Barry Malkin
Born	(1938-10-26)October 26, 1938 New York City, U.S.
Died	April 4, 2019(2019-04-04) (aged 80) New York City, U.S.
Occupation	Editor
Years active	1964–2004
Spouse	Stephanie Byer Malkin

Barry M. Malkin (October 26, 1938 – April 4, 2019) was an American film editor with about 30 film credits. He is noted for hisextended collaboration with directorFrancis Ford Coppola, having edited most of Coppola's films from 1969 to 1997. In particular, Malkin worked with Coppola on four of the component and compilation films of theGodfather trilogy, though he did not edit the first film,The Godfather. Film critic Roger Ebert called the first twoGodfather films a "cultural bedrock".^{[1][2][3][4][5][6]}

Malkin worked as an apprentice to editorDede Allen on the filmAmerica America (directed byElia Kazan-1962), and became acquainted with editorAram Avakian, who was an occasional visitor.^[4] Malkin became Avakian's assistant editor onLilith (directed byRobert Rossen-1964). Malkin got his first credits as a full editor onThe Patty Duke Show (TV) and on the "Z movie"The Fat Spy (1966). Francis Ford Coppola heard of Malkin from Avakian, who had edited Coppola's filmYou're a Big Boy Now (1966); it turned out that Malkin and Coppola had been acquainted as teenagers growing up in the sameQueens neighborhood. Coppola engaged Malkin to edit his fourth film as director,The Rain People (1969).^[7][8] He worked as an associate editor on two additional films edited byRobert Q. Lovett:End of the Road (directed byAram Avakian-1970), andCotton Comes to Harlem (directed byOssie Davis-1970). Malkin was the editor for the 1973 film directed by Avakian,Cops and Robbers.

The Godfather was extremely successful artistically and at the box office; among other distinctions, it won theAcademy Award for Best Picture for 1972. Production of a sequel,The Godfather Part II, started in 1973.William Reynolds andPeter Zinner had editedThe Godfather, and been nominated for theAcademy Award for Best Film Editing for their work. For the sequel, Malkin andRichard Marks joined Zinner as co-editors.Godfather Part II, which was released in 1974 and enjoyed success comparable toThe Godfather, is noted for its intercutting between two storylines, one from Sicily in the early 20th century, and a second contemporary story that follows the first film's action. Long afterwards, the film was listed as the 22nd best-edited film of all time in a 2012 survey of members of theMotion Picture Editors Guild.^[9]

Coppola subsequently asked Malkin to editThe Godfather Saga (1977), a television miniseries, that was based on the two films. The miniseries incorporated scenes that could not be included in the original versions, and replaced the complex intercutting between time periods of the original films with a more straightforward chronological ordering.^[10]

Malkin was an additional editor forApocalypse Now (1979), and a supervising editor for the Coppola-produced filmHammett (directed byWim Wenders, 1982). In this period, Malkin also editedFour Friends (1981), which was directed byArthur Penn.Dede Allen had edited Penn's films sinceBonnie and Clyde (1967), but was unavailable for this film.^[11]Stephen Prince has written of the contrast between them: "the difference an editor makes on a director's films is evident by comparing his more linear approach to Dede Allen's fractured and off-center cutting".^[12]

During the 1980s Malkin edited six of Coppola's films, fromRumble Fish (1983) throughThe Godfather Part III (1990). He was joined by his former mentor Robert Q. Lovett forThe Cotton Club (1984), which garnered the two editors a nomination for theAcademy Award.^[13] Malkin also edited the filmBig (1988) that was directed byPenny Marshall. By the end of the decade Coppola had agreed to makeThe Godfather Part III (1990), and brought in Malkin,Lisa Fruchtman, andWalter Murch to edit. Malkin and Murch then edited a compilation entitledThe Godfather Trilogy: 1901–1980 that was released to video in 1992. The compilation included footage from the theatrically released versions of all three films as well as additional footage.^[14] A 1993 review inTime reads, "This trilogy has a novelistic density, a rueful, unhurried lyricism and a depth that, singly, the films could not achieve. Altogether glorious."^[15]

In the 1990s, in addition to his work with Coppola onJack (1996) andThe Rainmaker (1997), Malkin edited four films with directorAndrew Bergman. Their first film together,The Freshman (1992), is to some extent a comic "sendup" of the original 1972Godfather film, including a part played byMarlon Brando. Malkin's last credit was forThe Big Bounce (2004), which was directed byGeorge Armitage.

Malkin, Marks, and Zinner were nominated for theBAFTA Award for Best Editing forThe Godfather: Part II (1974). The film was listed as the 22nd best-edited film of all time in a 2012 survey of members of theMotion Picture Editors Guild.^[9] He and Robert Q. Lovett were nominated for theAcademy Award for Best Film Editing forThe Cotton Club (directed by Francis Ford Coppola-1984). Malkin, Murch, and Fruchtman were nominated for the Academy Award for editingThe Godfather Part III (1990). Malkin was selected for membership in theAmerican Cinema Editors.^[16]

Filmography based on Oldham's book^[4] and the Internet Movie Database.^[5]

Direct-to-video films

TV movies

TV series

• Barry Malkin atIMDb

• American film editors
• American Cinema Editors
• 1938 births
• 2019 deaths
• 20th-century American Jews
• 21st-century American Jews

• Articles with short description
• Short description is different from Wikidata
• Articles with hCards
• Place of birth missing