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The Godfather Notebook
#1014166
06/20/21 10:01 AM
06/20/21 10:01 AM
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mustachepete
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Has anyone read this big bugger? It's Coppola's development notebook for the first movie. He basically copied the novel onto notebook paper, put annotations in the resulting margins. Also inserting pages with scene summaries, etc. I got it at the library, and it's huge, so I doubt I'll actually read it all, but will just flip through pages here and there. I only got as far as the Sonny-Lucy tryst so far. A few things I noticed:
1. Coppola was circulating a draft of The Conversation before he was hired onto The Godfather project. I've long wondered if some of GF2's "what the heck is going on" quality didn't bleed out from his work on The Conversation. I wonder that more now.
2. Puzo apparently thought that his mother was one of the stronger influences on the way Vito expressed himself: "a very practical woman given to pithy remarks."
3. The wedding: early notes lament that they couldn't plausibly portray Michael in his Marine uniform, because he had already been back at school for a while. Also, Coppola says the two of them in the little alcove reflects his own experience with his wife-to-be at her first big family wedding.
4. There's a funny picture from the mortuary scene, Caan sticking his bloody face out of the blanket and Brando laughing.
Last edited by mustachepete; 06/21/21 08:59 AM.
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1014167
06/20/21 10:15 AM
06/20/21 10:15 AM
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mustachepete
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"Pitfalls" to be avoided: "...Italians who-a, talka like-dis...."
It seems he toyed with the idea of using the FBI men to introduce the characters. They go from car to car, write down plate numbers, then cut back to the character at the wedding.
He seemed very interested in preserving the Nino character.
Last edited by mustachepete; 06/21/21 09:00 AM.
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: Turnbull]
#1014184
06/20/21 09:14 PM
06/20/21 09:14 PM
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mustachepete
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Bonasera, who otherwise had a commendably cultured accent, said that the judge "suspended-a da sentence."  Coppola says, "We need a terrific actor for Bonasera." It occurred to me I didn't know who played Bonasera. It's a Sicilian actor named Salvatore Corsitto. It seems Frank Puglia, who had been in Hollywood since the early silent era, had been cast as Bonasera, but he took ill and was replaced by Corsitto. When they're going to see Genco: "Do something with Fredo, so he isn't just a cipher." Horse's head: "If the Audience does not jump out of their seat on this one, you have failed."
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1014203
06/21/21 04:08 AM
06/21/21 04:08 AM
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"Pitfalls" to be avoided: "...Italians who-a, talka like-dis...."
It seems he toyed with the idea of using the FBI men to introduce the characters. They go from car to car, write down plate numbers, then cut back to the character at the wedding.
He seemed very interested in preserving the Nino character. Thank goodness he didn't. Those are my least favourite parts of the novel, even more so than Lucy and her 'problem'. As to the book, my wife bought it for me last Christmas. Still working my way through it.
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Re: The Godfather Notebook
[Re: mustachepete]
#1014244
06/21/21 09:20 PM
06/21/21 09:20 PM
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mustachepete
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The audience is supposed to fear Sollozzo, and by the time of the meeting to be grateful that Vito is there to protect them.
Mentions "Miracle on 34th Street" as a Christmassy street background, apparently didn't realize it came out a couple years later.
Original plan was for Vito to be leaving the actual olive oil company for the holidays, exchanging small gifts and holiday wishes with employees.
Seems intrigued by a Hitchcockian presentation of Vito's ambush (fruit rolling around). He wanted to emphasize a sense of confusion on both sides - Fredo's dropping of his gun may have confused the assassins, leading them to bolt.
As Sonny takes the phone calls related to Vito's shooting, he becomes the central character in the film for a while. Coppola wanted to reinforce that idea, so that the audience would come to see him as a permanent part of the story. ("a la Psycho")
Last edited by mustachepete; 06/21/21 09:20 PM.
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1014290
06/23/21 07:10 AM
06/23/21 07:10 AM
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mustachepete
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In connection with "Your boss is dead":
"NOTE TO ME: There is a lot of people reacting to bad news in this filem (sic), i.e., that someone they love is in danger or already dead. This is tough. Think about it, AND BE PREPARED, FRANCIS."
When we find out Fredo is in shock: "Freddie always left out, even before he's in shock!" I don't think that's exactly true, but Coppola's groping for something to do with him.
As Clemenza is washing his car, Coppola describes him as "a small man."
All of these seem to predate the first draft of the script: wooden bumpers, Clemenza making the sauce, "sleeps with the fishes." I think that's really impressive.
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1014503
06/25/21 09:25 PM
06/25/21 09:25 PM
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mustachepete
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"We are looking right at a man when he is told his eldest son is dead."
Bocchicchio material is completely stricken: "Bocchicchio?"
The conference "is a scene of SUBTEXT; everything every[body] says, is the top of the iceburg: in actuality, they are curious to see how wea[k] or strong the Don is; who seems to be allied with him; where the loyalties and cooperations l[ie].
"WE MUST FEEL AS THOUGH WE ARE SITTING IN ON SOMETHING FROM WHICH GREAT CONSEQUENCES WILL SPRING."
