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The Godfather
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The Godfather (1972) More at IMDbPro »

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The Godfather -- The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.
The Godfather -- Clip: The garden scene with Don and Michael Corleone
The Godfather -- Clip: Michael, Fredo and Moe Green
The Godfather -- Clip: The wedding of Connie and Carlo


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Popularity: ?
Down 5% in popularity this week. See why on IMDbPro.
Mario Puzo (screenplay) and
Francis Ford Coppola (screenplay) ...
View company contact information for The Godfather on IMDbPro.
Release Date:
24 March 1972 (USA) See more »
An offer you can't refuse. See more »
The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. Full summary » | Full synopsis »
Plot Keywords:
Won 3 Oscars. Another 31 wins & 19 nominations See more »
User Reviews:
For me it isn't "the greatest ever", but it's still great See more (2348 total) »


  (in credits order) (verified as complete)

Marlon Brando ... Don Vito Corleone

Al Pacino ... Michael Corleone

James Caan ... Sonny Corleone

Richard S. Castellano ... Clemenza (as Richard Castellano)

Robert Duvall ... Tom Hagen

Sterling Hayden ... Capt. McCluskey

John Marley ... Jack Woltz

Richard Conte ... Barzini

Al Lettieri ... Sollozzo

Diane Keaton ... Kay Adams

Abe Vigoda ... Tessio

Talia Shire ... Connie

Gianni Russo ... Carlo

John Cazale ... Fredo
Rudy Bond ... Cuneo

Al Martino ... Johnny Fontane
Morgana King ... Mama Corleone
Lenny Montana ... Luca Brasi

John Martino ... Paulie Gatto
Salvatore Corsitto ... Bonasera
Richard Bright ... Neri

Alex Rocco ... Moe Greene
Tony Giorgio ... Bruno Tattaglia

Vito Scotti ... Nazorine
Tere Livrano ... Theresa Hagen
Victor Rendina ... Philip Tattaglia
Jeannie Linero ... Lucy Mancini

Julie Gregg ... Sandra Corleone
Ardell Sheridan ... Mrs. Clemenza

Simonetta Stefanelli ... Apollonia - Sicilian Sequence
Angelo Infanti ... Fabrizio - Sicilian Sequence
Corrado Gaipa ... Don Tommasino - Sicilian Sequence

Franco Citti ... Calo - Sicilian Sequence

Saro Urzì ... Vitelli - Sicilian Sequence
rest of cast listed alphabetically:

Chris Anastasio ... Policeman (uncredited)
Norm Bacchiocchi ... Luca Brasi's Assassin (uncredited)
Max Brandt ... Extra in Furniture-Moving Scene (uncredited)
Tybee Brascia ... Dancer in Wedding Scene (uncredited)

Carmine Coppola ... Piano Player in Montage (uncredited)
Gian-Carlo Coppola ... Baptism Observer (uncredited)
Italia Coppola ... Extra in Wedding Scene (uncredited)

Roman Coppola ... Boy on Street Who Attended Funeral (uncredited)

Sofia Coppola ... Michael Francis Rizzi (uncredited)
Don Costello ... Don Victor Stracci (uncredited)
Robert Dahdah ... Crowd (uncredited)
Richard Fass ... Tom Hagen's Son (uncredited)
Gray Frederickson ... Cowboy on the Set at Woltz's Studio (uncredited)

Ron Gilbert ... Usher in Bridal Party (uncredited)
Anthony Gounaris ... Anthony Vito Corleone (uncredited)
Joe Lo Grippo ... Sonny's Bodyguard (uncredited)
Sonny Grosso ... Cop Outside Hospital (uncredited)
Louis Guss ... Don Zaluchi (uncredited)
Merril E. Joels ... Toll Both Collector (uncredited)

Randy Jurgensen ... Sonny's Killer #1 (uncredited)

Tony King ... Tony - Stablehand (uncredited)
Peter Lemongello ... Singer (uncredited)
Tony Lip ... Wedding Guest (uncredited)
Frank Macetta ... (uncredited)

