Marlon Brando changed American acting and became enduringly famous astonishingly fast. Just four years encompass nearly all his career-defining roles: Stanley Kowalski in the film adaptation of A Streetcar Named Desire (1951); the Mexican peasant revolutionary in Viva Zapata! (1952); the alienated but noble-souled biker gang leader in The Wild One (1953); and, of course, his Oscar-winning Terry Malloy, who “coulda been a contender” in On the Waterfront (1954).

Except for his Don Corleone in The Godfather nearly two decades later, almost all of Brando’s remaining acting career was a bewildering series of false starts, dead ends, and near misses. No other great American actor has appeared in so few films or so many outright bad ones.

And yet, in the nearly 40 years after his great, popular works, Brando turned in a dazzling and strange collection of performances in movies that have been either forgotten or ignored. A Marlon Brando obscure-film festival might include the following (all but one of them hard to find but available on VHS):

Burn! (1970)

A neglected masterpiece from the Italian doctrinaire communist Gilo Pontecorvo, whose 1965 The Battle of Algiers is a landmark in world cinema. Burn! is almost pure Marxist propaganda, but it’s hip and exhilarating filmmaking that gave Brando one of his greatest roles, that of a British secret agent who is sent to a Caribbean island to foment a revolt that he will then be in the best position to crush.

Burn! was buried practically upon release. The Spanish government resented the Spaniards in the film being cast as villains—the fictitious island had been colonized by Spain—and lobbied with United Artists to change the story; parts of the film were reshot and cut to turn the island into a Portuguese colony. (Why the British didn’t object to Brando’s character isn’t known.) The movie was dumped on an international market without publicity and quickly sank.

The Nightcomers (1972)

This odd and uneven combination of horror and art film from the English director Michael Winner has been seen by so few people that to this day the impression lingers that it was a version of Henry James’s The Turn of the Screw . Actually, it was supposed to precede the events in James’s novella and explain how Quint and Miss Jessel perverted the souls of the children in the story. The Nightcomers is, at times, legitimately terrifying, but it’s an ugly, murky, and unpleasant film. The one thing that’s undeniably right about it is Brando’s performance as Quint, which hints at depths of depravity that go deeper than even Henry James was willing to suggest.

Reflections in a Golden Eye (1967)

This is one of the strangest collaborations in modern American cinema not to have been a success, a movie made from a book by a great American novelist, Carson McCullers, directed