"Imagine peeking in on the Appalachian Conferens. That's what we're priviledged to do. A harmony, counterpoint and collection of very interesting characters: EACH WORTHY OF A WHOLE MOVIE ABOUT HIM."
Handwritten note, of unclear meaning, I think about the "day of reckoning": "ask Mario about what the Don has up his sleeve. I was happy to learn that, but I didn't feel that it was paid off." [Later note, possibly Puzo's: "Clarify for Francis." Then Coppola: "Leave it alone for now.", and
After conference: "That's really it now - for the Don - but leave a little suspense for some treachery open."
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1014593
06/26/21 07:46 PM
06/26/21 07:46 PM
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mustachepete
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You're welcome. I'm finding it interesting. Some more background: it seems Coppola commandeered a corner of a San Francisco coffee shop, had this huge binder and sat all day every day banging away on his manual typewriter. He typed about like I used to: lots of misspellings and typeovers.
Ages drawn from the list of characters: Vito 55, Mama 50-55, Sonny 32-35, Frederico 30, Michael 25-26, Connie no age, Kay 22-25, Tom 35, Luca 55, Clemenza 53-55, Paulie 26, Lucy 22, Johnny 30, Genco 60s, Sollozzo early 50s, Tessio 50-55, Moe 40s, Al 30s. Coppola wrote "Carmella" in for Mama, so it seems that name either came here or from Puzo's original draft.
Some chronology: Late 1946 (maybe early 1947): peace conference Late 1950: Michael and Kay reunite 1955: meeting with Moe to end of movie.
Coppola mentions Eddie Fisher a couple times with respect to Johnny Fontane. He had the cuckold angle that Johnny had in the novel. On the other hand, he refers to Johnny's movie as "From Here to Eternity."
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1014775
06/28/21 11:03 PM
06/28/21 11:03 PM
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mustachepete
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List of names with actors for some of the roles (names could be misspelled/mistaken, and the Sonny/Tom names kind of run together):
Vito: Conte, Brando Michael: Al Pacino - Cal believes "Little Big Man" Sonny: Jimmy Caan, Frank Castellano (sp.?) Tom: Peter Donat, Martin Sheen, [Lawrence?] Pressman, Ben Piazza Carlo: Castellano or Sonny reject Connie: pregnant Rocco: Campenela Sollozzo: "Guy in 'Big Deal'"; wiseman? Luca: Castellano
List of names along margin, without role: Brando, C. Caridi, Bob Duval, Diane Keaton, John Ryan, R. Castellano
Tom Rosqui, Richard Bright, Sterling Hayden, Lou Antonio, Jeannie Linero, Robert Dinero, Julie Gregg, Diane Varsi
John Marley, Frank Corsaro
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1015146
07/02/21 09:38 PM
07/02/21 09:38 PM
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mustachepete
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Back to Vegas scene:
"a dapper, dandified Fredo Corleone."
"We must know by the very casting of NERI, BY THE LOOK OF HIM, HIS EYES AND MANNER, THAT HE IS THE NEW LUCA BRASI."
"...lots of girls around. Nice if subtly, Michael turns off of them."
"JULES & LUCY - OUT"
"Moe Green as a heavy of his own; some formidable strength; this is 'his territory'....make that clear...people know him, not Michael, respond to him, not Michael."
"Bugsy Siegal"
"Freddie not certain of his brother's power."
Pitfall: "If Michael has not evolved a notch on his way to being the complete Don. He shouldn't be there yet, but unmistakable he is on his way."
Novel's scene where Kay meets Michael at the airport: "[A] fight out of Paddy Chayefsky, real normal domestic things...all JUXTAPOSED AGAINST NERI AND LAMPONE AND THE MOTORCADE OF BODYGUARDS AND SECURITY CHECKS."
"Repetition of airport scene right after vegas...one has to go."
Back at the mall: "We haven't seen the Don for a LONG time. Nor Clemenza & Tessio. All different."
Last meeting: "Certain negotiations" implies "a big political move up his sleeve (FBI, or something)" "MISDIRECT THE AUDIENCE."
Vito looks like a retired man: "Grandpa Coppola"
"I'd like the scene with Mike and the Don to really resolve their Character dialectic...which has been prepared for all along. THIS IS NECESSARY, that they have a really good moment together."
Mama-Kay scene about going to Church sets up final scene of Kay lighting candles for Michael.
Vito's death: not playing with grandson. Boy comes toward him as he falls, and Vito urges him to run to the house.
"1956? Straighten out the whole time thing."
Vito's funeral: "Genghis Khan on wheels"
"GO REALLY BIG HERE: DON'T STINT WITH EXTRAS. This scene is a testament to the Don's power and influence. It must really be royal."
"Get film on Luciano's funeral in Napoli."
"Alone with Hagen, Mike lets out the exciting news that he's marked to be killed. FIGURE OUT A REALLY GOOD WAY TO DO THIS; the scene in the book is weird."
"By this point, the audience must be sitting on the edge of their seats....YOU MUST RECAPTURE THE KIND OF SUSPENSE EARLIER sections of the book has."
Again, Clemenza brings the proposal from Barzini.
