As a cinephile who has had the pleasure of immersing myself in both the cinematic universes of Sergio Leone and Francis Ford Coppola, I must say that contemplating Leone’s take on “The Godfather” is an intriguing exercise.
Fifty years after its debut, “The Godfather” continues to be timeless cinema, often referred to as the epitome of classic films. When someone complains that modern movies lack substance, this is typically the movie they’re referring to. The American Film Institute ranks it second only to “Citizen Kane,” while numerous other organizations place it at the top. This iconic film, adapted from Mario Puzo’s 1969 novel of the same name, was a massive box office hit, earning $291 million and winning three out of seven nominations at the 45th Academy Awards. It also catapulted Francis Ford Coppola and Al Pacino to stardom, while re-establishing Marlon Brando as an A-list actor following a few years of professional struggles.
It’s intriguing to note that Paramount Pictures encountered difficulties in finding a director for the movie. Various filmmakers, such as Peter Bogdanovich, Arthur Penn, Peter Yates, Richard Brooks, Costa-Gavras, Franklin J. Schaffner, and Otto Preminger, were approached, yet they all considered it an unworthy use of their time. Following the triumph of the Dollars trilogy, Sergio Leone was also presented with the director’s position. At that moment, no one seemed better suited for the job than him, given his Italian background and understanding of what it takes to create a raw film centered around criminals. Remarkably, he declined the offer despite his impressive qualifications.
The Godfather’s Chaotic Production Process
The Godfather is a delicious dish that the chefs found unappealing to prepare. It’s a movie that might have been forgotten in today’s fast-paced world if it were pitched. Interestingly, the studio persistently pressured its production team to carry on their arduous quest, despite numerous obstacles, the constant fear of losing their jobs, and an uncertain future.
As a cinephile, I must confess that initially, I shared similar sentiments with Coppola about the script, finding it rather tacky, vulgar, and sensational. However, financial obligations compelled me to take it up. In his own words, Coppola admitted he accepted the project due to a debt of $400,000 owed by American Zoetrope to Warner Bros., for surpassing the budget of our previous production, ‘THX 1138’.
When he put his signature on the contract, he unexpectedly found himself quarreling with the studio over trivial matters. Paramount believed that the film should solely take its motivation from Puzo’s book, yet relocate the events and characters to contemporary Kansas. However, Coppola held a different opinion. The studio was against Al Pacino being cast. Yet again, Coppola disagreed. Overwhelmed by the actor’s undeniable talent, he played his “If he leaves, so do I” card.
Due to the chaotic nature of the production, some members of Coppola’s team were even considering advocating for his dismissal. However, much like a shrewd crime boss, he took the initiative and stepped down first. In the book Godfather: The Intimate Francis Ford Coppola, he admits to this action.
Much like a godfather wielding influence, I took decisive action by dismissing certain individuals proactively. Those who seemed to be scheming the most for my removal, I let go.
In a broader context, issues would not just involve Coppola. It appears that in reality, the mafia attempted to meddle with the production. The Italian-American Civil Rights League, under the leadership of Joe Colombo, the boss of the Colombo crime family, felt that the movie perpetuated negative stereotypes about Italian-Americans. As a result, they requested the removal of all instances of “mafia” and “Cosa Nostra” from the film.
To underscore the gravity of the situation, producer Albert S. Ruddy’s car was even targeted with gunfire, causing him to converse with Colombo and offer guarantees. Additionally, Marlon Brando nearly missed out on the role due to the suits’ perception that he was difficult to collaborate with. Fortunately, Coppola endorsed him, which ultimately led to the success of the story.
Why Sergio Leone Turned Down The Godfather
As a devoted cinephile, I find myself reflecting on the time when Sergio Leone was presented an opportunity to direct “The Godfather.” At the moment, he was wrapping up his last Western masterpiece titled “A Fistful of Dynamite,” or as it’s also known, “Duck, You Sucker!”. This new venture seemed like a fantastic chance for him to showcase his versatility beyond cowboy stunts. However, he chose to decline the offer, expressing that the script and underlying material romanticized organized crime far too much, which didn’t align with his creative principles.
Instead of adjusting the screenplay to suit his preferences, that’s something a legendary filmmaker might have considered if he didn’t already have another project brewing. When the offer came along, Leone was actually working on another mob movie based on Harry Grey’s The Hoods. This project would eventually evolve into Once Upon a Time in America about a decade later.
It’s debatable that this wasn’t a smart choice, as “Once Upon a Time in America” is good, but it doesn’t hold the same level of reverence as “The Godfather.” Over time, it has been regarded by many as one of Leone’s less impressive films. To be fair, it doesn’t quite reach the brilliance of his earlier works and its release during a rather uninspiring period for gangster movies makes it feel dated and narrows its overall appeal. However, no matter how many times you view the Coppola film, you can’t help but be struck by its inventive ingenuity, the aesthetic appeal of its design, and the poignant story it tells about the ongoing struggle between crime and everyday life.
As a movie connoisseur, I can’t help but draw parallels with Coppola when discussing Leone’s tumultuous relationship with the studio. The studio, in this case Warner Bros, is said to have significantly edited the film from its original 269 minutes down to 139 minutes for its US theatrical release. This drastic cut led to unfavorable reviews and disappointing box office returns. However, the director’s version, which garnered critical acclaim, was later released, but unfortunately, public interest had already dwindled by then.
What Sergio Leone’s Godfather Might Have Looked Like
In a new take, one could say: Sergio Leone’s signature techniques such as intimate shots, sudden appearances by actors, lengthy scenes, shock factors, avarice motif, captivating music, and engaging dialogue would likely have been incorporated into The Godfather, had he directed it. However, Francis Ford Coppola effectively utilized many of these elements himself, suggesting that the movie’s final product might not have varied significantly.
As a fan, I believe that if I were to reimagine my perspective on “The Godfather” film series, some aspects might have been distinctly different. For instance, the score could have been more impactful, boasting a unique charm similar to Ennio Morricone’s masterpieces. Nino Rota, while excellent in his work for Federico Fellini and Nuno Visconti, perhaps wouldn’t have delivered the same emotional depth that Morricone’s music could have brought to the Corleone family’s epic story.
Ultimately, it’s plausible that all the novel’s themes could be effectively translated to the big screen. Alongside these themes, the backstories and dialogues would also likely be included, potentially resulting in a rather lengthy movie.
For Leone, directing The Godfather would have given him an opportunity he hadn’t experienced before: delving into his homeland. Though born and bred in Rome, none of his films took place in Italy. In this mob film, Michael Corleone goes to Sicily after murdering those who attempted to assassinate his father, and it would have been delightful to witness Leone portraying the Italian scenery, customs, and serenity during that time.
Since the movie turned out great, no fan of the gangster genre would regret this missed chance. It’s possible that the mafia film wouldn’t have been as successful if Leone had directed it. While Francis Ford Coppola may have made many mistakes, he certainly did a commendable job. Actors like Al Pacino, James Caan, and John Cazale might not have risen to fame without him, and since Leone passed away in 1989, The Godfather Part III might never have come into existence. Here’s to fate for unfolding as it did!
The Godfather is available to stream on Paramount+
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2024-09-08 23:02