The Godfather (1972)

Director:

Francis Ford Coppola

Writers:

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

Release Date:

24 March 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 | Wedding | Lawyer | Violence | Organized Crime

Awards:

Won 3 Oscars. Another 19 wins & 17 nominations

Cast

  (Cast overview, first billed only)

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)

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:

According to Francis Ford Coppola in the DVD commentary, in the scene where Captain MacCluskey confronts Michael in front of the hospital, the officer who balks at arresting Michael ("He's clean, Captain. He's a war hero.") is NYPD Detective Sonny Grosso, one of the detectives made famous by his involvement in breaking the "French Connection" case.

Goofs:

Crew or equipment visible: When Clemenza goes for a pee, crew reflected in side window of car in which Rocco has just shot Paulie.

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 Jeff Dunham's Very Special Christmas Special (2008) (TV)

Soundtrack:

Che La Luna

Initially, I wasn't a fan... but then I realised

This is a masterpiece. A timeless masterpiece. Initially, I didn't like this film all that much - I found it rather over-hyped and boring. This was until the advent of DVD, which gave me the feature I needed for this sort of film: subtitles. Once I switched them on and heard (read) every last word of Brando's ramblings and other characters ramblings, I grew a true appreciation for this epic.

To make a true epic, you need all of three following ingredients working in near perfect harmony. For screenwriters who come across this, take the following pointers on board: 1) Contrasting Characters: Good films have some character distinction, but most fall rather flat because the core of each character is the same.

Of course, there are exceptions to rule (ie... where you want mono-tonal characters... aka matrix; or where you want outlandish contrasts... aka The Fifth Element), but ultimately, this is what makes films deep, meaningful and grand. Consider the contrasts between the Don's children. Michael is rather cool, rational and collected, whereas Sonny is more hot-headed, spontaneous and simple minded. But simply having these contrasts is not nearly enough. What you really need to do is to develop these characters - place them in situations - and then dwell on how their character impacts on the situation they're put in. The Godfather is a terrific example of how to pull this off. While many try to do this in screenplays, most lose the plot and create character obscurities that stretch credibility.

2) Transformation: The central character(s) must undergo a transformation, resulting in them being almost unrecognizable by the end of the film. By putting them into situations, the character's character must not only influence the outcome of the situation; it must also have a lasting impact on the character. Consider Michael at the wedding and compare that to the Michael we see at the end of the film. Again, many films try, but most fail because they come up with unreal (literally, not praisingly) or simply moronic transformations (eg, Wall Street).

3) Patience: Men in Black 2 was an astounding film for one simple reason - it was an entire film squashed into about 70 minutes. It was not much longer than an episode of ER or Buffy. I certainly hope the new goal of Hollywood isn't to make films as short as possible.

All the great ones spend time - time developing characters, family life, growth, patience with the story telling in general. This is the key (provided that the story isn't mind-numbingly boring). Dances with Wolves, Heat.. and so on are very patient but top-class films. While studios may be lukewarm on the idea of longer films, they are worth it if you have a ripper story to base it on.

I feel that this film has not dated all that much and has tremendous re-watch-ability.