Money Turns To Art

Mario Puzo needed money. He was a man with little money but expensive tastes. He had a large brood of kids, and an adoring wife. He was a small-time magazine writer who had published two critically acclaimed novels. The books, however, sold poorly and he was fighting his debts. The editor of his last novel, ''The Fortunate Pilgrim'', told him that the best part of that book was his small section on the Mafia. Maybe, said the editor, that might be a good subject for his next book? Puzo was intrigued. He was not a member of the Mob, but, he knew a lot of stories. Puzo was also, by his own admission, rather lazy. For three years, he worked on anything but the Mob book. Finally, with his deadline for turning in the manuscript approaching, he finished what he thought was ok, but, not great writing. It would do. All that was missing was a title. It was called ''Mafia''. He had a another title he was kicking around: ''The Godfather''... Paramount Pictures needed money. By the late Sixties, its fortunes had sunk to a new low of debt and in-fighting. The once mighty studio was in danger of being closed down completely. In desperation, a rather dark figure named Charlie Bluhdorn bought the studio. Bluhdorn was a man experienced in the art of grey money. He was, quite frankly, a crook. The money he was fronting was Mafia dough being cleansed for legitimate reasons. Bluhdorn hired a failed actor named Robert Evans to run the studio. One gambler hiring another sharpie. Many criticized the selection, but, Evans was eager to show his stuff. One day, his assistant, Peter Bart, showed him a promising novel outline by a writer named Puzo. It was all Mob-- right up Evans alley. Evans called Puzo in and bought the screen rights to his unpublished book for peanuts. Puzo said he didn't like the ''Mafia'' title. He much preferred the other name. Evans agreed and a deal was struck. Paramount would make the book into a movie later--if it was still in business. The deal, like many in Hollywood, was just another deal. Paramount soon forgot about the book. It had other worries to deal with.... Francis Ford Coppola needed money. He was young, around 30, with a young family, and, enormous ambition. He could not wait to show the world his talent. A wonderful mixture of insecurity and bravado, Coppola was truly a gifted artist. He graduated from UCLA as the most promising student of their film department. He had cracked open the door for his generation of talented filmmakers eager to take over the film industry.  He was a screenwriter-- the film ''Patton'' was one of his early scripts. Coppola's plan, as he told everyone, was to become a part of the establishment and get real Hollywood power. Then, he would revolutionize the business. Francis Coppola was always a dreamer. That was why people loved him. That dream led him to direct his first three movies, ''You're A Big Boy Now'', ''Finians Rainbow'', and ''The Rain People''. The first and the third were his own creations, but, ''Finians Rainbow'' was a studio production. He hated the experience of that movie. He much preferred to do his own movies than to work for a studio. Sadly, for Coppola, all three films died a quick death at the box office. Coppola was also trying to start his own small film studio in San Francisco with his best friend, George Lucas. They did, but, it was a dream filled with broken dreams and financial turmoil. Soon, Coppola was in debt to close to a million dollars, which he didn't have. He was still a hot screenwriter, so, Hollywood kept calling him. He hoped one project would come along to save his dream.... Marlon Brando needed money. By the early 1970's, he was viewed by many in Hollywood as damaged goods. He had broken into the national consciousness in the early 1950's with a string of extraordinary performances that changed the form of acting. ''A Streetcar Named Desire'', ''Viva Zapada,'' ''The Wild One,'' and ''On The Waterfront''-- all of these films are rightly called classics. Brando had brought an intensity to acting that had never been seen before, and, from then on, would never be the same again. He influenced everyone who followed-- from James Dean to Jack Nicholson to Robert DeNiro. He was an uncontrollable force onscreen. Also, offscreen. Notorious to work with. He was, by turns, moody and charming, dedicated and uncaring, generous to work with and a pain in the ass. But, he shined brightly in the 50's and his behavior was tolerated as long as he provided the green for the studios. His luck ran out in the 60's. His reputation caught up with him and the public turned against him, refusing to go to his movies anymore. By the end of the decade, he was heavily in debt and caught in a trap of making bad movies. He needed a role to bring him back to the forefront of acting.... In March of 1969, the small book, ''The Godfather'', was released. It sold well initially. Mario Puzo, although still thinking he could have written it better, was happy. His debts would be settled and he could provide a good life for his family... Paramount had almost forgotten about owning the rights to this book. The studio was mired in other affairs and projects at the time. Suddenly, someone remembered that they had a