The Godfather (1972)

R   |    |  Crime, Drama


The Godfather (1972) Poster

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

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9.2/10
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  • Al Pacino and Diane Keaton in The Godfather (1972)
  • Marlon Brando and Al Martino in The Godfather (1972)
  • "The Godfather" Marlon Brando, Dir. Francis Ford Coppola 1971 Paramount
  • Al Pacino at an event for The Godfather (1972)
  • "The Godfather" Marlon Brando 1971 Paramount
  • "The Godfather" Marlon Brando 1971 Paramount

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2 June 2018 | BiiivAL
9
| A movie that can not be abandoned
An important place in American history is the period when several thousand Sicilian emigrants went to the United States in search of a new, better life, in which there would be no tyranny of the Palermo and Messinxich dons. Who knew at that time that this "bunch of Sicilian emigrants" would occupy a high place in the United States and in the history of this country.

Sicily is one of the most beautiful places in Italy. Unfortunately Sicilians, quite friendly inhabitants of this island, the words-synonyms of Sicily are not only olives, butter and wine, but also words like omerta, vendetta and mafia. Yes, the mafia. A small bunch of bandit mackerel in Sicily, run by the Don. In the US, this word took a slightly different meaning. A huge number of gangsters who seek to conquer and rule all the States. A family is a mafia, a mafia is a family headed by a cruel and wise person who manages everything and who owns everything. Proudly and shortly - don.

Mario Puzo is a brilliant writer, rightly considered to be a recognized classic of the twentieth-century literature, having written several excellent and worthy works, the best of which is undoubtedly the novel "The Godfather". A book about the life of gangsters and revealing all the doors to the world of the mafia. Mario Puzo was a great connoisseur of human psychology, but the psychology of people who transgressed the law especially. That is why in his novel he explores each character to the depths of his soul and climbs into the most intimate corners of their thoughts.

The novel, and indeed, the film - is not a direct and reliable historical source, but, nevertheless, it contains the quintessence of the criminal world. Five families of New York Piuso wrote from the real five families of New York, Johnny Fontaine Puzo wrote from Frank Sinatra. The literature was tired of books about Al Capone and Frank Costello, and Puzo made a move to a horse-invented a criminal family that was not really there, but which subsequently won, without exaggeration, the whole world.

It often happens that the director, when stating a picture, leaves the original and is engaged in arbitrariness. Francis Ford Coppola director is no less brilliant than the rest of the directors. He squeezed everything that can be learned from the novel Puzo and put it into the film. Doing nothing without adding something new or removing something from the book, Coppola and Puzo created a masterpiece. A masterpiece in everything. Mario Puzo's book became a masterpiece of literature, and Francis Ford Coppola created the film - a masterpiece, a film - a classic that just can not help but like it. Coppola not only superbly put the film, but simply brilliantly picked up the actors. Who knows what was the fate of the film without Marlon Brando and Al Pacino. Coppola skillfully created the atmosphere of New York at the end of the forties, but also the atmosphere of family life, the life of people from Sicily.

Vito Carleone is a wise and cruel man with clear principles, a loving but stern father. Marlon Brando was just awesome dona Carleone. His character is a serious strategist who has achieved power and respect himself. Don Carleone's sad gaze, his smooth gestures, his unique voice and his unforgettable "bulldog jaw" forever blended into the image of the viewer.

Don Carleone - this is Marlon Brando - sloven and lover in life, but on the screen - a genius who embodied the image of Don Carleone - a strong spirit of a man and a cruel gangster, who has enormous authority. Vito Carleone is a very impressive person who knew how to get others to do things their own way. Marlon Brando with his game was able to make the viewer believe that before him is not just an actor playing a role, but a real person is that same severe don. Brando is a great improvisator.

Michael Carleone character is no less interesting than his father. Michael is kind-hearted and truthful, knowing what his father does, he never wanted to deal with his family and participate in criminal quarrels. Al Pacino played his character no less brilliant than Marlon Brando. Pacino showed all the destruction of the human psyche and the transformation of his hero: from the uninitiated in the affairs of the family of the young war hero, to the new Don Carleone, possessing an iron will, foresight, wisdom and dignity. Sonny Carleone is not at all like Michael and Vito. He is an impulsive warrior, but a bad strategist who prefers to go ahead, not act cunning. Coppola did not lose on the fact that he called for the role of an American from Sicily. James Caan brilliantly played the role of Sonny - a man with an explosive Italian temperament, ready to always stand up for the family.

In addition to the brilliant acting and excellent production in the film, there is the wonderful music of the composer Nina Rota. An excellent melody, fallen in love with everyone and has long become a classic.

"Godfather" is a masterpiece, an ideal gangster movie. The film without minuses, blunders and cliches, which pulls to review, even if you know it by heart. This is a classic, a gangster epic, a bible for cinephiles, giving answers to all the questions. A movie that teems with crown phrases that have long since become part of everyday life. A worthy picture, without exaggeration, is the best in its kind.

