By 1972, “The Godfather” had become the movie of the moment—and that’s before it even hit theaters. Leading up to the film’s nationwide release that March, critics and made men alike clamored to get an early look, motivated in part by the tactful publicity strategy devised by Paramount’s Marilyn Stewart. To promote the film, she ensured that no photographs of Marlon Brando’s highly anticipated "transformation" into Don Vito Corleone leaked to the public. To see the Don, you’d have to buy a ticket. That’s not to say that audiences needed much convincing. In the wake of the movie’s New York City premiere—to which Robert Evans arrived with Ali MacGraw on one arm, and Henry Kissinger on the other—“The Godfather” was an immediate critical success, vindicating the strain Francis Ford Coppola endured to achieve his vision. On Episode Nine, Mark and Nathan reflect on "The Godfather"’s debut, and how its acclaim altered the lives of, among others, Coppola and Evans. In some ways, for the worse.

By 1972,&nbsp;&ldquo;The Godfather&rdquo;&nbsp;had become the movie of the moment&mdash;and that&rsquo;s&nbsp;before&nbsp;it even hit theaters. Leading up to the film&rsquo;s nationwide release that March, critics and&nbsp;made men alike clamored to get an early look, motivated in part by the tactful publicity strategy devised by Paramount&rsquo;s Marilyn Stewart. To promote the film, she ensured that no photographs of Marlon Brando&rsquo;s highly anticipated "transformation" into Don Vito Corleone leaked to the public. To see the Don, you&rsquo;d have to buy a ticket. That&rsquo;s not to say that audiences needed much convincing. In the wake of the movie&rsquo;s New York City premiere&mdash;to which Robert Evans arrived with Ali MacGraw on one arm, and Henry Kissinger on the other&mdash;&ldquo;The Godfather&rdquo;&nbsp;was an immediate critical success, vindicating the strain Francis Ford Coppola endured to achieve his vision. On Episode Nine, Mark and Nathan reflect on "The Godfather"&rsquo;s debut, and how its acclaim altered the lives of, among others, Coppola and Evans. In some ways, for the worse.

What’s left to say about “The Godfather"? Upon the film’s release in 1972, it almost instantly became a byword for the best Hollywood has to offer. It minted a new generation of stars, earned hundreds of millions of dollars, established Francis Ford Coppola as one of the best directors of his generation, and changed the way Americans viewed the mafia—and cinema—forever. 

 

And yet, “The Godfather” almost never got made, with meddling studio executives and vindictive members of the real-life mafia trying to smother the movie at every turn. During production, location permits were revoked, war was waged over casting decisions, author Mario Puzo got into a public brawl with Frank Sinatra, a producer’s car was riddled with bullets, and “connected” men auditioned for—and in some cases landed—parts in the film. 

 

On “Leave the Gun, Take the Cannoli,” Mark Seal, author of the 2021 book by the same title, and Nathan King, a deputy editor of AIR MAIL, present new and archival interviews with Coppola, James Caan, Robert Evans, Talia Shire, Al Ruddy, and many others, stripping back the varnish of movie history to reveal the complicated genesis of a modern masterpiece.

What&rsquo;s left to say about&nbsp;&ldquo;The Godfather"? Upon the film&rsquo;s release in&nbsp;1972, it almost instantly became a byword for the best Hollywood has to offer. It minted a new generation of stars, earned hundreds of millions of dollars, established Francis Ford Coppola as one of the best directors of his generation, and changed the way Americans viewed the mafia&mdash;and cinema&mdash;forever.&nbsp;
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And yet, &ldquo;The Godfather&rdquo; almost never got made, with meddling studio executives and vindictive members of the real-life mafia trying to smother the movie at every turn. During production, location permits were revoked, war was waged over casting decisions, author Mario Puzo got into a public brawl with Frank Sinatra, a producer&rsquo;s car was riddled with bullets, and &ldquo;connected&rdquo; men auditioned for&mdash;and in some cases landed&mdash;parts in the film.&nbsp;
&nbsp;
On &ldquo;Leave the Gun, Take the Cannoli,&rdquo; Mark Seal, author of the 2021 book by the same title, and Nathan King, a deputy editor of AIR MAIL, present new and archival interviews with Coppola, James Caan, Robert Evans, Talia Shire, Al Ruddy, and many others, stripping back the varnish of movie history to reveal the complicated genesis of a modern masterpiece.

Leave the Gun, Take the Cannoli: The Epic Story of the Making of the Godfather

The Mother of all Publicity Campaigns

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/0bd19e2e-f107-4809-95f1-b2c00166f2dc/transcript

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