Lou Martini Jr. ... Boy at Wedding (uncredited)
Raymond Martino ... Corleone Family Member (uncredited)
Joseph Medaglia ... Priest at Baptism (uncredited)
Carol Morley ... Night Nurse (uncredited)
Rick Petrucelli ... Lou - Sollozzo's Driver (uncredited)
Joe Petrullo ... Pallbearer (uncredited)
Burt Richards ... Floral Designer (uncredited)
Sal Richards ... Drunk (uncredited)
Tom Rosqui ... Rocco Lampone (uncredited)
Nino Ruggeri ... Mobster at Funeral with Barzini (uncredited)

Frank Sivero ... Street Extra (uncredited)
Filomena Spagnuolo ... Extra in Wedding Scene (uncredited)

Joe Spinell ... Willi Cicci (uncredited)
Gabriele Torrei ... Enzo the Baker (uncredited)

Nick Vallelonga ... Wedding Party Guest (uncredited)
Ed Vantura ... Wedding Guest (uncredited)
Ron Veto ... Extra in Hospital Scene (uncredited)

Matthew Vlahakis ... Clemenza's Son (uncredited)
Conrad Yama ... Fruit Vendor (uncredited)

Directed by
Francis Ford Coppola 
Writing credits
Mario Puzo (screenplay) and
Francis Ford Coppola (screenplay)

Mario Puzo (novel "The Godfather")

