Marlon Brando’s legacy looms large over the cinematic world, particularly marked by his iconic role as Vito Corleone in Francis Ford Coppola’s timeless masterpiece, The Godfather. Released on March 24, 1972, the film portrays the complex dynamics of power within the Italian crime family, with Brando’s performance as the stoic patriarch regarded as one of the finest acting displays in cinematic history.
Brando’s portrayal of Don Vito Corleone not only earned him numerous accolades, including the Academy Award for Best Actor, but it also reshaped leading man roles and the expectations surrounding actors. The situation wasn’t straightforward, though; early on, when Brando was presented as the leading choice for Corleone, studio executives expressed skepticism over his box-office viability, having feared he was “box office poison.” This perception mostly stemmed from his volatile behavior and previously diminished commercial appeal.
Charles George Bludhorn, the CEO of Gulf and Western, which owned Paramount Pictures, voiced strong opposition against casting Brando, allegedly insisting on Charles Bronson instead. Despite Bronson's standing as one of the major stars of the time, many debate whether he could have brought the same depth and presence to the role.
Several other actors were also considered for the character. Richard Conte emerged as another possibility due to his Italian heritage, even though he did not garner the role of Corleone but instead played the cunning mob boss, Don Barzini.
The concept of Elvis Presley—known more for his music than acting—taking on the role is particularly intriguing. Presley was reportedly enthusiastic about auditioning, having admired Mario Puzo’s original novel. His desire to be considered for the film is evidenced by his outreach to producers, though he was later offered the role of Tom Hagen, which went to Robert Duvall.
Then there was the legendary Frank Sinatra, whose name was thrown around during discussions of casting. According to Francis Ford Coppola, Sinatra humorously suggested he and Coppola buy the rights to make the film independently—Sinatra as Corleone—a pitch received with amusement by Coppola. Sinatra's disdain for Puzo's work and its potential similarities to his own life became apparent during filming, culminating in a very public altercation.
Interestingly, Raf Vallone was also on the shortlist, being the only Italian actor under consideration for the role. Although Vallone had substantial acting experience back home and later appeared as Pope John Paul I in The Godfather Part III, he was sidelined mostly on account of being less recognized within Hollywood.
The insights extend to individuals like Ernest Borgnine and George C. Scott as others who triggered conversations about Corleone’s character. Borgnine, known for his award-winning talent, was deemed more age-appropriate for the senior mob boss but lost out to Brando. Scott's commanding screen presence was acknowledged, yet his aggressive demeanor seemed too misaligned with Brando's portrayal.
Another significant figure considered was Anthony Quinn. A two-time Academy Award winner, Quinn continued to engage with Italian characters, even though he himself was of Mexican heritage. There would have been merit to Quinn playing Corleone, yet it was Brando who would earn both accolades and cinema’s eternal respect.
Orson Welles, famous for Citizen Kane, also attempted to stake his claim on the role, taking steps to convince Puzo himself of his fit for the part. His attempts represent the deep lure of the character, which could only be realized through the craft Brando presented.
Lastly, Laurence Olivier, one of the finest actors of any generation, was considered after Brando, with Coppola genuinely contemplating what Olivier could bring. Olivier even began working on the Italian-American accent, ready for potential casting, highlighting the film's star-studded competition.
Despite the conversations surrounding these alternative choices, Brando’s embodiment of Vito Corleone became etched as the definitive portrayal, often noted for its nuanced tenderness beneath the hard exterior. The ways he articulated Corleone’s complex emotional layers resulted not just in acclaim but rewrote what acting could achieve within cinema, drawing accolades and admiration for its authenticity.
The cultural and cinematic footprint Brando left, illustrated through roles ranging from On the Waterfront to Apocalypse Now, emphasizes his range and impact on Hollywood, as well as mentorship for generations to come. His legacy sits interwoven with the fabric of film history, exemplified through dialogues and now-mythical stories of casting trials.
Brando showed not only the transformative ability of film performances but also the intricacies of storytelling through character, pushing forward the narrative of what such iconic actors could convey. This has enhanced Hollywood's fabric over decades, ensuring his unparalleled presence is felt throughout the arts even today.
Brando’s enigmatic charm and complex characters became synonymous with artistic revolution, laying the groundwork for actors to bring emotional depth to their roles, thereby reshaping the craft of acting.