What’s left to say about “The Godfather"? Upon the film’s release in 1972, it almost instantly became a byword for the best Hollywood has to offer. It minted a new generation of stars, earned hundreds of millions of dollars, established Francis Ford Coppola as one of the best directors of his generation, and changed the way Americans viewed the mafia—and cinema—forever. 

 

And yet, “The Godfather” almost never got made, with meddling studio executives and vindictive members of the real-life mafia trying to smother the movie at every turn. During production, location permits were revoked, war was waged over casting decisions, author Mario Puzo got into a public brawl with Frank Sinatra, a producer’s car was riddled with bullets, and “connected” men auditioned for—and in some cases landed—parts in the film. 

 

On “Leave the Gun, Take the Cannoli,” Mark Seal, author of the 2021 book by the same title, and Nathan King, a deputy editor of AIR MAIL, present new and archival interviews with Coppola, James Caan, Robert Evans, Talia Shire, Al Ruddy, and many others, stripping back the varnish of movie history to reveal the complicated genesis of a modern masterpiece.

What&rsquo;s left to say about&nbsp;&ldquo;The Godfather"? Upon the film&rsquo;s release in&nbsp;1972, it almost instantly became a byword for the best Hollywood has to offer. It minted a new generation of stars, earned hundreds of millions of dollars, established Francis Ford Coppola as one of the best directors of his generation, and changed the way Americans viewed the mafia&mdash;and cinema&mdash;forever.&nbsp;
&nbsp;
And yet, &ldquo;The Godfather&rdquo; almost never got made, with meddling studio executives and vindictive members of the real-life mafia trying to smother the movie at every turn. During production, location permits were revoked, war was waged over casting decisions, author Mario Puzo got into a public brawl with Frank Sinatra, a producer&rsquo;s car was riddled with bullets, and &ldquo;connected&rdquo; men auditioned for&mdash;and in some cases landed&mdash;parts in the film.&nbsp;
&nbsp;
On &ldquo;Leave the Gun, Take the Cannoli,&rdquo; Mark Seal, author of the 2021 book by the same title, and Nathan King, a deputy editor of AIR MAIL, present new and archival interviews with Coppola, James Caan, Robert Evans, Talia Shire, Al Ruddy, and many others, stripping back the varnish of movie history to reveal the complicated genesis of a modern masterpiece.

Leave the Gun, Take the Cannoli: The Epic Story of the Making of the Godfather

Introducing: Leave the Gun, Take the Cannoli

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/4fd5cfdc-d39d-4b6e-8485-b27a0108cd11/transcript

The cast of characters behind “The Godfather”’s success was nothing if not eclectic, from down-and-out Hollywood legends to ascendant show business superstars. Yet somehow, fifty years after its release—against all odds—the film remains in a league of its own for its evocation of the American dream, and for kickstarting a cultural fascination with the Mafia that endures today. On the tenth and final episode of “Leave the Gun, Take the Cannoli,” Mark and Nathan reflect on the lasting legacy of the movie, and how it impacted the lives of those like Evans, who considered the film his crowning achievement.

The cast of characters behind &ldquo;The Godfather&rdquo;&rsquo;s success was nothing if not eclectic, from down-and-out Hollywood legends to ascendant show business superstars. Yet somehow, fifty years after its release&mdash;against all odds&mdash;the film remains in a league of its own for its evocation of the American dream, and for kickstarting a cultural fascination with the Mafia that endures today. On the tenth and final episode of &ldquo;Leave the Gun, Take the Cannoli,&rdquo; Mark and Nathan reflect on the lasting legacy of the movie, and how it impacted the lives of those like Evans, who considered the film his crowning achievement.

The Grand Finale

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By 1972, “The Godfather” had become the movie of the moment—and that’s before it even hit theaters. Leading up to the film’s nationwide release that March, critics and made men alike clamored to get an early look, motivated in part by the tactful publicity strategy devised by Paramount’s Marilyn Stewart. To promote the film, she ensured that no photographs of Marlon Brando’s highly anticipated "transformation" into Don Vito Corleone leaked to the public. To see the Don, you’d have to buy a ticket. That’s not to say that audiences needed much convincing. In the wake of the movie’s New York City premiere—to which Robert Evans arrived with Ali MacGraw on one arm, and Henry Kissinger on the other—“The Godfather” was an immediate critical success, vindicating the strain Francis Ford Coppola endured to achieve his vision. On Episode Nine, Mark and Nathan reflect on "The Godfather"’s debut, and how its acclaim altered the lives of, among others, Coppola and Evans. In some ways, for the worse.

