escaped

FEW got on the wrong side of drug lord Pablo Escobar and lived to tell the tale – let alone survived him putting out a contract on their life.

But Godfather actor Gianni Russo, 82, is no ordinary bloke. He was employed by some of America’s most notorious Mafia kingpins and sensationally claimed Marilyn Monroe took his virginity. Now, he reveals the astonishing story of how he went from mob notoriety to Hollywood fame – and how he escaped death in the process.

The New Yorker’s blockbuster life began dramatically when he nearly died aged six from polio, only surviving thanks to an experimental vaccine trial that cured him but led to the deaths of half of the patients on the hospital ward.

After a lengthy five-year recovery, Russo started out selling ballpoint pens on the streets of New York aged 13.

It was here that he first crossed paths with Frank Costello, a mob boss from the Luciano crime family, who offered him work. 

This induction into the mob world would lead to him becoming pally with the likes of Frank Sinatra, Monroe and Al Pacino, as well as bagging acting roles including in the first two Godfather films, Rush Hour 2 and Red Dragon. 

And it was his portrayal of Carlo Rizzi, the abusive husband of Connie Corleone, in the first Godfather movie that would save his life in the unlikeliest fashion.

Surviving “King of Cocaine” Escobar’s wrath – after surrendering himself to the Colombian drug lord and being interrogated in a prison cell three floors underneath his mansion – was among Russo’s biggest feats.

Escobar had put a hit out on the actor after he shot dead Lorenzo Morales, a hitman from his Medellin Cartel, in a 1988 Las Vegas nightclub.

The fatal altercation came after Morales stabbed a woman he had taken to dinner at Russo’s venue and then slashed the Godfather star’s face with a broken champagne bottle.

Russo tells The Sun: “He spins around and goes for my throat. Fortunately I react, I was agile enough, but he cuts me on my jawline, which required 81 stitches, and I’m bleeding.

“I said, ‘Look what you did to my shirt.’ He cut me but I’m worried about my shirt. I just wanted to get my hand on my gun and as soon as I did, I put the gun at his forehead.

“I told him, ‘Now go out the door’. He said, ‘F*** you’. I shot him… The cops came and took me to the hospital.”

Russo wasn’t charged with the killing due to it being ruled a justifiable homicide by the Nevada District Attorney’s Office.

But he knew he was a wanted man when Morales was revealed to be part of the Medellin Cartel.

Despite knowing he was unlikely to return, Russo travelled to a church in Colombia to meet face-to-face with the drug lord – a meeting arranged by mobster John Gotti, head of New York’s Gambino crime family. 

Russo adds: “Understand one thing, Escobar believed in killing your pets, your children, your family, and you last. I wasn’t going to let that happen.” 

Seconds after greeting Escobar, he was hit from behind and woke up in the cartel lord’s famous “mansion prison”, which he had built to avoid extradition to the US for drug charges.

“I was strapped to a chair, the stench was unbelievable,” Russo says. 

“I thought I was hallucinating. [Escobar] had a book in his hands. The book was ‘Making Of The Godfather’. He said to me, ‘Why didn’t you tell me you were Carlo in The Godfather? I loved that movie.’”

In a Hollywood-style twist, Escobar instructed his associate to clean-up Russo, treat his injuries and take him to his dining room, where the Colombian would later probe: ‘Why did you come here?’

Russo replied: ‘What would you have done if someone was going to kill your daughter? I had to come here. Kill me now and leave my family alone.’

He continues: “He walks towards me, I don’t know if he was going to cut off my head or what, but he kissed me. He said, ‘They don’t make men like us anymore. Go home, I’ll handle this’. 

“So, we sat down, had dinner, we talked, it was amazing. But he was a frightening man.”

Russo bagged his role in The Godfather after serving as a liaison between Paramount Studios and the Colombo crime family, who had threatened to stop the film’s production through their vice-like control over the unions.

He recalls petitioning crime boss Joe Colombo, who objected to the movie because it “basically identified every Italian as a gangster”, by telling him: “Listen, we can make a lot of money from this.” 

Eventually, Russo talked him around and was given the role of Carlo in the iconic 1972 movie “as my reward”.

Not everyone was happy he got the part, including Marlon Brando. The legendary star, who played Don Vito Corleone, was desperate to succeed in his “comeback film” and wanted everything to be perfect.

