The Annotated Godfather: The Complete Screenplay with Commentary on Every Scene, Interviews, and Little-Known Facts
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TWO MORE BODYGUARDS appear around him. He flashes at the men surrounding him; for a moment he panics, and then he accepts it.
TESSIO
(after a pause)
Tell Mike it was only business. I always liked ‘im.
HAGEN
He understands that.
CICCI
(frisks TESSIO)
Excuse me, Sal.
TESSIO looks at the MEN, and then pauses.
TESSIO
Tom, can you get me off the hook? For old time’s sake?
HAGEN
Can’t do it, Sally.
HAGEN motions for the MEN to take him away, and then turns and walks away from the group. TESSIO is led off. HAGEN enters the house. He looks back through the window. TESSIO is led into a waiting car. HAGEN looks away and walks off.
ADAPTATION AND THE CUTTING ROOM FLOOR
In Puzo’s novel, it is Hagen who asks Michael if he could let Tessio “off the hook.” In his own first draft of the script, Puzo changed it to Tessio making the request—which is how it occurs in the film.
CAST AND CREW: ABE VIGODA
After several years in the theater and a few television roles, namely on the Dark Shadows series, Abe Vigoda got the part of Tessio by answering an open casting call and beating out hundreds of other actors. The Godfather was his first film. It has been reported that visitors on the set would often assume that the tall, gruff-sounding Vigoda was an actual Mafioso, not a member of the cast.
INT DAY: CARLO’S LIVING ROOM
MICHAEL, still dressed in a dark suit, enters the house. LAMPONE, NERI, and HAGEN follow. CARLO, sweating, turns to face them. He puts down the phone middial.
MICHAEL
You have to answer for Santino, Carlo.
CARLO pauses, then rises to meet them.
“Standing in the doorway was Michael Corleone, his face the face of that death Carlo Rizzi saw often in his dreams.”
—Mario Puzo’s, The Godfather
CARLO
Mike, you got it all wrong.
MICHAEL
You fingered Sonny for the Barzini people. Ahhh, that little farce you played with my sister. Did you think that could fool a Corleone?
CARLO
Mike, I’m innocent. I swear on the kids … Please, Mike, don’t do this to me.
MICHAEL
(overlaps)
Sit down.
CARLO sits. MICHAEL pulls up a chair beside him.
CARLO
Mike, don’t do this to me, please.
MICHAEL
Barzini’s dead. So is Philip Tattaglia. Moe Greene, Stracchi, Cuneo.
CARLO puts his face in his hands.
MICHAEL
Today, I settle all Family business, so don’t tell me you’re innocent, Carlo. Admit what you did.
CARLO is shaken.
MICHAEL
Get ‘im a drink. Come on. Don’t be afraid, Carlo. Come on, do you think I’d make my sister a widow? I’m Godfather to your son, Carlo.
A drink is brought and CARLO gulps it, weeping silently.
MICHAEL
Go ahead, drink it. Drink. No, Carlo, you’re outta the Family business, that’s your punishment. You’re finished. I’m putting you on a plane to Vegas. Tom?
MICHAEL hands a plane ticket to CARLO.
MICHAEL
I want you to stay there. Understand?
CARLO
Mm-hmm.
MICHAEL
Only, don’t tell me you’re innocent. Because it insults my intelligence and makes me very angry.
(long pause)
Now, who approached you? Tattaglia or Barzini?
CARLO
(sees his way out)
It was Barzini.
MICHAEL stares at him for a long moment.
MICHAEL
(softly)
Good.
(rises and puts the chair back)
There’s a car waiting for you outside to take you to the airport. I’ll call your wife, tell her what flight you’re on.
CARLO
Mike …
MICHAEL
Go on, get outta my sight.
LAMPONE helps CARLO with his coat.
EXT DAY: MALL
CARLO moves out to the MALL; the BUTTON MEN are putting his things in the trunk. ONE opens the front door for him. SOMEONE is sitting in the rear seat, though we cannot see who. CARLO gets into the car. Out of nervousness, he looks back to see the other man. It is CLEMENZA, who nods cordially.
