Marlon Brando was perhaps best known for his legendary acting
career and his notoriously reclusive nature. But few may know he
also moonlighted as an author. Brando surely possessed a unique and
intelligent mind, as evident when watching his interpretation of
complex characters in such films as “On the Waterfront”
or “The Godfather.” Why wouldn’t he carry a
similar talent into writing? For these reasons, Brando’s
foray into fiction, “Fan-Tan,” initially seems so
intriguing, even provocative.
But “Fan-Tan” never begins to reveal glimpses of
that same creativity or even genius. Published posthumously, the
novel is little more than an exploitative marketing ploy designed
to capitalize on Brando’s moniker.
“Fan-Tan” was actually written by Brando and one of
his frequent collaborators, Donald Cammell. And the reader
doesn’t discover until reaching the novel’s afterword
““ which really should have been placed at the beginning to
accurately explain the book’s origins ““ that neither
author ever considered the material to be finished and certainly
never seriously planned on its publication. In fact, a third author
who never met Brando or Cammell, David Thomson, came in to write
the last chapter of the book just so it would have an ending.
Unfortunately, even with three different writers, no one took
responsibility to elevate “Fan-Tan” from a
swashbuckling, indulgent romp to a work of substance and talent.
“Fan-Tan” tells the tale of American seaman Anatole
Doultry, known as Annie. Caught in a smuggling scheme, Annie finds
himself in a British prison in China at the story’s start.
During his time in prison, he befriends a pirate who leads him into
becoming mixed up with the rest of the pirate band upon his
release. After meeting their stunning, fierce leader, Madame Lan
Choi San, Annie agrees to be their partner in a heist.
Although Thomson’s afterword equates the character of
Annie to Brando himself, few similarities are apparent; Annie lacks
any trace of charisma and at no point does the reader doubt he will
succeed. Other flaws are evident in Madame Lan Choi San’s
character. By making the leader of the pirate band a liberated
geisha, the writers assume they have created the ideal vehicle for
including a romantic plot on the side, when really, all they have
done is cement the story’s cliched origins.
The novel itself for the most part is little more than pure camp
and silliness, but nonetheless can be entertaining at moments and
would make a decent B-movie. It is written choppily, jumping from
present to past with frequent parenthetical explanations that make
it read more like a script, complete with flashbacks and stage
directions. Ironically, the afterword reveals that Brando and
Cammell originally intended to make “Fan-Tan” a movie,
and merely thought their idea would be more credible with a
published novel behind it. If anything, the case is quite the
opposite ““ an idea far better suited for the screen was
instead thrown into the form of a novel.
“Fan-Tan” is the name of a popular Chinese gambling
game and attempts to symbolize the risk Annie puts himself in by
working with Madame Lan Choi San’s gang of pirates. But
really, the writing and publishing of “Fan-Tan” itself
was a gamble that would never have paid off. Brando realized this
and ended up purposely abandoning the project. Thomson, too, should
have honored his wishes and let the work rest in peace.
““Natalie Tate