potential money-maker. So, Robert Evans began putting together the screen version of this book. He hired an average producer named Albert Ruddy, and offered the directing job to all the top directors he knew.... Francis Coppola never got that call. He was still unproven as a director, so, he was very low on Evans list of choices. Coppola read the book--or, tried to. He got a hundred pages into it and put it down. The early parts with the family showed promise, but, the book suddenly got cheap and sleazy when the story shifted to the Hollywood scenes. Coppola wasn't interested in doing a project like that... Marlon Brando's secretary received a letter from some author named Puzo. The letter said that he had just written this new book called ''The Godfather'', and he was requesting that Brando read the novel. Apparently, Puzo had Brando in mind to play the Godfather. The secretary passed along the message. Brando was polite. He was not interested. He said he did not think he could play a Mafia Don.... To the amazement of everyone involved, the book took off. It became a sensation--everyone seemed to be reading it. Mario Puzo made a deal with Paramount to adapt the book into a screenplay. He was given instructions by the studio that did not sit right with him. They wanted him to update the story to the current era of the 1970's. That way, Paramount could cast its hot stars, whether they were appropriate or not... Paramount instantly owned the Hope Diamond of books, but, the studio felt like someone holding a big check that no one wanted to cash. No director of note would work on the movie-- afraid of its subject matter. Desperate for someone to direct, Robert Evans contacted the struggling screenwriter named Coppola to do it. He wasn't sure Coopola could, but, at least Francis was Italian... Francis Coppola was still not interested. He wanted to concentrate on his own projects, not a studio project. So, he turned down Paramount's initial offers a couple of times. Finally, he was strongly advised by his friend George Lucas to direct. ''Francis'', said Lucas, ''We are broke. You have to take this . It will save the company''. Coppola finally relented and said yes... Marlon Brando still had not read the novel, although he was being pressured to do so by many people around him. Finally, he started to read it. He could not put it down. He was fascinated by the story and its indictment of the capitalist world of business. He loved the character of Don Vito Corleone. He sent word to everyone that he desperately wanted to play the part if the studio would allow it. He realized he would also need a strong director to fight for him in the role... Paramount hated Coppola's ideas immediately. He told them that he wanted to keep the ''Godfather'' story in the 1940's setting, like in the book. When he and Mario Puzo met, the two agreed that this was the correct approach. They hit it off immediately-- two fun-loving Italians who were dreamers. They had similar ideas on how to do the movie. Number one was that Marlon Brando should play the Godfather. Paramount was not buying the idea. Brando, to them, was ''Box Office Poison''. Coppola fought Evans tooth and nail for Brando. These fights between these two became legendary in Hollywood lore. In a memorable showdown with the Board Of Directors of Paramount, Coppola pleaded his case for hiring Brando. At the apex of his speech, Coppola collapsed on the floor. Several people in the room still insist that Coppola had some type of epileptic seizure, but, Coppola denies this. Finally, it was decided that there would conditions to hiring Brando.... 1. He would be paid a small salary. 2. Brando must put up a bond to the studio if any of his bad behavior causes problems during filming. 3. Brando must audition.... Coppola quickly agreed. He later stated he was in a pickle on how to ask the World's Greatest Actor to audition. Coppola called Brando and, to his surprise, found that Brando was unsure if he could pull off the role. Coppola saw his opening to kill two birds with one stone. He suggested to Brando that he, Coppola, would bring a small film crew to Brando's house and they could perform makeup tests and improvise to see if Brando could do it. Brando agreed... Coppola set up props in the living room. The film crew was ready when Brando came out of his bedroom. Immediately, he was in character. Mumbling and talking. He stuffed Kleenex in his mouth to fatten up his face [ Brando was not yet fat then]. He put shoe polish in his hair. In a matter of minutes, this washed-up 47 year old actor was transformed into a 65 year old Italian Mafia chief. Both Coppola and Brando knew Brando had hit a home run.... To their credit, Paramount approved Brando after seeing the screen test. The other conditions were dropped and Marlon Brando had the role.... Now, for the role of Michael Corleone, Paramount wanted stars like Robert Redford and Ryan O'Neal for the part. Francis Coppola wanted a little known actor named Al Pacino. Paramount gave Coppola the same strong ''No'' it gave to his idea of casting Brando. Francis Coppola knew that another round of fighting awaited him when he went forward with his idea of Pacino.... Al Pacino wanted the role..... He needed money.....