directed by=

Francis Ford Coppola; 9,2 / 10; Crime, Drama;

country=

USA;

release year=

1972;

synopsis=

Michael, the young and idealistic son of Vito Corleone, the head of the most powerful Mafia clan in New York, returns home as a war hero and is determined to live his own life. But tragic circumstances make him face the legacy of his family

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A Corleone family portrait. “The Godfather” is told entirely within a closed world. That’s why we sympathize with characters who are essentially evil. The story by Mario Puzo and Francis Ford Coppola is a brilliant conjuring act, inviting us to consider the Mafia entirely on its own terms. Don Vito Corleone ( Marlon Brando) emerges as a sympathetic and even admirable character; during the entire film, this lifelong professional criminal does nothing of which we can really disapprove. During the movie we see not a single actual civilian victim of organized crime. No women trapped into prostitution. No lives wrecked by gambling. No victims of theft, fraud or protection rackets. The only police officer with a significant speaking role is corrupt. The story views the Mafia from the inside. That is its secret, its charm, its spell; in a way, it has shaped the public perception of the Mafia ever since. The real world is replaced by an authoritarian patriarchy where power and justice flow from the Godfather, and the only villains are traitors. There is one commandment, spoken by Michael ( Al Pacino): “Don’t ever take sides against the family. ” It is significant that the first shot is inside a dark, shuttered room. It is the wedding day of Vito Corleone’s daughter, and on such a day a Sicilian must grant any reasonable request. A man has come to ask for punishment for his daughter’s rapist. Don Vito asks why he did not come to him immediately. “I went to the police, like a good American, ” the man says. The Godfather’s reply will underpin the entire movie: “Why did you go to the police? Why didn’t you come to me first? What have I ever done to make you treat me so disrespectfully? If you’d come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And if, by chance, an honest man like yourself should make enemies... then they would become my enemies. And then they would fear you. ” As the day continues, there are two more scenes in the Godfather’s darkened study, intercut with scenes from the wedding outside. By the end of the wedding sequence, most of the main characters will have been introduced, and we will know essential things about their personalities. It is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather’s world. The screenplay of “The Godfather” follows no formulas except for the classic structure in which power passes between the generations. The writing is subtly constructed to set up events later in the film. Notice how the request by Johnny Fontane, the failing singer, pays off in the Hollywood scenes; how his tears set up the shocking moment when a mogul wakes up in bed with what is left of his racehorse. Notice how the undertaker is told “someday, and that day may never come, I will ask a favor of you... ” and how when the day comes the favor is not violence (as in a conventional movie) but Don Vito’s desire to spare his wife the sight of their son’s maimed body. And notice how a woman’s “mistaken” phone call sets up the trap in which Sonny ( James Caan) is murdered: It’s done so neatly that you have to think back through the events to figure it out. Now here is a trivia question: What is the name of Vito’s wife? She exists in the movie as an insignificant shadow, a plump Sicilian grandmother who poses with her husband in wedding pictures but plays no role in the events that take place in his study. There is little room for women in “The Godfather. ” Sonny uses and discards them, and ignores his wife. Connie ( Talia Shire), the Don’s daughter, is so disregarded that her husband is not allowed into the family business. He is thrown a bone--”a living”--and later, when he is killed, Michael coldly lies to his sister about what happened. The irony of the title is that it eventually comes to refer to the son, not the father. As the film opens Michael is not part of the family business, and plans to marry a WASP, Kay Adams ( Diane Keaton). His turning point comes when he saves his father’s life by moving his hospital bed, and whispers to the unconscious man: “I’m with you now. ” After he shoots the corrupt cop, Michael hides in Sicily, where he falls in love with and marries Appolonia (Simonetta Stefanelli). They do not speak the same language; small handicap for a Mafia wife. He undoubtedly loves Appolonia, as he loved Kay, but what is he thinking here: that he can no longer marry Kay because he has chosen a Mafia life? After Appolonia’s death and his return to America, he seeks out Kay and eventually they marry. Did he tell her about Appolonia? Such details are unimportant to the story. What is important is loyalty to the family. Much is said in the movie about trusting a man’s word, but honesty is nothing compared to loyalty. Michael doesn’t even trust Tom Hagen ( Robert Duvall) with the secret that he plans to murder the heads of the other families. The famous “baptism massacre” is tough, virtuoso filmmaking: The baptism provides him with an airtight alibi, and he becomes a godfather in both senses at the same time. Vito Corleone is the moral center of the film. He is old, wise and opposed to dealing in drugs. He understands that society is not alarmed by “liquor, gambling... even women. ” But drugs are a dirty business to Don Vito, and one of the movie’s best scenes is the Mafia summit at which he argues his point. The implication is that in the godfather’s world there would be no drugs, only “victimless crimes, ” and justice would be dispatched evenly and swiftly. My argument is taking this form because I want to point out how cleverly Coppola structures his film to create sympathy for his heroes. The Mafia is not a benevolent and protective organization, and the Corleone family is only marginally better than the others. Yet when the old man falls dead among his tomato plants, we feel that a giant has passed. Gordon Willis ’ cinematography is celebrated for its darkness; it is rich, atmospheric, expressive. You cannot appreciate this on television because the picture is artificially brightened. Coppola populates his dark interior spaces with remarkable faces. The front-line actors--Brando, Pacino, Caan, Duvall--are attractive in one way or another, but those who play their associates are chosen for their fleshy, thickly lined faces--for huge jaws and deeply set eyes. Look at Abe Vigoda as Tessio, the fearsome enforcer. The first time we see him, he’s dancing with a child at the wedding, her satin pumps balanced on his shoes. The sun shines that day, but never again: He is developed as a hulking presence who implies the possibility of violent revenge. Only at the end is he brightly lit again, to make him look vulnerable as he begs for his life. The Brando performance is justly famous and often imitated. We know all about his puffy cheeks, and his use of props like the kitten in the opening scene. Those are actor’s devices. Brando uses them but does not depend on them: He embodies the character so convincingly that at the end, when he warns his son two or three times that “the man who comes to you to set up a meeting--that’s the traitor, ” we are not thinking of acting at all. We are thinking that the Don is growing old and repeating himself, but we are also thinking that he is probably absolutely right. Pacino plays Michael close to his vest; he has learned from his father never to talk in front of outsiders, never to trust anyone unnecessarily, to take advice but keep his own counsel. All of the other roles are so successfully filled that a strange thing happened as I watched this restored 1997 version: Familiar as I am with Robert Duvall, when he first appeared on the screen I found myself thinking, “There’s Tom Hagen. ” Coppola went to Italy to find Nino Rota, composer of many Fellini films, to score the picture. Hearing the sadness and nostalgia of the movie’s main theme, I realized what the music was telling us: Things would have turned out better if we had only listened to the Godfather. Roger Ebert Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism. The Godfather (1972) Rated R 175 minutes about 21 hours ago 1 day 2 days ago.

