The Godfather (1972)

User Rating:

9.1/10   

Director:

Francis Ford Coppola

Writers:

Mario Puzo (novel)
Mario Puzo (screenplay) ...

Release Date:

24 maaliskuu 1972 (USA)

Genre:

Crime | Drama | Thriller

Tagline:

An offer you can't refuse.

Plot:

The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.

Plot Keywords:

Mafia | Business | Wedding | New York | Violence

Awards:

Won 3 Oscars. Another 19 wins & 17 nominations

Cast

Marlon Brando	...	Don Vito Corleone
Al Pacino	...	Michael Corleone
James Caan	...	Santino 'Sonny' Corleone
Richard S. Castellano	...	Peter Clemenza (as Richard Castellano)
Robert Duvall	...	Tom Hagen
Sterling Hayden	...	Capt. McCluskey
John Marley	...	Jack Woltz
Richard Conte	...	Don Emilio Barzini
Al Lettieri	...	Virgil 'The Turk' Sollozzo
Diane Keaton	...	Kay Adams
Abe Vigoda	...	Sal Tessio
Talia Shire	...	Connie Corleone Rizzi
Gianni Russo	...	Carlo Rizzi
John Cazale	...	Fredo Corleone
Rudy Bond	...	Don Carmine Cuneo

Also Known As:

Mario Puzo's The Godfather (USA) (complete title)
Kummisetä (Finland) [fi]

Runtime:

175 min

Country:

USA

Language:

English | Italian | Latin

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

DTS (re-release) | Mono

Certification:

Colombia:18 | Canada:AA (Ontario) | Canada:PA (Manitoba) | Spain:13 (re-rating) | Canada:18A | Philippines:R-18 | UK:15 (DVD) (2007) | Australia:MA (2008 re-rating) | Australia:R (original rating) | India:A | Italy:T (DVD re-rating) | Argentina:18 | Austria:16 | Canada:13+ (Quebec) | Chile:18 | Denmark:15 | Finland:K-16 (re-rating) | Finland:K-18 (original rating) | France:-12 | Hong Kong:IIB | Iceland:16 | Ireland:18 | Israel:PG | Italy:VM14 | Japan:R-15 | Mexico:C | Netherlands:16 | New Zealand:R16 | Norway:18 | Peru:18 | Portugal:17 (original rating) | Portugal:M/18 (re-rating) | Singapore:M18 | South Korea:18 | Spain:18 | Sweden:15 | UK:18 (video rating) (1987) | UK:X (cut) | USA:R | West Germany:16 | Poland:15 | Brazil:14

Filming Locations:

110 Longfellow Road, Staten Island, New York City, New York, USA

Company:

Alfran Productions

Trivia:

Director Francis Ford Coppola worked with relatives in this film, (making it a family film in many contexts). In chronological order of appearance: - his sister Talia Shire portrayed Connie Corleone throughout the trilogy; - his mother Italia Coppola serves as an extra in the restaurant meeting; - his father Carmine Coppola is the piano player in the Mattress sequence; - his sons Gian-Carlo Coppola and Roman Coppola can be seen as extras in the scene where Sonny beats up Carlo, and at the funeral; - and his daughter Sofia Coppola is the baby Michael Rizzi in the baptism (she was three weeks old at the time of shooting).

Goofs:

Continuity: Just before Luca Brasi is killed by Solozo, he is stabbed with a knife on his left hand, and when he is being garroted and falls into the floor, we can see the knife on his right hand.

Quotes:

[first lines]
Bonasera: I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom but I taught her never to dishonor her family. She found a "boy friend," not an Italian. She went to the movies with him. She stayed out late. I didn't protest. Two months ago he took her for a drive, with another boy friend. They made her drink whiskey and then they tried to take advantage of her. She resisted. She kept her honor. So they beat her. Like an animal. When I went to the hospital her nose was broken. Her jaw was shattered, held together by wire. She couldn't even weep because of the pain. But I wept. Why did I weep? She was the light of my life. A beautiful girl. Now she will never be beautiful again.
[He breaks down at this point, and the Don gestures to his son to get him a drink]
Bonasera: Sorry...
[He regains his composure and carries on]
Bonasera: I went to the police, like a good American. These two boys were brought to trial. The judge sentenced them to three years in prison, and suspended the sentence. Suspended sentence! They went free that very day! I stood in the courtroom like a fool, and those two bastards, they smiled at me. Then I said to my wife, "For justice, we must go to Don Corleone."
Don Corleone: Why did you go to the police? Why didn't you come to me first?
Bonasera: What do you want of me? Tell me anything. But do what I beg you to do.
Don Corleone: What is that?
[Bonasera gets up from his seat and whispers into the Don's ear; for a long moment the Don is silent]
[...]

