Live in April 1980. In a savvy sketch, he portrayed Brando as a reclusive figure, munching on food in bed, all while being interrogated by Gilda Radner’s Baba Wawa. This served as a light-hearted, comedic retaliation that demonstrated Reynolds didn’t harbor any ill will. In a later interview, Reynolds expressed that he was flattered by Brando’s reaction, suggesting perhaps that the feud had some level of mutual respect under the surface. With Reynolds passing away nearly two decades after Brando, his composure in the face of the feud adds a compelling layer to this storied rivalry, ensuring it remains part of Hollywood folklore for the ages.
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