“When he found out that I wasn’t even an actor, he tried to get me fired,” Russo said. “I worked that out with him and we became friends.”

Similarly, Russo says co-star James Caan, who played Sonny Corleone, “hated me from day one” because of his corrupt connections. 

Caan also believed he lost out on the role of Michael Corleone to Al Pacino because of Russo and his mobster allies.

John Gotti rival

By the time Russo starred in The Godfather, he had already made a fortune from criminal activities.

He was sitting on an estimated £1.5million fortune, having worked as a ‘messenger’ for mafia families and run multiple crooked businesses including casinos.

Russo was taken under mobster Frank Costello’s wing out of respect for his Sicilian uncles, who had helped to send the Mafia crime families over to America and were hanged for their criminal activities.

He says being “given so much respect so early on” angered future Gambino crime boss Gotti, who was then a “hijacker, earning big money” and desperate to become a ‘made’ man.

Was I upset? No. I’d just had sex with America’s hottest movie star and sex symbol.

Gianni Russo

Russo’s biggest money-spinner was laundering “hundreds of millions of dollars” skimmed from casinos and other illegal businesses through the Vatican Bank with the help of a corrupt bishop in the 1970s.

Then came his big screen debut in The Godfather, which changed his life forever and was a film that “the mob loved”. 

Russo says: “The Godfather was my first film. I was young, I was making big money and with my ego, I wanted to become an actor.

“The movie premiere was like a dream come true for me because 10 years earlier I was selling ballpoint pens to people and now I was in the biggest movie ever in the world.”

‘Marilyn taught me everything’

Fame, coupled with Russo’s mob connections, led to a series of high-profile celebrity romances. He would go on to father 13 children with 10 different women.

He dated I Say A Little Prayer singer Dionne Warwick in the 1980s, the actress Zsa Zsa Gabor and Cabaret star Liza Minnelli.

“I really like Liza, I couldn’t say anything bad about her, she’s just fun, enjoys life,” Russo said through laughter.

But perhaps his most famous dalliance came earlier with Marilyn Monroe, then 33, who he sensationally alleged took his virginity when he was 15. 

Gianna was working at a hair salon in New York and says the Some Like It Hot star always requested him to wash her hair. 

He claims one day Marilyn’s advisors invited him to her suite in the Waldorf Hotel and they bonked for the entire weekend, leaving him struggling to walk after . 

Russo recalled her standing in her messy room, which he compared to “like the set of a disaster movie”.

She was holding a flute of champagne, wearing just a towel which she promptly dropped and invited him to join her in the bath. 

“My heart was pounding,” he said. “Like an idiot, I covered my eyes, which made her laugh.

“I began undressing, praying I wouldn’t trip over my pants and fall on my ass, and then entered the tub. I’ll be ­honest, I had no idea what to do, or what she expected.

“We wound up in bed for the entire weekend, climbing out only when needed. It was my first ­experience of room service, and it added to the fantastic experience.”

The one issue was that Russo was just 15 years old – but the actor had no regrets, even boasting “she taught me everything I know” and he felt like “the luckiest boy alive”.

He said: “If it had happened today, I think she’d be arrested and my parents would have tried to get some cash out of it… Was I upset? No. I’d just had sex with America’s hottest movie star and sex symbol.”

Russo has lived a life few could imagine – he’s hung out with everyone from Pope John Paul II to Donald Trump.

He dubs himself “the Hollywood Godfather” but despite the title and his murky past, he insists: “I was never in the mob but I was around it and was friends with some of the big names.

“They (police) tried to tie me to the mob but I never got a traffic ticket let alone association.”

Russo has released multiple books and is currently touring the UK and Ireland as part of a one-man theatre show, which reveals all about his colourful life and how his film debut was a seismic moment for him. 

He adds: “The Godfather changed my life. I don’t know what my life would be without The Godfather. It’s still changing my life now.”

Russo Russo’s new book Mafia Secrets Untold Tales From The Hollywood Godfather is out now.  

“LINDA looks so beautiful, so cool,” says Paul McCartney.

He’s just been watching a film about the decade of his life after The Beatles broke up — and it is filled with images of his much-missed first wife.

“The Linda stuff was very emotional,” he admits at the Man On The Run launch event in London.