Produced by
Gray Frederickson .... associate producer
Albert S. Ruddy .... producer
Robert Evans .... executive producer (uncredited)
Original Music by
Nino Rota 
Cinematography by
Gordon Willis (director of photography)
Film Editing by
William Reynolds 
Peter Zinner 
Casting by
Louis DiGiaimo 
Andrea Eastman 
Fred Roos 
Production Design by
Dean Tavoularis 
Art Direction by
Warren Clymer 
Set Decoration by
Philip Smith 
Costume Design by
Anna Hill Johnstone 
Makeup Department
Philip Leto .... hair stylist (as Phil Leto)
Phil Rhodes .... makeup (as Philip Rhodes)
Dick Smith .... makeup
Production Management
Fred C. Caruso .... unit production manager: Oaktree Productions (as Fred Caruso)
Valerio De Paolis .... production manager: sicilian unit
Ned Kopp .... production manager: second unit (uncredited)
Second Unit Director or Assistant Director
Tony Brandt .... assistant director: sicilian unit
Fred T. Gallo .... assistant director: Oaktree Productions (as Fred Gallo)
Stephen F. Kesten .... assistant director (uncredited)
Steven P. Skloot .... second assistant director (uncredited)
Art Department
Samuel Verts .... assistant art director: sicilian unit
William Canfield .... set dresser (uncredited)
Robert Hart .... carpenter (uncredited)
Robert Scaife .... construction coordinator (uncredited)
Sound Department
Charles Grenzbach .... re-recordist (as Bud Grenzbach)
Christopher Newman .... production recordist
Richard Portman .... re-recordist
Howard Beals .... sound effects editor (uncredited)
Steve Cook .... adr mixer (uncredited)
Pierre Jalbert .... assistant sound editor (uncredited)
Les Lazarowitz .... boom operator (uncredited)
Kitty Malone .... foley artist (uncredited)
Special Effects by
Sass Bedig .... special effects: Oaktree Productions
A.D. Flowers .... special effects: Oaktree Productions
Joe Lombardi .... special effects: Oaktree Productions
Paul J. Lombardi .... special effects supervisor (uncredited)
Visual Effects by
Kevin Chaja .... data management (2007 restoration)
Chris Clausing .... MTI operator: digital image clean up (2007 restoration)
Padraic Culham .... compositor (2007 restoration)
Daphne Dentz .... senior digital intermediate producer (2007 restoration)
Karina Desin .... data management (2007 restoration)
Joe Dubs .... MTI operator: digital image clean up (2007 restoration)
Lloyd Kaplowitz .... MTI operator: digital image clean up (2007 restoration)
Valerie McMahon .... MTI operator: digital image clean up (2007 restoration)
Mike Moreno .... MTI operator: digital image clean up (2007 restoration)
Edgar Orlino .... MTI operator: digital image clean up (2007 restoration)
Cathy Quiroz .... MTI operator: digital image clean up (2007 restoration)
Bill Roper .... film recordist (2007 restoration)
Paul Baxley .... stunt coordinator (uncredited)
Joe Bucaro III .... stunt double: young Vincenzo (uncredited)
Steven Burnett .... stunts (uncredited)
Harry Daley .... stunts (uncredited)
Camera and Electrical Department
Michael Chapman .... camera operator
Bill Butler .... director of photography: second unit (uncredited)
Russell Engels .... rigging gaffer (uncredited)
Ed Kammerer .... rigging grip (uncredited)
Edward Knott .... grip (uncredited)
Jim Meyerhoff .... generator operator (uncredited)
Anthony R. Palmieri .... camera loader (uncredited)
Ed Quinn .... best boy grip (uncredited)
Robert Royal .... rigging key grip (uncredited)
Joe Rutledge .... electrician (uncredited)
Peter Salim .... second assistant camera (uncredited)
Tibor Sands .... first assistant camera (uncredited)
Jack Stager .... still photographer (uncredited)
Edward Tonkin .... best boy electric (uncredited)
Robert M. Volpe .... dolly grip (uncredited)
Dusty Wallace .... gaffer (uncredited)
Robert Ward .... key grip (uncredited)
Ray Williams .... rigging best boy grip (uncredited)
Casting Department
Riccardo Bertoni .... extras casting (uncredited)
Costume and Wardrobe Department
George Newman .... wardrobe supervisor
Marilyn Putnam .... wardrobe: women
Joan Joseff .... costume jeweller (uncredited)
Editorial Department
Christopher Gillaspie .... scan manager (2007 restoration) (as Chris Gillaspie)
Kathleen Largay .... digital conform (2007 restoration)
Walter Murch .... post production consultant
Jan Yarbrough .... senior digital intermediate colorist (2007 restoration)
Pierre Jalbert .... assistant editor (uncredited)
Marc Laub .... editor: New York (uncredited)
Barbara Marks .... assistant editor (uncredited)
Maurice Schell .... assistant editor (uncredited)
Murray Solomon .... editor: New York (uncredited)
Jack Wheeler .... assistant editor (uncredited)
Location Management
Tony Bowers .... location coordinator
Michael Briggs .... location coordinator
Music Department
Carlo Savina .... conductor
Carl Fortina .... musician: accordion soloist (uncredited)
John C. Hammell .... music editor (uncredited)
Tommy Johnson .... musician: tuba (uncredited)
Jimmy Maxwell .... musician: trumpet solo (uncredited)
Paul Salamunovich .... choir conductor: boys choir (uncredited)
Stephen Salamunovich .... boy soprano, soundtrack (uncredited)
Albert T. Viola .... soloist: mandolin (uncredited)
Transportation Department
Raymond Hartwick .... driver (uncredited)
Charles Lazzarro .... driver (uncredited)
Edward Venn .... driver (uncredited)
Louis Volpe .... driver (uncredited)
John Whelan .... driver (uncredited)
Ed Wilson .... driver (uncredited)
Other crew
Robert Barth .... unit coordinator: Oaktree Productions
Gary Chazan .... assistant to producer
Nancy Hopton .... script continuity (as Nancy Tonery)
Robert S. Mendelsohn .... executive assistant
Peter Zinner .... foreign post production
Rocco Derasmo .... teamster (uncredited)
James Giblin .... teamster captain (uncredited)
Sonny Grosso .... technical advisor (uncredited)
Johnny E. Jensen .... cinemobile technician (uncredited)
Randy Jurgensen .... technical advisor (uncredited)
Shari Leibowitz .... production coordinator (uncredited)
George Lynch Jr. .... teamster (uncredited)
Richard Nelson .... car coordinator (uncredited)
Howard Newman .... unit publicist (uncredited)
Jasmine Sabu .... animal trainer: horses (uncredited)
Maurice Schell .... adr loop group (uncredited)
Joe Caracappa .... thanks: Pro-Tek Media Preservation Services, a Kodak company, negative preparation (2007 restoration)
Jeff Cava .... thanks: for Paramount Pictures (2007 restoration)
Martin Cohen .... thanks: for Paramount Pictures (2007 restoration)
Francis Ford Coppola .... special thanks (2007 restoration)
Allen Daviau .... thanks (2007 restoration)
Brian Drischell .... thanks: The Academy Film Archive (2007 restoration)
Jessi Jones .... thanks: The Academy Film Archive (2007 restoration)
Liana Kroll .... thanks: Pro-Tek Media Preservation Services, a Kodak company, negative preparation (2007 restoration)
Joanne Lawson .... thanks: for the Film Preserve (2007 restoration)
Scott MacQueen .... thanks: Pro-Tek Media Preservation Services, a Kodak company, negative preparation (2007 restoration)
James T. Mockoski .... thanks: for American Zoetrope (2007 restoration) (as James Mockoski archivist)
Heather Olson .... thanks: The Academy Film Archive (2007 restoration)
Michael Pogorzelski .... thanks: The Academy Film Archive (2007 restoration)
Robert Raring .... thanks: Technicolor liaison (2007 restoration) (as Bob Raring)
Ben Rosenblatt .... thanks: for Paramount Pictures (2007 restoration)
Gordon Willis .... special thanks (2007 restoration)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Mario Puzo's The Godfather" - UK (complete title), USA (complete title)
"Godfather" - Japan (English title)
See more »
175 min
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
DTS (re-release) | Mono
Argentina:16 (2011 re-rating) | Argentina:18 (original rating) | Australia:R18+ (original rating) | Australia:MA15+ (re-rating) (2008) | Austria:16 | Brazil:14 | Canada:14A (Manitoba) | Canada:AA (Ontario) | Canada:14A (Alberta) (2010) | Canada:13+ (Quebec) (2007) | Chile:14 (re-release) | Colombia:18 | Denmark:15 | Finland:K-16 (uncut) (1988) | Finland:K-18 (cut) (1972) | France:12 | Germany:16 | Hong Kong:IIB | Hungary:16 | Iceland:16 | India:A | Ireland:18 | Israel:PG | Italy:T | Japan:R-15 | Japan:G (2010) | Mexico:C | Mexico:B15 (2013) | Netherlands:16 | New Zealand:R16 | Norway:18 | Peru:18 | Philippines:R-18 | Poland:15 | Portugal:17 (original rating) | Portugal:M/18 (re-rating) | Russia:16+ | Singapore:M18 | South Korea:18 | Spain:18 | Spain:13 (re-rating) | Sweden:15 | UK:X (original rating) | UK:15 (re-rating) (2008) | UK:18 (video rating) (1987) | USA:R (PCA #23101) | West Germany:16