Movie Connections:

Referenced in West of Brooklyn (2008)

Soundtrack:

This Loneliness

An Epic, Masterful Look into the Underground World

"The Godfather" simply put, is one of the greatest films of all time. The script is thee best I've ever read. The direction is flawless. The acting may very well have the best ensemble cast in any movie I've ever seen or will ever see. It's also one of the most precise and intricate films I've ever come across as writer, Mario Puzo brings out some of the most hidden and guarded secrets of the underground world ever captured on film. Watching "The Godfather," is like watching cinematic art. Francis Ford Coppola's direction is what brings this film, that's so ambitious and so grand, down to earth with precision direction as he handles each and every scene with such care. The film starts with a black screen and an opening monologue from an undertaker. As the man starts talking about honor, family, respect, and justice we are pulled right in on his luminous eyes as he stands in near darkness. He begs for justice since the American system has failed him. He goes to Don Corleone (Marlon Brando) for justice. Don Vito is the man of power. He's the one who pulls all the strings and watches his puppets dance from behind the stage and out of sight; untouchable, or so we think. Some of the greatest moments in the film- and very intentional to show the distinguishable difference between Michael and Vito- are of Vito crying over his son, Sonny's (James Caan), death. When Michael learns of the news, he has little reaction. Two of the most emotionally powerful scenes in the film are from the cause of a loved one that has died long before he should have, and they come from Brando. As Vito stands over the body of his son he nearly breaks down. There is clash of feelings between the two men that are never conflicting, but compared.

The film opens during the wedding of Don Vito' daughter, Connie (Talia Shire), and we see just how strong the bond of family really is. You have the family dancing with each other, drinking, laughing, and sitting next to each other to show how close they are, then we see some of the outsiders such as the Barzini family, and surprisingly Michael (Al Pacino) along with his girlfriend Kay (Diane Keaton) on the outskirts without much interaction. Michael seems almost out of place as if he is the adopted son and Tom Hagen (Robert Duvall) is more apart of the family than he is. His opening words are to Kay, and they include, "That's my family, Kay. That's not me."

We get the feeling that Michael's nearly ashamed of the stigma that goes along with his last name: This is what makes Al Pacino' role- significantly- the hardest performance in the entire film to portray. He's the one doing all the heavy lifting as he has to go from outsider and completely against the family's actions and businesses to, by films end, head of the family. Brando has the teary eyed moments that actors live for, but Michael is too cold for that. Never for a second as he gradually comes to power do we think this turn is ridiculous or laughable, and in lesser hands it very easily could have been.

The final act of the film is loaded with plot points as decisions are made left and right as the film becomes visually and emotionally captivating. As the film draws to an end, Michael has gained half of the power of the family and makes most of the decisions. He's treated, not with respect, but as an outsider, too high ranking for his experience. The Corleone family is on the brink of disaster and losing everything, yet we never get that feeling. We see the two leader's confidence and we keep our confidence in them, even if the other family members doubt their decisions. Michael goes to Las Vegas and makes Moe Greene an offer he can't refuse. Then he refuses. This is Pacino' shinning moment in the film. There's no screaming or the hoopla that goes along with his name. After he treats Moe Greene like utter garbage, Fredo (John Cazale) get's upset and starts barking at him. Coppola is perfectly on his game here, too, as we watch from Fredo's height, looking down on Michael who sits in a chair as he coldly looks up with his radiating eyes, that have so much going on behind them, and simply says, "Fredo, don't ever take sides with anyone against family again. Ever."

That's some serious foreshadowing for the second film, and only after watching the second film can you go back and appreciate what Pacino and Coppola pulled off in this scene; Cazale too. We have no idea how serious Michael is. These are some of the stepping stones that make Michael's change believable. He's not quite his father- Vito has a soft spot for his children (admittedly so)- as he's capable of turning on anyone and using the line, "It's strictly business" when it comes to family issues. Michael's sister, Connie, calls him a "cold hearted bastard" at the end of the film. It's hard to find better superlatives than that, yet we still love him. The interesting thing about Pacino' performance is that he doesn't sugarcoat it. He doesn't try to make the audience love him. He plays the character as the character should be played. That's the sign of great writing; great acting; and great directing since we could have very easily seen someone try to make him likable. This crew just presents the character with all his flaws and let's us decide if we love him or hate him. Its films like "The Godfather," that made me wish I had amnesia, so I could feel the same heart pounding moments over and over again.