“Linda, the kids, me and John [Lennon] — all these memories. It’s like my life flashing in front of me.”

Macca is talking to an intimate gathering that includes his daughter Stella, son James, superfan Noel Gallagher and the actor who will play him in a forthcoming biopic, Paul Mescal. Oh, and me.

He continues: “Seeing me and Linda interacting is special because, you know, she’s not here.

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“So is seeing the kids when they were little, because they’re not little any more. They’ve got kids of their own now.”

The film stirs memories of forming his own band, Wings, with Linda in 1971, prompting this from McCartney: “We tried to follow The Beatles — it’s mad!”

It also brings into sharp focus his relationship with Lennon, which broke down in the wake of The Beatles split but, as we see, they reconciled shortly before John’s death.

Directed by Oscar-winning Morgan Neville, Man On The Run is a masterpiece of ­documentary storytelling.

Rich in source material, partly because Linda was a professional photographer who also shot home movies, it is raw, heartfelt, funny, poignant and, crucially, not remotely sugar-coated.

Before the screening starts, Sir Paul, looking fit and well for his 83 years, strolls on to the stage and quips: “I just want to say thank you to Morgan for keeping in all the embarrassing moments that I asked him to take out.”

But let’s get back to the big ­question: How DO you follow The Beatles?

It was a conundrum that weighed heavily on McCartney as the ­Swinging Sixties drew to a close.

As he puts it himself in the movie, the first thing he did was “escape” and then he had to learn how “to grow up”.

He had married American Linda Eastman in March, 1969, at Marylebone Town Hall, London, and soon afterwards adopted her daughter Heather from a previous marriage.

McCartney was still only 27 when, on April 10, 1970, he told the world that he, John Lennon, George ­Harrison and Ringo Starr were going their separate ways.

The announcement came amid acrimony over the band’s crooked business manager Allen Klein, favoured at the time by John and the others but later described by Paul as “a sort of demon”.

It was all over for the band of four likely lads from Liverpool who changed popular culture for ever.

In private, McCartney had known for months that his songwriting partner Lennon was leaving.

“John broke up The Beatles,” Macca affirms in Man On The Run. “But I got the rap. And that’s a bit of a weight to bear.”

Around the same time as ­Lennon’s bombshell, in late 1969, there were rumours across the US and around the world that “Beatle Paul may be dead”.

There’s a hilarious moment in the film when his younger brother Mike is asked whether it’s true.

“It’s a hoax, it’s a con,” he exclaims, before being asked when was the last time he saw his brother.

Mike replies: “The last time? It was his funeral, I think!”

It turned out that McCartney had the perfect bolthole, in an archetypal middle of nowhere, to hide away and reset his life.

In 1966, he had bought High Park Farm, a 183-acre sheep farm on the Mull of Kintyre (yes, that explains the song) in Argyllshire, only reached via a “long and winding” track.

With its corrugated iron roof and general state of dilapidation, it was, as someone in the film points out, the sort of place a poor farm labourer might baulk at accepting.

But, as the Sixties ebbed to a close, Paul, Linda, their daughters, Heather and baby Mary, plus their Old English Sheepdog ­Martha decamped to the Scottish wilds.

In the movie, McCartney suggests, “We got up there to escape”, and ponders whether he would write “another note of music” before confessing to drowning himself in one wee dram of Scotch after another.

But, with the responsibility of supporting a young family on his shoulders, he realised that “it was a question of HAVING to grow up”.

At the Man On The Run launch, McCartney reflects: “With The Beatles, we were just lads. Everyone, all our management, used to call us ‘the boys’.

“Then I got married and then there was a baby [Mary] on the way.

“I had to grow up. I thought, ‘We can’t just be these ‘boys’ any more’. It was time to think about stuff.

“Even though the film is kind of madcap and you see all our insane decisions, in the background there were some sensible decisions, too.”

He remembers how Linda was his guiding light through those years.

“If there was an idea that was a little bit crazy, I’d say, ‘Should I do that? Could I do that?’ She’d say, ‘It’s allowed’. It was a brilliant philosophy in life.”

Director Neville picks up on this theme: “I looked into the questions Paul was trying to ask of himself, questions that I felt were universal.

“How do you deal with your own legacy and the expectations people have of you? How do you balance your career with your family?