CLEMENZA
Hello, Carlo.
EXT DAY: CARLO’S STEPS
MICHAEL and his party watch.
INT DAY: CAR
The motor starts, and as the car pulls away, CLEMENZA suddenly throws a garrote around CARLO’s neck. He chokes and leaps up like a fish on a line, kicking his feet. His thrashing feet kick right through the front windshield. Then his body goes slack.
EXT DAY: CARLO’S STEPS
MICHAEL and his grim party watch. Then he turns, and they all walk off, the GRAVEL CRUNCHING under their feet.
DISSOLVE TO:
EXT DAY: MALL
HIGH ANGLE ON THE CORLEONE MALL: Several moving vans are parked on the MALL; one feels that these are the final days; the families are moving out; signs indicating that the property is for sale are evident.
A black limousine pulls up. Just as it stops, the rear door flies open, and CONNIE attempts to run out, restrained by MAMA. She manages to break free and runs across the MALL into MICHAEL’s house.
MAMA
Will you … moving … I’m tryin’ to tell you …
CONNIE
Aw, Mama, please!
INT DAY: DON’S LIVING ROOM
Inside the CORLEONE house. Big boxes have been packed; furniture prepared for shipping. CONNIE hurries into the living room, where she comes upon KAY.
CONNIE
Michael! Michael!
KAY
What is it?
But CONNIE avoids her and moves directly to THE DON’s study, looking for MICHAEL.
CONNIE
Where is he? Michael!
INT DAY: DON’S STUDY
CONNIE bursts in. NERI is watchful.
CONNIE
Michael! Michael, you lousy bastard, you killed my husband. You waited until Papa died so nobody could stop you and then you killed ‘im. You blamed him for Sonny, you always did. Everybody did. But you never thought about me, you never gave a damn about me.
(crying)
Now what am I gonna do?!
KAY
(comforting)
Connie …
CONNIE
Why do you think he kept Carlo at the Mall? All the time he knew he was gonna kill ‘im. And you stood Godfather to our baby. You lousy coldhearted bastard.
(to KAY)
Wanna know how many men he had killed with Carlo? Read the papers, read the papers!
She throws down a newspaper.
CONNIE
That’s your husband! That’s your husband!
She moves toward MICHAEL. NERI restrains her, and MICHAEL waves him off. She tries to spit into MICHAEL’s face, but in her hysteria she has no saliva. MICHAEL holds her, but she struggles away.
MICHAEL
Come on …
CONNIE
No! No! No!
MICHAEL
(to NERI)
Get her upstairs. Get her a doctor.
NERI and CONNIE exit. MICHAEL sighs.
CAST AND CREW: TALIA SHIRE
In interviews, Talia “Tally” Shire said her therapist urged her to start asserting herself in the family, which is why she tried out for The Godfather. Coppola was understandably nervous that casting his sister would smack of nepotism. Also, he says, “I really thought she was too beautiful to play the part, because my idea was that the character was some dumpy daughter that the guy only wanted to marry because of whose daughter she was.” Shire is quoted in California magazine as saying: “He was real angry that I a
ccepted without asking him first. Just because you’re a genius doesn’t mean that you’re completely developed emotionally.” When Coppola thought Paramount was going to fire him, he relented, thinking that at least somebody in the family should get something out of the experience
KAY is shocked, never taking her look of amazement from MICHAEL. He feels her look.
MICHAEL
She’s hysterical. Hysterical.
He lights a cigarette, but KAY won’t let him avoid her eyes.
KAY
Michael, is it true?
MICHAEL
Don’t ask me about my business, Kay.
KAY
Is it true?
MICHAEL
Don’t ask me about my business.
KAY
No …
MICHAEL
Enough!!
He slaps his hand down on the desk. KAY looks down. He sighs and pushes a chair in frustration. He moves toward her, stubbing out his cigarette.
MICHAEL
All right. This one time—this one time I’ll let you ask me about my affairs.
