The reason why Francis Ford Coppola initially turned down ‘The Godfather’
Modern cinema boasts its undisputed greats, and Francis Ford Coppola is undoubtedly among them. As a widely influential auteur, the significance of his work is evident in the anticipation that greets each new project despite his infrequent releases over the past 30 years. Reflecting his essence as a filmmaker, his lifelong passion project, Megalopolis, slated for release in late 2024, is a science fiction epic with an ensemble cast, heralded as the cinematic experience of our times. However, its true impact remains to be seen.
Even if Megalopolis fails to resonate in the way that Coppola hopes, particularly after incubating the project since the making of Apocalypse Now back in 1979, it won’t be a complete disaster outside of the director’s being. He’s already committed an array of genuinely profound moments to screen. One is the aforementioned Vietnam War drama, which expertly drew upon Joseph Conrad’s 1899 novella, Heart of Darkness, and provided the world with the ageing Marlon Brando’s last truly astounding performance.
Clearly, Coppola doesn’t do things on a small scale. His other finest addition to popular culture is The Godfather franchise, which commenced with the sprawling first instalment in 1972. Famously, it revitalised Brando’s career after a period of flops and ill behaviour. Due to author Mario Puzo asserting he was the only one fit for the role of mafia patriarch Vito Corleone, he was eventually hired, much to the studio’s chagrin, but it proved a masterstroke. Coppola’s faultless effort would also feature Al Pacino, James Caan and Rober Duvall in iconic roles.
One of the most influential movies in history, it was the highest-grossing film ever made at one point and swept away the Oscars. The Godfather was followed up by The Godfather Part II two years later, another absolute triumph delving into Don Vito’s history, and later Part III in 1990, which rounded out the series. Interestingly, though, in a testament to the haphazard nature of life, while The Godfather might have been resounding a success, at first, Coppola didn’t intend to make any sequels.
When speaking to The New York Times due to the culturally significant release of the first movie, the studio Paramount told him, “You’ve got Coca-Cola. Why not make more Coca-Cola?” So, he made the second instalment. Then, when it came to the final chapter 16 years later, he somewhat cynically did it for financial gain, as his Zoetrope production company had hit rock bottom due to the immense commercial failure of the 1982 musical One from the Heart, which had a box office gross of $636,796 against a $26million budget. This disaster saw Coppola spend the rest of the decade working to pay off the debt before the company filed for bankruptcy in 1990.
What’s even more ironic is that at first, Coppola never even wanted to direct The Godfather, but again, his financial situation forced his hand. He initially found Puzo’s novel to be sleazy, describing it as “pretty cheap stuff”. However, because Zoetrope owed Warner Bros. over $400,000 for budget overruns in the sci-fi film THX 1138 and his broader financial situation, he eventually changed his mind. This decision was also helped by advice from his family and friends.
Later, when appearing on The Howard Stern Show in 2019, Coppola reflected on why he originally rejected The Godfather. He once again reaffirmed his initial belief about Puzo’s book: “I thought it was sort of sleazy.” Offering insight into his approach, Coppola revealed that he aspired to be an artist back then, a point which might account for the immense emotional and sensory scope of his movies.
He also conceded that it wasn’t just his financial situation that changed his mind on The Godfather, it was meeting Puzo himself. He was simply blown away by the Italian-American author’s personality. “When I met him, he was just the neatest man,” the director said. “I really came to like him and admire him a lot.” It’s safe to say his perspective on the nature of the book changed markedly.