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1015200
07/03/21 04:14 PM
07/03/21 04:14 PM
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mustachepete
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Im sticking to the notion that Lucy was supposed to sell some books to women. Like General Hospital, but racier.
I'm interested to see how the Clemenza/Tessio thing comes out. It seems like Coppola may have been preoccupied with maintaining suspense, while the Tessio reveal of the novel has a kind of melancholy sense about it. Sad that one of the Old Guard would have turned, but not at all surprising.
Last edited by mustachepete; 07/04/21 09:04 AM.
"All of these men were good listeners; patient men."
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Re: The Godfather Notebook
[Re: mustachepete]
#1015280
07/04/21 06:40 PM
07/04/21 06:40 PM
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mustachepete
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There's a few full pages of dialogue inserted near the end, relating (book) to Mike and Kay's reunion and to Kay and Mama's conversation about Hell. I can't tell what they are, am wondering if they're pages from Puzo's early draft.
"The scene of Neri, alone in his room, preparing his uniform is evocative of Brasi, preparing himself with the bullet-proof vest. Could we use it?"
Chapter 31: "BIG DAY"
Baptism to take place at the mall.
Neri gets stationed near Rockefeller Plaza; Rocco waits near the Causeway.
"...intercut with the Ritual of Michael holding Carlo's baby and standing as Godfather, the most incredible powerplay of alltime takes place, when, in a beautifully conceived tactical offensive, Lampone kills Tattaglia, Neri kills Barzini, and other soldiers, kill Moe Greene and numerous other Capi di Familie, or high-ranking Consigliere and Caporegimes."
"If we have successfully misdirected the audience that Michael's move was g.oing to be a big political move: i.e., using high-ranking FBI or political pressure to put Barzini out of business; we must be astounded to see the violence that he uses. THIS MUST BE THE BIGGEST BLOODBATH OF THE FILM: OVERWHELMING. Especially when juxaposed with the family, baptism ritual."
"THIS SEQUENCE must be very carefully designed and planned. It must take away the audience's breath in its fury."
"This sequence should be very detailed."
"A real baptism: every detail, the salt on the baby's mouth, the water, the Latin. EXTEND TIME."
"WHERE DO I PUT FABRIZZIO'S MURDER. HERE, with all the others? The more the merrier!"
"Tattaglia totally naked; extend time."
"When Lampone kills Tattaglia - the ghost-like toll booth we had seen when Sonny was killed."
"Maybe plant some L. Vegas button man - the driver of the limo that met Mike, or even something more ironic, one of Greene's own bodyguards, or girlfriend or something...but all the Murders MUST BE PERFORMED BY MEN THAT WE RECOGNIZE AS BEING CORLEONE'S SOLDIERS."
Pitfalls: "If the audience suspects what he is going to do. Th[at] each killing does not join with the Baptism and the other killings in a beautiful design. IF MICHAEL IS NOT THE FOCAL POINT OF THE ENTIRE SEQUENCE."
"If anybody suspects that Carlo's going to be killed; that must be the total surprise, the coup de grace. The ultimate of Michael's coldness "
"What did they plan?"
"NOT BAD": Fabrizzio's murder in the novel.
Tattaglia killing: "Really old and totally naked - nice image." "Does the girl get it?"
Barzini killing: show every detail in novel, "Extend time."
Tessio-Hagen exchange: "NICE"
Michael-Carlo exchange: "BOOM Michael's manner not a pose, but real, the end point of a real evolution."
"We must believe Mike" (will spare Carlo). "important fake out."
"Surprise to the audience as well. CLEMENZA THE GARROT IS A TOTAL SURPRISE."
"Where the garrot is used - the victim shits....Opens the window."
Connie "points out to Kay what kind of man she married, accusing him of killing not only Carlo, but scores of men in the last few weeks."
"After Kay asks if it is all true; there must be a very telling moment between Kay and Michael -- THEY MUST REALLY MAKE EYE CONTACT, she is really asking him. And then, coolly and convincingly, he lies."
"Then, through the way he receives his men, she intuit[tively] knows it is true."
Pitfall: "If you don't feel TOTALLY RESOLVED: THAT MICHAEL HAS BEEN SUCCESSFUL AND IS THE CAPO DI CAPI WITHOUT DOUBT OR RESERVATION."
"LET DOWN: SO THAT WAS THE BIG MOVE: Killing Tattaglia and Barzini before they killed Mike - & Tessio and Carlo to even the score."
"Connie really puts it to Kay."
Michael-Kay: "Key moment. Drag it out, he says 'no', & we believe him."
"Kay knows the truth but accepts it."
"Connie fills her bed again."
"Michael and Kay - her Catholicism"
Lighting candles as credits roll. End.
Note to or from Francis: "I think this scene should really be very brief just part of the titles coming up. Otherwise it becomes a religious thing. And it's really not. It's clutching at straws or recognition of evil." "This is the denouement....an expression of our feeling about Michael."
Tom-Kay in NH, where Kay says Tom can tell her the truth because he's not Sicilian: "Treatment of women. Good line. Where to use it?" (anticipates GF2?)
"All of these men were good listeners; patient men."
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