How 'The Godfather' Became An American Classic Even Though It Was 'Nightmarish' Behind The Scenes

When word got out about The Godfather being adapted into a movie, head of the New York syndicate, Joseph Colombo Sr., led a campaign both in and out of the media to shut down production over the use of the word "mafia." He, with the backing of the Italian American Civil Rights League, rallied Italian Americans against The Godfather and allegedly pursued producer Albert Ruddy. Throughout the production, Ruddy was so concerned about retaliation from the family that he switched cars with his staff regularly.

The scare tactics came to a head for Ruddy when someone blew out the windows of his car one night. After Colombo's pressure made its way up to studio head Robert Evans, he insisted Ruddy meet with Colombo to make a deal. 

Colombo eventually agreed to bless the movie on two conditions: the script had to delete all usage of the term in question, and the producers needed to donate the proceeds from the world premiere to Colombo's civil rights organization. Ruddy agreed to both, though the money was never delivered.

Johnny Fontane was the lounge-singer-turned-actor so involved with the Corleones that they left a severed horse's head in a producer's bed, scoring him a role in an upcoming film. In real life, Fontane was played by an actor of similar circumstance. Al Martino got involved with the Italian syndicate after recording a No. 1 hit "Here in My Heart" in 1952 when members strong-armed his manager to "sell" Martino's contract. Martino himself had to flee the United States to escape them, but he returned after brokering a deal with the head of the Philadelphia syndicate, Angelo Bruno.

By the 1970s, Martino had so much support from the family he was able to secure a part in the movie. With the influence of Don Russell Bufalino, producer Albert Ruddy gave Martino the role of Fontane. However, after Francis Ford Coppola joined the production, Coppola cast Vic Damone instead, unaware of the deal between Ruddy and Martino. Damone later backed out of the film due to Bufalino's influence.

When filming began, Martino got the part, but much of his character was written out of the final film due to pressure from an unhappy Frank Sinatra, who sued to end the film's production because of Fontane's resemblance to him or perhaps for the fact he disliked Martino's acting.

Though today Al Pacino is beloved for his role as Michael Corleone, Paramount Pictures head Robert Evans thought he was a terrible choice. "A runt will not play Michael," Evans said to Francis Ford Coppola. While Pacino was Coppola's choice for Michael early on, Evans and other producers refused to accept him. They believed he was too short. 

Even when Pacino finally got the part, the studio kept trying to find a replacement and force him to continue doing screen tests. He tested for the role so many times his girlfriend called Coppola and complained they were wronging him.

Coppola and Evans eventually brokered a deal when Coppola agreed to fire his first choice for Sonny, Carmine Caridi, and cast James Caan instead. In exchange, Evans relented to cast Pacino as Michael. 

Paramount and The Godfather's producers did not have a lot of confidence in Francis Ford Coppola at first, thanks to Coppola's lack of experience and the many troubles they encountered during production. They consistently pressured the young director and created what Coppola later called "a nightmarish experience." Coppola was intensely worried about providing for his three young children and doubted the movie's chances for success. He claimed he was "always on the verge of being fired."

Coppola had so little faith in the movie he wasn't even in the United States during the premiere, and his wife had to call to tell him about The Godfather's incredible success.

According to Paramount Pictures head Robert Evans, The Godfather author Mario Puzo approached him in 1968, not to pitch a movie but to get out of trouble for gambling debts. According to Evans, he offered Puzo $10,000 with a commitment for $75,000 if the book was published - but he never expected to hear from Puzo again. He only took the deal as a favor to a friend. When the book was finally published, however, it was a sensation.

Francis Ford Coppola also had little interest in directing The Godfather. At first, he turned down the opportunity because he found the intimate scenes in the book to be too graphic, but his friend George Lucas convinced him to take the job, pointing out Coppola's company, American Zoetrope, owed $600,000 to Warner Bros.

Francis Ford Coppola is famous for conducting intense research and preparation before filming many of his movies. The Godfather was no exception, with Coppola digging into the world and culture of the Italian syndicate. Apparently, on the Paramount lot, there was a large bulletin board in the Godfather production offices that included dozens of photos of slayings and services from the '40s and '50s.

Much of the material ended up in a 720-page notebook Coppola put together throughout production. He later sold a condensed version of it.