The splashy inside Hollywood drama on the making of The Godfather is a patchy, overlong series that is best when it sticks to the script
, the film’s sole producer, Al Ruddy , has a surprise meeting with two FBI agents. Such shadowy encounters are, as this patchy and self-indulgent ten-part story reveals, par for the course on a production knotted with complications and controversy. These obstacles are, of course, surmounted; the producer quickly charms the FBI agents investigating Ruddy’s budding friendship with New York mob boss Joe Colombo .
The main plot of The Offer cycles like this: there’s an obstacle to making the Godfather, be it casting Pacino, Frank Sinatra denouncing the project or the mob wanting a cut. Ruddy, a restless former office pencil pusher, and his team – Bettye, The Godfather novelist and writer/director Francis Ford Coppola – out-maneuver and negotiate their way through said roadblocks.
Time and again, The Offer, like Ruddy, seems to have bit off more than it can chew. Colombo and his ilk, who feel insulted by the movie, at first seem pathetic and petty; Ruddy’s friendship with Colombo seems to be for show. Yet The Offer softens on both over time, playing Ruddy’s cozying up to mobsters as simply necessary for the movie.
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