Hi fellow GF lovers,

I did a search on this and couldn't find past postings but please correct me if I've missed the answer to this (also I apologize if I've missed something).

Regarding the patio scene between Don Vito and Michael in "The Godfather," where famed screenwriter Robert Towne was brought in by Coppola to pinch-hit ("wasn't enough time, Michael. Wasn't enough time..."
"We'll get there, Pop -- we'll get there...").

I've heard a few things that I cannot find sources for and am wondering if anyone here can source or confirm/deny.

I've heard Coppola offered Towne a writing credit just for this scene but Towne declined - ultimately, obviously Towne did not get credit but I'm just curious as to whether or not this story about how that came about is accurate. No reason other than curiosity because it's one of my favorite scenes and I'd like to know as much as the backstory on it as possible.

Also, I've heard that Coppola and Puzo accepted their Best Screenplay Oscars in front of a blow-up of this page(s) of the screenplay -- I can't find any clips or still shots of that so I can't confirm.

I just find these little back stories really interesting and would love to know more.

Thank you so much in advance if you have any insight on these or even other tidbits relating to this scene.

Ciao

I suggest you get Harlan Lebo's "The Godfather Legacy", the best book around on the movie. There are a few pages regarding this scene.

Welcome to the best boards on the internet, Starchild. SC is correct. Lebo's book is a "must read" for anyone who wants to know the backsotries of the making of The Godfather.

One tid bit you may not know...George Lucas (without credit) as a favor to FFC did the montage of newspaper headlines that
appeared after Vito was shot, and the mob war was going on. This ended with a headline about Vito Corleone,"Syndicate Big Shot" going home from the hospital. The word "mafia" was never uttered nor appeared in The Godfather.

Personally, I love this scene. What a great father/son connection we experience. Even if Brando was reading his entire dialogue from cue cards...there's a behind the scenes tidbit for you starchild111. Brando read from cue cards and notes for much of his scenes in GF. BTW - welcome to the board!

Thank you SC, dontomasso, and Mark for your thoughtful replies. I will check out the book.

It's always amazing to me no matter how many times I watch these films how many new things can be seen on each viewing.

I can't say that about many films. Just perfection.

Like walking into an art museum and looking at your favorite painting.

I wish I could see footage or photos of the Academy Awards when they won their Oscars so I could confirm that piece of info. That would be cool.

LOL....stick around for a while and watch board mmbers point out all kinds of inconsistencies and mistakes in all three films but especially in II and III.

That's funny that people do that. They certainly have that right but my answer would be that great masters quite frequently have so called "mistakes" in their work.
In fact, da Vinci's "Annunciation" is frequently critiqued for mistakes and even being amateurish (although having been painted when he was 20-21 and widely considered his first real painting that could be an explanation).

As long as great art (and not so great art) exists, there will be an entire cottage industry for critics. Some paid and some that do it just for fun.

Btw, I'd put GF's in the category of great art.

Same here. I prefer The Godfather (Part I and II) above a Rembrandt, I think.

No question GF I & II are great art. Not so much III.

Since you are new, I'll ask you the most asked and discussed question onthe boards:

In GF II, who opened the drapes in Michael and Kay's bedroom?

LOL! I'm honored to be asked this question! I know there is a firestorm of debate regarding this.

I think, like most great art, there are elements in the best cinema that are a form of a Rorshach test -- in that, we see what we want to see, hope to see.

We also have to take how the character was written and interpreted until that point into consideration.

Now, for my answer! LOL.

I do not believe it was Fredo. Yes, part of this is me not wanting to believe he could do it.

But a large part of it is me looking at what we have to go on--the evidence: how it was so brilliantly written by Puzo/Coppola and created/interpreted with such genius by Cazale.

Even at the height of his conflict with Michael -- there was no malice there, as interpreted by Cazale.

He was playing it from a deep place of hurt and wanting acceptance and wanting to prove himself. Never evil or fratricide.

We do know that there were 2 out of New York found dead there and Johnny Ola was in the house at some point.
I like to think it was one of those.

Hymen Roth was awfully resourceful, we have evidence of this. He could have had any of his associates pull that off. And we know from Fredo's "you guys lied to me" conversation with Ola that he was fooled. It is fair to assume when putting that conversation together with the "I didn't know it was gonna be a hit" conversation with Michael that, yes, Fredo really didn't know.

Fredo was guileless. Even when trying to be sneaky -- he can't pull it off. He wasn't even able to keep his "We've never met" lie going about Johnny Ola. What did that last--about a few hours?! LOL At most!

It's not natural to him. He doesn't have the heart for it. He also doesn't have the cunning for it. I'm reminded of Puzo's quote about Vito's 3 sons each getting a piece of him. Fredo got the heart. Michael got the reason. Sonny got the passion. I know someone here will have the exact quote - I am paraphrasing, obviously.

So, no, I don't think it could have been Fredo and that would leave one of Roth's men to do it. Which, I believe from what we've been shown by the writers and filmmakers, is not only entirely possible but very probable.

Now, let the agita over my answer begin!! hahaha
Cominciare!

MICHAEL (reaching over, touching his father)

What's the matter? What's bothering you?

(then, after the Don doesn't answer)

I'll handle it. I told you I can handle it, I'll handle it.


VITO CORLEONE (as he stands)

I knew that Santino was going to have to go through all this. And Fredo -- well --

(then, after he sits besides Michael)

-- Fredo was -- well -- But I never -- I never wanted this for you. I work my whole life, I don't apologize, to take care of my patio. And I refused -- to be a fool -- dancing on the string, held by all those -- bigshots at Home Depot. I don't apologize -- that's my life -- but I thought that --
that when it was your time -- that -- that you would be the one to hold the strings. Patio Store Manager Corleone, Patio salesman Corleone, or something... There wasn't enough time Michael ... there wasn't enough time.

This department manager -- I want you to -- find out what he's got under his fingernails, ya know. Make them think that ah -- you're not too happy with our patio and ah -- see what you can find out about concrete panel floors.

MICHAEL: Well, when Johnny was first starting out, he was a bricklayer; installing beautiful patios with a big construction contractor. And as his career got better and better, he wanted to get out of it and start his own company.

Now, Johnny is my father's godson. And my father went to see this contractor, and he offered him $10,000 to let Johnny go. But the contractor said no. So the next day, my father went to see him; only this time with Bob Villa. And within an hour, he signed a release, for a certified check for $1,000.

KAY: How'd he do that?



MICHAEL: My father made him an offer he couldn't refuse.


KAY: What was that?


MICHAEL: Bob Villa held a nail gun to his head, and my father assured him that either his brains -- or his signature -- would be on the contract. That's a true story. That's my family's construction business, Kay. It's not me.

On the serious side of this scene, it truly is one of my favorite scenes in the entire trilogy. Every son has a recollection of a one on one heart to heart with their dad. Whether it is a patio, garden or deck, there is something about sitting outside and talking with elders that just makes them - and us - open up. I love this scene. Vito repeats himself, talks about wine, his garden, family, etc...just like my dad and many of yours. Vito and Michael talk about Michael's future, as well as the Family's future. It reminds me of the birthday scene when Mike asks Tom; "You've talked to my father about my future?" Now we see first hand a conversation with Vito & Michael and Vito's past hopes and plans. The deleted scene at the beginning when Vito and all the boys go see Genco in the hospital should have been left in. Vito has a quick private exchange with Michael and it illustrate's the relationship precisely.

"Lebo's book is a "must read" for anyone who wants to know the backsotries of the making of The Godfather."

Thanks for this information, i will find that book because want to know more about Godfather trilogy, i heard it cool.