On the screen According to an article in the Times, Brando auditioned and was accepted immediately for the lead role in "Rebel Without A Cause" in 1947. He turned the role down and the film was not made until 1955 with James Dean as lead. It is not known why Brando rejected the offer but it is suggested that he did not want to sign the 6-year contract that was necessary at the time.

Brando's first screen role was the bitter crippled veteran in The Men in 1950. True to his method, Brando spent a month in bed at a veterans' hospital to prepare for the role.

He made a much larger impression the following year when he brought his performance as Stanley Kowalski to the screen in Kazan's adaptation of "Streetcar" in 1951. He was nominated for an Academy Award for Best Actor for that role, and again in each of the next three years for his roles in Viva Zapata! in 1952, Julius Caesar in 1953 as Marc Antony, and On the Waterfront in 1954.

Brando finally won the Oscar for his role of Terry Malloy in On The Waterfront. Under Kazan's direction, and with a talented ensemble around him, Brando used his Stanislavski System training and improvisational skills. Brando claimed that he had improvised much of his dialogue with Rod Steiger in the famous, much-quoted scene ("I could have been a contender.") with him in the back of a taxicab (Kazan disputed this).

Brando followed that triumph by a variety of roles in the 1950s that defied expectations: as Sky Masterson in Guys and Dolls, where he managed to carry off a singing role; as Sakini, a Japanese interpreter for the U.S. Army in postwar Japan in The Teahouse of the August Moon; as an Air Force officer in Sayonara, and a Nazi officer in The Young Lions. While he won an Oscar nomination for his acting in Sayonara, his acting had lost much of its energy and direction by the end of the 1950s.

Brando's star sank even further in the 1960s as he turned in increasingly uninspired performances in Mutiny on the Bounty and several other forgettable films. Though even at this professional low point, Brando still managed to produce a few exceptional films; such as One-Eyed Jacks (1961), a western that would be the only film Brando would ever direct, Reflections in a Golden Eye (1967) portraying a repressed gay army officer, and Burn! (1969) which Brando would later claim as his personal favourite, although a commercial failure. Nonetheless, his career had gone into almost complete eclipse by the end of the decade thanks to his reputation as a difficult star and his record in overbudget or marginal movies.

The Godfather Marlon Brando as Don Corleone in The Godfather, from Paramount Pictures via the Canadian Press His performance as Vito Corleone in The Godfather in 1972 changed this. Director Francis Ford Coppola convinced Brando to submit to a "make-up" test, in which he (Brando) did his own makeup. Francis Ford Coppola was electrified by Brando's characterization as the head of a crime family, but had to fight the studio in order to cast him. Brando was voted the Academy Award for Best Actor for his intelligent performance; once again, he improvised important details that lent more humanity to what could otherwise have been a clichéd role.

Brando turned down the Academy Award, the second actor to refuse an Oscar (the first being George C. Scott for Patton.) Brando boycotted the award ceremony, sending little-known Native American actress Sacheen Littlefeather (nee Maria Cruz) to state his reasons, which were based on his objections to the depiction of Native Americans by Hollywood and television.

The actor followed with one of his greatest performances in Last Tango in Paris, but it was overshadowed by an uproar over the erotic nature of the Bernardo Bertolucci film. Despite the controversies which attended both the film and the man, the Academy once again nominated Brando for the Best Actor.

Late career Brando as Jor-El in the first Superman movie. His career afterwards was uneven: in addition to his iconic performance as Colonel Kurtz in Apocalypse Now, Brando also played Jor-El, Superman's father, in the first Superman movie—a role he agreed to only on condition that he did not have to read the script beforehand and his lines would be displayed somewhere offscreen. He will reprise this role in the 2006 "loose sequel" Superman Returns, in which archive footage of Brando as Jor-El from the first two Superman films will be used. Other later performances, such as The Island of Dr. Moreau, earned him some of his most uncomplimentary reviews of his career. Despite announcing plans to retire—which he made good on for most of the 1980s—he subsequently gave interesting supporting performances in movies such as A Dry White Season (for which he was again nominated for an Oscar in 1989), The Freshman in 1990 and Don Juan DeMarco in 1995. In his last film, The Score, he starred with fellow method actor Robert Deniro.