Like Richard Castellano and "Part II," Robert Duvall did not appear owing to a salary dispute, so the character of Tom Hagen was killed off.Bush started small. As the director put it, Michael had to "pay for his sins." Paramount balked at the title - "The Death of Michael Corleone" - but the film went into production in New York and Rome in late 1989. Key to the story is Michael's search for redemption - and the suffering that both he and his loved ones undergo. Though a draft screenplay based on Puzo's story was first written in 1979 by Dean Riesner, almost none of that script carries through to the shooting script by Coppola and Puzo, in which the now-aged Michael Corleone seeks to legitimize his empire as the wolves surround him. (After he hit the big time with "Saturday Night Fever," John Travolta was mentioned as a possible cast member.) Money problems led to Coppola finally taking up Paramount's offer to revisit the Corleones. Yet talk of a new "Godfather" was often revived, sometimes with names attached. And as the studio saw more and more dailies, they grew less concerned.Īfter the success of "Part II," Paramount was eager for a third Corleone film, but Coppola backed off, preferring to develop other projects at his San Francisco-based studio, Zoetrope. (Sitting in a men's room stall Coppola even overhead some crew members discuss the possibility of replacing the director.)Ĭredible talk that Elia Kazan (who'd directed Brando in "A Streetcar Named Desire," "Viva Zapata!" and "On the Waterfront") would be brought in were quelled by Brando himself, who told Coppola that he'd walk off the picture in solidarity if the studio fired him.Ĭoppola preemptively fired several staffers, including an editor who was wrangling to take over directing duties.
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And grumbling from members of the production team and studio execs about the quality of the dailies (Too dark! You can't see their eyes!) led Coppola to fear that he would be fired. Brando missed a plane from Los Angeles - and his first day before the cameras. While that was not likely to happen, his twisted ankle (earned while jumping onto a car bumper in a getaway attempt) forced scheduling changes. Initially turned off by the material, Coppola was convinced by family and friends (including George Lucas) to take the job, in order to make the money necessary to keep Coppola's production company, American Zoetrope, afloat.įrom the start of shooting there was anxiety and apprehension among the cast and crew. Scott bio "Patton," had only one big studio feature directing credit (the Fred Astaire musical "Finian's Rainbow," which bombed), but was promoted for the job by the number two executive at Paramount, Peter Bart. Schaffner ("Patton"), and Greek director Costa Gavras (the 1969 Oscar-winner "Z"), turned it down, either for reasons of scheduling or a distaste with the source material.įrancis Coppola (left), a graduate of Roger Corman's low-budget film studio and co-author of the screenplay for the 1970 George C. Several veteran filmmakers, including Arthur Penn ("Bonnie and Clyde"), Sergio Leone ("One Upon a Time in the West"), Peter Yates ("Bullitt"), Otto Preminger ("Laura"), Richard Brooks ("The Professionals"), Franklin J.
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Opening on Mato blockbuster business, the film became a landmark, inspiring two film sequels, imitations, book sequels, a computer game, parodies, and more cultural references than nearly any movie of the last half-century.īy senior editor David Morganįinding a director for "The Godfather" was another challenge. Born from a mass market potboiler about the Mafia by an author desperate to make a few bucks, the resulting film version is one of the great American films about family - brought to life with vivid direction and craftsmanship and some of the best actors ever to appear on screen.
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"The Godfather" is that rare motion picture that satisfies the visceral desire for sensational entertainment, the emotional need for affecting drama, and the intellectual drive for art. It's a uniquely American story that weaves in elements of assimilation, loyalty, sibling rivalry and quest for power, with a heavy dose of bloodletting. A father passes down a legacy of power, corruption and violence to his sons, one of whom rejects those values, only to take control with a ruthless contempt in order to preserve the family business.