KAY
(whispers)
Is it true? Is it?
She looks directly into his eyes and he returns the look, so directly that we know he will tell the truth.
MICHAEL
(after a long pause)
No.
KAY is relieved; she throws her arms around him and hugs him.
KAY
I guess we both need a drink, huh?
INT DAY: DON’S KITCHEN She moves back into the kitchen and begins to prepare the drinks. From her vantage point, as she makes the drinks, she sees CLEMENZA, NERI, and ROCCO LAMPONE enter the house with their BODYGUARDS.
She watches with curiosity as MICHAEL stands to receive them. He stands arrogantly at ease, weight resting on one foot slightly behind the other. One hand on his hip, like a Roman emperor. The CAPOREGIMES stand before him.
CLEMENZA takes MICHAEL’s hand, kissing it.
CLEMENZA
Don Corleone.
LAMPONE also kisses his hand. MICHAEL raises a hand to his face. NERI moves to the office door.
VIEW ON KAY’s face as she looks at what her husband has become. The door shuts.
ADAPTATION AND THE CUTTING ROOM FLOOR
Puzo’s story concludes in early autumn of 1955. In the book, Kay leaves Michael the morning after he lies to her about Carlo, but Tom Hagen convinces her to come back.
ADAPTATION AND THE CUTTING ROOM FLOOR
Both the book and the preproduction shooting script conclude with a dialogue-free scene of Kay in church, taking communion and lighting candles, presumably for Michael’s soul. The scene was shot, and although it doesn’t appear in the finished film, it showed up in The Godfather: The Complete Epic—aka Mario Puzo’s The Godfather: The Complete Novel for Television.
THE END
THE AFTERMATH
BOX OFFICE BONANZA
On March 15, 1972, five New York theaters screened the world premiere of The Godfather for the public. That night, the film took in a record $57,000. In the first week, the take was $465,000, also a record. New York City, which over five days at fifty-six theaters took in an eye-popping $1.9 million, was a hotbed for Godfather attendance, with lines regularly stretching around the block. Screenings were held on the hour every hour from nine in the morning to midnight. On opening night, the excess crowds caused the start times to move later and later—the last screening of the night let out at 4 a.m., only two hours before lines began to form for the early showing. Bribes were advanced to get to the head of the line; spouses took turns waiting in line; the Los Angeles Times printed a how-to guide entitled “Life-styles for Waiting in Line to See Godfather.” The scene was not always civilized: a manager of a Loews Theatre was shot in the arm when stickup-men stole the day’s receipts, totaling $13,000.
The buzz surrounding the movie was apparent even before it premiered. Going against convention, Paramount prebooked the hotly anticipated Godfather in 350 theaters. The film, which cost $6.2 million to make, garnered $13.8 million from these bookings before it even opened.
BEHIND THE SCENES
“I remember being in Beverly Hills when we were cutting the film, living for free in Jimmy Caan’s maid’s room because I had no money. There was a nice young man who was an editing assistant and used to ride home on a bicycle. This big, tall young kid is walking his bike and he had just seen The French Connection. The French Connection was so exciting and dynamic—it was a huge splash in Hollywood at the time I was cutting The Godfather. When you’re making a movie, you’re insecure about it—it’s hard to evaluate it because you’re so sick of it, and there’s no newness, so I said to him, ‘I guess after The French Connection, everyone is going to just think that The Godfather is this long, boring, dark movie.’ And the kid said, ‘Yeah, I guess you’re right.’
“I felt so terrible, going home to my maid’s room, that I’ve fantasized that after he left, Mephistopheles popped out of the bushes and said, ‘Francis, how would you like this movie to be the most successful movie ever made?’ Something like that must have gone down, because the idea that this disastrous movie would be successful and would be remembered and it would even be in the annals where it would be compared to movies that I thought were among the greatest—is so surprising.”
—Coppola, 2007
Paramount Pictures president Frank Yablans ushered in a new distribution model with The Godfather. By opening it in multiple theaters at once, rather than one theater at a time, Paramount was able to maximize their advertising dollars. They also mandated cash on the barrelhead. Such new practices opened the financial floodgates for Paramount.