"Behind every wealth lies a crime" (c) - it is this phrase Honore De Balzac stands at the beginning of the work of Puzo. The film, if briefly, actually about it. And about the proposal, "from which you can not refuse" (c).

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Did You Know?

Trivia

The line "I'm gonna make him an offer he can't refuse" was selected by the American Film Institute on its list as one of the top 100 movie quotes. It was at number two, right behind "Frankly, my dear, I don't give a damn", from Gone with the Wind (1939).


Quotes

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 ...
Bonasera: ...


Goofs

During the Sallazzo/McCluskey assassination, the revolver Michael is using changes from a blued finish, to a nickel plate finish, then back to blued finish.


Crazy Credits

In the end credits, Marlon Brando's name is the only one that is not accompanied by the character name that he plays (e.g. "as Vito Corleone").


Alternate Versions

In 1977, a special version for television titled The Godfather Saga (1977) was prepared by director Francis Ford Coppola and editor Barry Malkin by re-editing The Godfather (1972) and The Godfather: Part II (1974) in chronological order and adding deleted scenes. Most of these deleted scenes are also included separately on the DVD release and in The Godfather Trilogy: 1901-1980 (1992). Among the deleted scenes:

  • Following Bonasera's exit in the first scene, Vito whistles at Sonny for not paying attention to business.
  • During the wedding reception, Tom Hagen informs Don Vito that consigliere Genco won't last the night in the hospital.
  • After the wedding, the Don and his sons are leaving the compound with Johnny Fontane to visit Genco. Vito asks Michael if Kay was able to get home all right.
  • In the hospital, the Don looks at Michael's military decorations with disdain then tells Michael that he has plans for him after graduation.
  • A dying Genco begs Vito to stay with him believing that Vito will somehow stop his death.
  • An extended version of Jack Woltz's party for his child star, Janie.
  • After being thrown out by Woltz, Tom looks up and sees Janie crying and her mother push her back into Woltz's bedroom.
  • Connie and Carlo argue and she runs crying into Mama's arms. Sonny wants to confront Carlo but Vito tells him not to interfere.
  • After Tom returns from Hollywood, he discusses with Vito what he has discovered about Woltz.
  • Michael and Kay are in their hotel bed in New York City and don't want to go to the family compound. Michael has Kay call Tom pretending to be an operator, then Michael tells Tom that they are in New Hampshire and will be at the compound the next day.
  • On the way to meet Sollozzo, Luca sees the nightclub's neon sign burn out.
  • Sonny gets a call from a detective telling him about his father's shooting. He then tries to call Tom.
  • Sonny tells Mama about the shooting. He then goes into Vito's study, calls Tessio and tells him to prepare his men. He then tries to call Luca.
  • A quick shot of Michael driving, returning home after his father's shooting and Rocco offering to escort Michael into the house.
  • Michael brings Tom's wife Theresa into the study where Sonny and Tessio are. Sonny comforts her and tells them both to wait outside but Michael stays. They discuss with Michael whether Clemenza or Paulie was the traitor. Michael tries to talk Sonny out of going to war stating Vito would not want it. Then Tom returns home and hugs Theresa.
  • Immediately following is a quick shot of the Corleone compound that dissolves to the scene where they discuss their next course of action.
  • Rocco admires Clemenza's car but Clemenza complains that the bumpers are wooden due to the war effort. He then tells Rocco that he is to kill Paulie.
  • Clemenza has Paulie check the hideout spot. He then has Paulie make a stop so he can buy some cannoli and have a meal at a restaurant.
  • In Sicily, Michael and the bodyguards watch a Communist demonstration march.
  • While relaxing in the afternoon sun, Fabrizio begs Michael to bring him along to America when he returns.
  • Michael and his bodyguards visit his father's childhood home and find it abandoned.
  • After Connie hangs up the phone on Carlo's "girlfriend", she then confronts him in the shower. Then, Carlo orders her to make him dinner.
  • Bonasera is shown getting ready to return his favor to Don Vito. Bonasera tells his wife who is helping him get dressed that maybe he will be asked to be an accomplice to murder.
  • After the car bomb, Michael wakes up in bed surrounded by nurses and Don Tommasino. Michael tells Tommasino to find Fabrizio and he passes out.
  • Michael and Vito talk in the new garden after his return from Sicily. Michael takes responsibility for avenging the deaths of Sonny and Apollonia so Vito will not have to break his promise to the other Dons.
  • Additional dialogue when Michael removes Tom from his position as consigliere.
  • The final scene is Kay in a Catholic church lighting candles and praying.


Soundtracks

Non so più
(1786) (uncredited)
(Cherubino's Aria) from opera "Le nozze di Figaro" Act I, Scene V Music by
Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte

Storyline

Plot Summary


Synopsis (WARNING: Spoilers)


Genres

Crime | Drama

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