Did You Know?

The film's opening scene, a three-minute zoom-out of Amerigo Bonasera and Don Corleone, was achieved with a computer-controlled zoom lens, which had earlier been used in Silent Running (1972).See more »
Incorrectly regarded as goofs: The punch to Michael's face broke his cheek bone which gave him a permanent black eye (and caused his sinuses to continually run - hence the use of a handkerchief all the time) until he got back to America and had surgery to fix it (Freddie says, "that doctor did a good job.")See more »
[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]
[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]
See more »
Movie Connections:
Referenced in "Lost: Pilot: Part 1 (#1.1)" (2004)See more »
Luna mezz' 'o mareSee more »


Was there a song based on the theme song for 'The Godfather'?
How does the movie end?
Is 'The Godfather' based on a book?
See more »
443 out of 787 people found the following review useful.
For me it isn't "the greatest ever", but it's still great, 24 April 2005
Author: Brandt Sponseller from New York City

Marlon Brando is Don Vito Corleone, head of perhaps the most powerful New York-area mafia family in the 1940s, in this well-respected film by director/writer Francis Ford Coppola. As the film begins, Vito is receiving "business" guests in his office at his home while his daughter Connie's (Talia Shire) wedding and reception are taking place. The epic plot takes place over many years, telling the story of Vito, his family--including Michael (Al Pacino), Santino (James Caan) and Tom Hagen (Robert Duvall), his associates, and their interactions with other mob syndicates.