“In Paul’s case, he made them one and the same. And that, I thought, was completely inspirational.”

Though Kintyre provided a necessary respite from the dazzling glare of publicity, Macca has never been far away from making music. It’s in his blood.

In 1970, he released his debut solo album, simply titled McCartney, with its intimate DIY aesthetic and featuring at least two songs with his beloved partner in mind — The Lovely Linda and Maybe I’m Amazed.

In 1971, he formed Wings with ex-Moody Blues musician Denny Laine and, controversially, Linda, who until that point had little or no experience, as core members.

Rehearsals for their debut album Wild Life took place at Macca’s converted barn in Scotland, dubbed Rude Studio.

It felt to him as if he was starting over, at the bottom of the pile.

“It was so impossible to do something like that,” he says today.

“Just go back to square one, show up at a university, don’t book hotels, take the dogs in a van. For some reason, we thought it was a great idea!”

If Wings took time to take flight, everything changed in 1973 when they released third album Band On The Run, loaded with classic tunes such as the title track, Jet and Let Me Roll It.

Recorded in extraordinary ­circumstances at EMI’s studio in Lagos, Nigeria, not far from where Paul and Linda were mugged at knifepoint, it paved the way for ­stadium-sized shows in America.

Without the McCartneys’ sojourn to Scotland, there would have been no Mull Of Kintyre, which, at the time of its release in 1977, became the biggest selling single of all time.

A “love song” to that remote idyll, it featured Great Highland bagpipes played so passionately by the local Campbeltown Pipe Band.

Yet, interwoven with stories of Wings’ upward trajectory, there are musings on McCartney’s strained relationship with Lennon during the Seventies.

We’re reminded of John’s caustic song How Do You Sleep?, directed at Paul with its line, “The only thing you done was yesterday”.

And there’s his old buddy left thinking, “Aside from Yesterday, what about Eleanor Rigby, Lady Madonna, Hey Jude, Let It Be and the rest?”

Macca says: “As it shows in the film, I knew John from a very early age — we were just a couple of rock and roll fans.

“We enjoyed hanging out together and we started writing little songs round at my place.

“My dad had a pipe in his drawer. So we thought we’d smoke it. We couldn’t find any tobacco so we smoked tea! We had all those ­memories in common.

“Then we went through the whole trajectory of The Beatles. But John was always just that guy to me, even when he was being really mean and I was having to take it.

“At the same time, it was like, ‘Yeah, it’s just John, he does that’. He’d always done that — so that made it a little bit easier.

“But I loved him, you know. I loved all the guys in The Beatles.

“I try and think of how else it could have been, but with just me, John, George and Ringo, it was a magic grouping. And we did OK!”

Near the end of Man On The Run, you see McCartney being confronted by camera crews about the shocking death of Lennon, who had been shot the day before outside the Dakota Building apartment he shared with partner Yoko Ono in New York.

Macca was criticised at the time for a rather cool, unemotional response — but one look in his eyes reveals his utter devastation.

As for the aforementioned “embarrassing moments” on display in the film, they are what make it so refreshing and endearing.

Hence you see McCartney singing Mary Had A Little Lamb wearing a red clown’s nose with Wings guitarist Henry McCullough looking as if he wants the earth to swallow him.

There’s a moustachioed Paul in a baggy pink suit performing the cabaret-style Gotta Sing Gotta Dance, complete with dancing girls, for his 1973 variety show.

And what about him getting ­busted by Japanese cops in 1980 for having 219g of cannabis in his luggage, spending nine days in custody before being booted out of the country?

McCartney was supposed to be embarking on a Wings tour of Japan but, as it turned out, they never played together again.

He says: “So many bits are embarrassing. The look on Henry McCullough’s face! He’s not happy.

“I was thinking, ‘Maybe we could cut those bits, the dance routine, cool out my image’.

“But Morgan said, ‘No, let me keep them in. You’ll see all that stuff but because you overcame it all and found yourself, you won in the end’.”

Finally, McCartney takes a long hard look at himself — at the ­person “growing up” in Man On The Run and the man he is today.

He says: “You start to see yourself, not just in the mirror, but to realise what your character is like.

“It’s natural for me to be enthusiastic so I don’t always see pitfalls, With me, it’s, “Nah, nah, just do it’.”