By 1972,&nbsp;&ldquo;The Godfather&rdquo;&nbsp;had become the movie of the moment&mdash;and that&rsquo;s&nbsp;before&nbsp;it even hit theaters. Leading up to the film&rsquo;s nationwide release that March, critics and&nbsp;made men alike clamored to get an early look, motivated in part by the tactful publicity strategy devised by Paramount&rsquo;s Marilyn Stewart. To promote the film, she ensured that no photographs of Marlon Brando&rsquo;s highly anticipated "transformation" into Don Vito Corleone leaked to the public. To see the Don, you&rsquo;d have to buy a ticket. That&rsquo;s not to say that audiences needed much convincing. In the wake of the movie&rsquo;s New York City premiere&mdash;to which Robert Evans arrived with Ali MacGraw on one arm, and Henry Kissinger on the other&mdash;&ldquo;The Godfather&rdquo;&nbsp;was an immediate critical success, vindicating the strain Francis Ford Coppola endured to achieve his vision. On Episode Nine, Mark and Nathan reflect on "The Godfather"&rsquo;s debut, and how its acclaim altered the lives of, among others, Coppola and Evans. In some ways, for the worse.

The Mother of all Publicity Campaigns

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It’s difficult to imagine “The Godfather’s” torrid Sicily scenes being filmed anywhere but Italy. Yet, if Paramount executives had gotten their way, Michael Corleone’s love affair with Apollonia—played by Simonetta Stefanelli, an unknown actress who spoke no English—would’ve transpired on a Los Angeles studio lot. Fortunately, things didn’t turn out that way. “The Godfather” decamped for Sicily in the summer of 1971, and no one was more pleased about this change of scenery than Francis Ford Coppola, who was finally able to distance himself from the overbearing Robert Evans and his spy Jack Ballard. Coppola’s respite wouldn’t last long, though. He returned to America with 90 hours of footage badly in need of editing. Naturally, Evans and his fellow bigwigs had opinions about that, too. In Episode Eight, Mark and Nathan follow Coppola and the cast and crew on their journey across the Atlantic and back again, discussing the director’s original three-hour cut of the film, Nino Rota’s iconic score that almost never was, and Evans’s tennis injury and subsequent drug addiction. 

It&rsquo;s difficult to imagine &ldquo;The Godfather&rsquo;s&rdquo; torrid Sicily scenes being filmed anywhere but Italy. Yet, if Paramount executives had gotten their way, Michael Corleone&rsquo;s love affair with Apollonia&mdash;played by Simonetta Stefanelli, an unknown actress who spoke no English&mdash;would&rsquo;ve transpired on a Los Angeles studio lot. Fortunately, things didn&rsquo;t turn out that way. &ldquo;The Godfather&rdquo; decamped for Sicily in the summer of 1971, and no one was more pleased about this change of scenery than Francis Ford Coppola, who was finally able to distance himself from the overbearing Robert Evans and his spy Jack Ballard. Coppola&rsquo;s respite wouldn&rsquo;t last long, though. He returned to America with 90 hours of footage badly in need of editing. Naturally, Evans and his fellow bigwigs had opinions about that, too. In Episode Eight, Mark and Nathan follow Coppola and the cast and crew on their journey across the Atlantic and back again, discussing the director&rsquo;s original three-hour cut of the film, Nino Rota&rsquo;s iconic score that almost never was, and Evans&rsquo;s tennis injury and subsequent drug addiction.&nbsp;

Death by a Thousand Cuts

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/a68020d9-22f9-424d-bd56-b2b9016ab60a/transcript

Introducing: Leave the Gun, Take the Cannoli

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Leave the Gun, Take the Cannoli: The Epic Story of the Making of the Godfather

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