Film by Coppola [1972] The Godfather, American gangster epic film, released in 1972, that was adapted from the 1969 best-selling novel by Mario Puzo and has been regarded as a masterpiece since its release. Its creative cinematography, haunting score, and unforgettable performances by such actors as Marlon Brando and Al Pacino made the multigenerational saga an enduring cultural touchstone. The Godfather Salvatore Corsitto (left) and Marlon Brando in The Godfather (1972), directed by Francis Ford Coppola. © 1972 Paramount Pictures Corporation The Godfather is set in the 1940s and takes place entirely within the world of the Corleones, a fictional New York Mafia family. It opens inside the dark office of the family patriarch, Don Vito Corleone (also known as the Godfather and played by Brando), on the wedding day of his daughter, Connie (Talia Shire). Vito’s youngest son, Michael (Pacino), who has distanced himself from the family business, attends the festivities with his non-Italian girlfriend, Kay ( Diane Keaton). A few months later, Vito is nearly killed by gunmen sent by a rival family, and Michael saves him from another attempt while he is recovering in the hospital. Michael then takes revenge, killing a corrupt police captain as well as the man who ordered the hit on Vito, after which he flees to Sicily as a gang war breaks out. Vito’s eldest son, Sonny (James Caan), is gunned down, and the violence eventually reaches Michael when his Sicilian wife is killed during an attempt on his life. Michael returns home and marries Kay, and Vito makes peace with the rival families. Michael succeeds his father as don, and, after bringing prosperity to the family, he launches a campaign to systematically wipe out all those who had ever attacked the Corleones. Director and cowriter Francis Ford Coppola shared an Academy Award for the screenplay that he and Puzo wrote. Dialogue from the movie—especially the line “I’ll make him an offer he can’t refuse”—became common parlance, and scenes from the film were frequently quoted in other movies and TV shows. Nino Rota ’s score was nominated for an Academy Award but was removed from the list after it was learned that portions of the music were originally composed for the 1958 Italian film Fortunella. The Godfather made a star of Robert Duvall, who played the family consigliere, and revitalized Brando’s career. Brando, however, refused the Oscar that he won for his performance in order to protest the treatment of Native Americans by the film industry. The Godfather was in the second group of films selected for the National Film Registry (1990) and was named in 2002 as one of the National Society of Film Critics’ 100 Essential Films. filming of The Godfather Francis Ford Coppola (right) directing Marlon Brando (left) in The Godfather (1972). © 1972 Paramount Pictures Corporation Production notes and credits Director: Francis Ford Coppola Writers: Mario Puzo and Francis Ford Coppola Music: Nino Rota Cast Marlon Brando (Don Vito Corleone) Al Pacino (Michael Corleone) James Caan (Sonny Corleone) Robert Duvall (Tom Hagen) Diane Keaton (Kay Adams) Talia Shire (Connie) John Cazale (Fredo) Academy Award nominations (* denotes win) Picture* Lead actor (Marlon Brando)* Supporting actor (James Caan) Supporting actor (Robert Duvall) Supporting actor (Al Pacino) Costume design Directing Editing Sound Writing* Patricia Bauer Learn More in these related Britannica articles: history of the motion picture: The youth cult and other trends of the late 1960s …few films (Francis Ford Coppola’s The Godfather, 1972; Steven Spielberg’s Jaws, 1975; George Lucas’s Star Wars, 1977) produced enormous profits and stimulated a wildcat mentality within the industry. In this environment, it was not uncommon for the major companies to invest their working capital in the… Francis Ford Coppola: The 1970s Coppola’s breakthrough came with The Godfather (1972), a brilliant, enormously successful, muscular adaptation of Mario Puzo’s blockbuster novel of the same name. A huge box-office hit (the fifth highest-grossing film of the 1970s), The Godfather was also lauded by critics and was ranked third on the American Film Institute’s… Al Pacino: Stardom: The Godfather, Serpico, and Scarface …would make him a star, The Godfather (1972). The saga of a family of gangsters and their fight to maintain power in changing times, The Godfather was a wildly popular film that won the Academy Award for best picture and earned Pacino numerous accolades—including his first of many Oscar nominations—for….