The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
When the aging head of a famous crime family decides to transfer his position to one of his subalterns, a series of unfortunate events start happening to the family, and a war begins between all the well-known families leading to insolence, deportation, murder and revenge, and ends with the favorable successor being finally chosen. Written by
J. S. Golden
The film took 77 days to shoot, 6 days less than the original schedule of 83 days. See more »
While Michael is talking to Apollonia's father after he has given her the necklace. The same two people pass by twice - once in a close-up of Apollonia and the other in a wider shot. See more »
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...
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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"). See more »
A Potpourri of Vestiges Review: A cinematic magnum opus
The Godfather is an extravaganza, nigh flawless, a cinematic magnum opus, ubiquitously acclaimed for its brilliance and for being in a league of its own. The Godfather doesn't depict poetic justice but rather portrays the triumph of perspicacious potency over abject vulnerability. The Godfather is known, not for its cogency but for its eloquence.
The movie being star-studded is decorated with a plethora of supernal performances and it won't be a hyperbole that almost every actor gave an Oscar worthy performance. Marlon Brando is exceptionally brilliant in his sterling portrayal of Vito Corleone and so is Al Pacino in his remarkable portrayal of Michael Corleone. The grandeur of Don Vito Corleone ironically lies in his austerity and inexorable equanimity.
The grandiosity of the movie is such, that even the biggest complement made about it may sound like a picayune remark. The Godfather may most aptly be described as an obituary of humanity, a requiem of mankind, owing to the pervasive violence and the brutality that it portrays in an utmost sanguinary fashion. In a nutshell, the movie has transcended all the limits of mortality only to achieve apotheosis.
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