In 1972, the average movie ticket price in the United States was around $1.60. With the soaring demand, Paramount boosted ticket prices for the film to $3.50, then increased the weekend ticket price to $4.00. The value of Gulf+Western stock jumped by a whopping $97 million a month after The Godfather opened.
In the film’s initial release, Paramount made $85.7 million on it. It was the first movie in screen history to gross an average of $1 million a day. It was the highest-grossing film of all time, until Jaws surpassed it in 1975. To date, it has grossed nearly $135 million domestically, and an estimated $250 million worldwide. The Godfather not only made movie-making history, it made moviegoing history.
During filming, Coppola complained about the station wagon that picked him up so he and Evans made a bet that if the film made $50 million, Paramount would spring for a new car. As The Godfather’s grosses climbed, Coppola and George Lucas went car shopping and selected a Mercedes-Benz 600 stretch limousine—instructing the salesman to send the bill to Paramount. The car appears in an opening scene of Lucas’s American Graffiti.
CRITICAL RESPONSE TO THE GODFATHER
A month before The Godfather’s release, Ivor Davis of London Express sneaked into a private Paramount screening for exhibitors. His review of the much-anticipated film appeared in the New York Post two days later, with the headline: “Smuggled into Godfather Screening.” He raved about Brando’s turn as Don Corleone and said that Pacino had “the looks of Alain Delon and the intensity of a young Rod Steiger.”
ACTRESS JILL CLAYBURGH WITH AL PACINO AT THE GODFATHER PREMIERE.
Although the film is now widely lauded, at the time it received some lukewarm reactions. Variety damned it with faint praise, saying it was “overlong,” and seemed confused by what they termed “some sort of tinting effect.” The esteemed Stanley Kauffman of The New Republic blasted Brando, characterized Rota’s score as “rotten,” and called the print “washed out.” But raves ruled the day, most noting how the film had an artistic excellence in addition to its broad appeal:
“Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment.”
—Vincent Canby, The New York Times
“An instant classic.”
; —Charles Champlin, Los Angeles Times
“Coppola has found a style and a visual look for all this material so The Godfather becomes something of a rarity: a really good movie squeezed from a bestseller.”
—Roger Ebert, Chicago Sun-Times
“If ever there was a great example of how the best popular movies come out of a merger of commerce and art, The Godfather is it… The dark-and-light contrast is so operatic and so openly symbolic that it perfectly expresses the basic nature of the material… The Godfather keeps so much in front of us all the time that we’re never bored.”
—Pauline Kael, The New Yorker
PARAMOUNT VP ROBERT EVANS WITH WIFE ALI MACGRAW AND JAMES CAAN AT THE PREMIERE.
THE OSCARS®
The Godfather earned a healthy ten nominations for the 45th Academy Awards®. Only twenty-one films before it had garnered more (and only thirteen received more if you count Nino Rota’s initially nominated score). The nominations included Best Picture, Director, Supporting Actor (for Robert Duvall, James Caan, and oddly—considering his screen time—Al Pacino), Adapted Screenplay, Sound Editing, Costume Design, and Best Actor for Marlon Brando’s portrayal of Don Vito Corleone.
A woman dressed in full Native American garb and claiming to be Apache Indian Sacheen Littlefeather retrieved Brando’s tickets on the day of the ceremony. Panicked about the prospect of a militant acceptance speech, the show’s producer considered arresting her, but instead talked her out of reading a five-page speech Brando had prepared on the plight of Native Americans. Littlefeather’s abbreviated speech explained that Brando could not accept the award due to “the treatment of American Indians in the motion picture industry, on TV reruns, and what’s happening at Wounded Knee today.” The audience reacted with a mixture of applause and boos. Brando, who didn’t think highly of awards given to actors anyway, thought it would be a great opportunity for a Native American to speak to sixty million people. Strangely enough, Littlefeather turned out not to be Native American at all, but an aspiring actress named Maria Cruz.