The Godfather is commonly considered to be one of the "greatest films of all time". Even though I've given it a 10, I wouldn't put that same kind of exalted emphasis on it. I've given literally thousands of films 10s over the years, and for me, Godfather just barely made a 10. I think it has a number of flaws, but Coppola also has a knack for transcending the problems with some brilliant move or another. At any rate, it is definitely must-see viewing--even if it's only because it's so highly regarded--if you've not experienced the film yet. I think it's a good idea to attain cultural literacy, and films as popularly loved as The Godfather become necessary elements in achieving that literacy.

Shorn of its gangster trappings, The Godfather is sprawling and soap-operatic in tone. The sprawl is appropriate to its origins as a novel by Mario Puzo, who also co-wrote the screenplay with Coppola. There is a large cast of characters--maybe too large, as it can be difficult to keep track of just who everyone is. Even after you've watched the film a couple times you may find scenes where mobsters seem to spontaneously appear and you catch yourself saying, "Wait, who is that guy supposed to be again?" The soap opera angle can be a positive or negative depending on your tastes. I tend to not like soap-operatic stories, but of course Coppola put yummy gangster topping on this one to make it palatable for guys like me. At root, though, The Godfather is concerned with realistic depictions of a very dysfunctional family as they try to make it through life--including marriages, births, adultery, spats between family members, tiffs with others in their community, and so on. My theory is that the soap opera angle accounts for much of the film's appeal. For me, it (and the slight lack of focus from the sprawl) accounts for much of the reason that I barely gave the film a 10.

But two things help the film transcend a lower score for me. Even though the gangster stuff has been far surpassed in graphic brutality in the intervening years, the dramatic context of the violence usually gives it tremendous impact. Films like Ichi the Killer (2001), which I just watched for the first time the night before watching The Godfather again, make the Godfather's brutality fit for Sesame Street in comparison. However, although Ichi's violence is effective, setting that knob to "11" doesn't make it better. Besides, Ichi is so over the top that it would make many Godfather fans want to hurl.

To the extent that Coppola and Puzo just focus on the extended Corleone family, they create tremendous depth in their relationships. The whole film can be looked at as a fascinating depiction of "oscillating" dynamics in the family, with the pole pairs being interacting/distancing, control/lack of control, benevolence/malevolence. Most character stances and actions are some combination of those ranges of characteristics, and everyone dances around the poles, so to speak, throughout the film. From this angle, even the attractive surface violence (well, attractive to us fans of that stuff in artworks) is mainly there for the purpose of pushing characters more to one pole or the other. There is an implication that underlying these mechanisms is some natural tendency towards achieving (a dynamic) equilibrium.

But there are more superficial stylistic factors that help push my score up to a 10, also. The most obvious, which everyone and their grandparents have mentioned, are the performances. It's tough to go wrong when you have a cast including Al Pacino, Marlon Brando, Robert Duvall, James Caan, Diane Keaton, and so on. Another commonly mentioned element that I agree is fantastic and superbly integrated to create atmosphere is Nino Rota's score.

Less often mentioned is the consistently intriguing cinematography by Gordon Willis. Most of Willis' unusual shots in the film are so subtle as to be barely noticeable unless you're looking for them. The opening, for example, consists of a long (it lasts a few minutes) "zoom out" from Amerigo Bonasera (Salvatore Corsitto). The shot is beautifully lit--most of the frame is extremely dark, giving Bonasera a chiaroscuro effect (the opening is also unusual in that it's a long monologue from a minor character).

Willis and Coppola have a knack for placing their actors in the frame to create depth and interesting visual patterns. This is done so slyly that at first blush you wouldn't believe it's something they thought about, but if you keep this in mind while watching, you can see delightful visual paths that zigzag, wind to a focal point, and so on, all created by the confluence of actors and scenery in the frame.

If you haven't seen The Godfather before, the most important thing you can do before watching is to forget about all of the "greatest film of all time" hype. That's only likely to set up expectations that could never be met; more than likely you'll be disappointed. Just think of it as one of the better films from one of Hollywood's more admirable but relatively odder directors, featuring earlier performances from a very well known cast, and keep in mind that it's as much a "historical family saga" as a crime or gangster film.

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