I always feel stupid bringing up the matter of the Godfather

As a follow-up to the previous post, I am sharing a letter from Francis Ford Coppola to Marlon Brando, in which the director tries to persuade Brando to play the young Vito Corleone in The Godfather Part II (1974). Besides being a sequel to the first Godfather film, Part II also serves as a prequel, in flashbacks following young Vito from Sicily to New York where he eventually builds his mafia empire. Coppola wanted Brando in the role of young Vito, despite the fact that Brando was too old for the part. (At the time 49 years old, Brando was supposed to play Vito aged 25-30.) The actor turned down Coppola's offer, although he did agree to make a cameo appearance as Don Vito in the birthday flashback scene in the film's finale. On the day of shooting, however, Brando failed to show up and Coppola had to quickly rewrite the scene. 30-year-old Robert de Niro was cast in the role of young Vito instead of Brando, his performance eventually winning the Oscar for Best Supporting Actor.

Marlon Brando and Francis Ford Coppola on the set of The Godfather (1972), with Robert Duvall in the background.

Below is Coppola's letter to Brando, undated but postmarked 1 May 1973. Coppola was trying to convince Paramount executives Frank Yablans, Robert Evans and Charles Bluhdorn to cast Brando as the young Vito Corleone. At the time, Brando and Paramount were not on good terms, especially after the actor's refusal to accept his Oscar for The Godfather a few months earlier. Also, Brando was mad at Paramount for the salary he had received for the first film, feeling he had been underpaid (considering The Godfather was the highest grossing film in history up till then, its success in large part thanks to Brando). Out of protest against Paramount, Brando decided not to appear in Part II after all.

Incidentally, Coppola would not be "quitting the movie business", like he announces in the letter, and would even make another film with Brando, the 1979 Apocalypse Now. 

Source: RR Auction

Transcript:

Monday

Dear Marlon,

I heard you were back from the South Pacific; but I didn't want to call you because I always feel stupid bringing up the matter of the Godfather. I know you return my calls on a personal and friendly basis, and so I can't bring myself to misuse that and bring up what is bothering me.

My problem is simply that I am stalling and stalling because I have the inkling that it may be possible that you will play the young Vito Corleone. I've seen in the past, that even a slight possibility may blossom into a fact, and so I've tried to kindle this as best I could. I've become a real behind-the-scenes monster playing Yablans and Evans and Bludhorn [sic]; trying to get them to do what I want. I tell Yablans that he's the only one who can do it. Then I tell Evans the same thing. 

I tell them the movie cannot be made without you; I tell Yablans he has to apologize to you. Now Yablans says that he's trying to do this, and get together on the money and stuff, but you don't return his call. 

Evans wants to approach you; but Yablans is terrified that Evans might make it work, where he failed…so he keeps preventing that.

But what it really comes down to is me. Marlon I respect you enormously; and if you told me that you did not want to do it under any circumstances, whatsoever…of course I would accept that, and never mention it again. And if you liked, I wouldn't tell anyone else. 

I learned a lot from you…one thing being that it's only a movie, and what's that compared to everything else there is in the world. 

At times, I try really hard to imagine what you're like in your thoughts. I realized that you've been in this strange state of adoration and exhibition for 25 years now, intensely…and I think that would have driven me crazy. And the fact that you're really a good man, and warm, and love people is a tremendous achievement considering that you've been in a glass box for half your life. 

I always to tell you that,…although it has nothing to do with this letter. 

All I'm saying is that if you will be in this movie; I will do my very best to make it be good; and human, and express the notion that the Mafia is only a metaphor for America and capitalism, which will do anything to protect and perpetuate itself. (I will do this anyway, if you're not in the film…but if you were in it, it would be better, and you would help me with your ideas as I work on the script.)

If you will not be in it, I will love you no less. All I ask is to please tell me without the shadow of a doubt. 

I am very happy; having a terrific time up here. After this film I am quitting the movie business, and will do other things that I am excited about (that may involve film). 

Sincerely, 

Francis 

My number is 563 2632 

_____

While Marlon Brando would not reprise his role in The Godfather Part II, several of the old cast members would, among them Al Pacino, Robert Duvall, Diane Keaton and James Caan (the latter in a cameo appearance in the birthday flashback scene). As with the first film, Coppola worked on the screenplay with author Mario Puzo. Although less successful commercially and critically than its predecessor, Part II was still very well received and won even more Oscars, six in total. Oscars went to Best Picture (Francis Ford Coppola, Gray Frederickson and Fred Roos), Best Director (Coppola), Best Supporting Actor (Robert de Niro), Best Adapted Screenplay (Coppola and Puzo), Best Art Direction (Dean Tavoularis, Angelo P. Graham and George R. Nelson) and Best Original Dramatic Score (Nino Rota and Carmine Coppola). 

The final installment in the Godfather series, The Godfather Part III (1990), would be the least successful of the three films, and while nominated for seven Oscars it won none.

After Brando had declined the role of young Vito Corleone, Coppola offered it to Robert de Niro, with whom he is pictured here on the set. De Niro is great as the young Vito, a much better choice than the older Brando would have been.