“The Godfather” stands as a timeless masterpiece in Hollywood, ranking among the highest-grossing films to date. However, the creation of this iconic mafia movie faced numerous hurdles and setbacks, as chronicled by author MATT BIRBECK in his book “The Life We Chose: William ‘Big Billy’ D’Elia and The Last Secrets of America’s Most Powerful Mafia Family” (William Morrow). From intense negotiations to encounters with real-life mobsters, the behind-the-scenes action was just as thrilling as the on-screen drama.
William “Big Billy” D’Elia, former head of the influential Bufalino crime family and protégé of mob boss Russell Bufalino, bore witness to the tumultuous beginnings of “The Godfather.” It was the winter of 1971 when the phone rang in ABS Contracting, one of the many cutting rooms that Russell owned in northeastern Pennsylvania. Billy picked up the phone and was greeted by a familiar voice claiming to be Marlon Brando, contacting Mr. Bufalino. Billy couldn’t believe it; he thought it was a prank. He exclaimed to Russell, “There’s some guy pretending to be Marlon Brando on the phone!” Russell, however, reacted with a stern glare and demanded, “Give me that phone!” Russell calmly spoke to Marlon, engaging in friendly conversation. Brando had been cast as Vito Corleone in the upcoming film, and he sought inspiration and insights from the real underworld to portray the role accurately.
When Paramount executives initially hesitated about casting Brando as Vito Corleone due to his recent string of flop movies, director Francis Ford Coppola saw the actor’s potential to transcend the stereotypical mob movie archetype filled with volatile gangsters and excessive violence. Brando, although experiencing a decline in popularity after his early success in the 1950s, was determined to prove himself. He auditioned for the role, determined to win over the skeptical executives. Brando became the leading star among other actors signed by producer Al Ruddy for crucial roles in the film, including James Caan, Robert Duvall, Al Pacino, Diane Keaton, John Cazale, and Abe Vigoda.
Known for his meticulous preparation, Brando envisioned Vito Corleone as a powerful yet soft-spoken character – intellectual, but physically strong. He portrayed him as a family man who viewed himself as a victim of circumstances, someone who could have been a corporate leader instead of a mafia boss. As principal photography began in New York, the production faced an unexpected challenge from the newly formed Italian American Civil Rights League.
Despite the challenges, Brando was determined to find inspiration and guidance. When he sought someone who could offer firsthand insights into playing a mob boss, everyone privately pointed to Russell Bufalino. Russell had played a significant role behind the scenes, resolving conflicts that had threatened to derail the film. Intriguingly, he took an interest in the movie, which was based on Mario Puzo’s best-selling book from 1968, purchased by Paramount. However, the production faced further complications as an advocacy group, the Italian American Civil Rights League, emerged and targeted “The Godfather” for portraying Italian Americans negatively. They pressured merchants in Manhattan’s Little Italy to display league decals on their storefronts, and the Teamsters union instructed their members to walk away from the film’s production. League members even threatened the film’s executives with menacing phone calls.
Billy vividly recalls the chaos that ensued during the production in New York. The Teamsters refused to work, and various individuals caused damage to equipment and vehicles. There were constant attempts to disrupt the filming process. In the midst of the madness, the film’s producers wanted to negotiate with Joe Colombo, the head of the Italian American Civil Rights League. Several meetings took place, including one at the Park Sheraton Hotel in Manhattan. Russell and Billy attended, intently listening as Al Ruddy presented the negotiated terms to the league officials. The proposed agreement involved removing the word “Mafia” from the screenplay, a one million dollar donation to the league, discontinuing a “Godfather” board game, and holding the movie’s premiere in New York. Ruddy emphasized that the movie did not portray corrupt Italians, but rather a corrupt society – a viewpoint Russell appreciated. With Russell’s endorsement, Colombo agreed. The involvement of the New York Mafia shocked Paramount executives, leading to Ruddy’s dismissal for making the deal and participating in a press conference alongside Colombo.
Nevertheless, the agreement managed to appease the Italian American Civil Rights League, allowing the production to resume after Russell instructed the Teamsters to return to work and street-level operators to cease their interference. At Coppola’s insistence, Ruddy was quickly rehired. While the real gangsters didn’t entirely vanish, many lurked in the shadows, adding an air of excitement and danger to the film set. Overall, without Russell Bufalino’s involvement, “The Godfather” may have never come to fruition.
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