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The Godfather
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The Godfather (1972) More at IMDbPro »

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Lawrence of Arabia (1962) -- AFI's 10 Top 10 - The 10 Greatest Films in 10 Classic Genres
The Godfather (1972) -- The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.
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Overview

User Rating:
MOVIEmeter: ?
Down 1% in popularity this week. See why on IMDbPro.
Writers:
Mario Puzo (novel)
Mario Puzo (screenplay) ...
(more)
Contact:
View company contact information for The Godfather on IMDbPro.
Release Date:
24 March 1972 (USA) more
Genre:
Crime | Drama | Thriller more
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. full summary | full synopsis
Plot Keywords:
more
Awards:
Won 3 Oscars. Another 19 wins & 17 nominations more
NewsDesk:
(243 articles)
The 2009 Terror Film Festival 'Claw' Awards - Winners Announced
 (From Fangoria. 13 December 2009, 1:23 AM, PST)
Tao Ruspoli's Top Ten Films of All Time
 (From ioncinema. 12 December 2009, 6:25 PM, PST)
User Comments:
For me it isn't "the greatest ever", but it's still great more (1419 total)

Cast

  (in credits order) (verified as complete)

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

John Martino ... Paulie Gatto
Salvatore Corsitto ... Bonasera

Richard Bright ... Al Neri

Alex Rocco ... Moe Greene
Tony Giorgio ... Bruno Tattaglia
Vito Scotti ... Nazorine
Tere Livrano ... Theresa Hagen
Victor Rendina ... Don Philip Tattaglia
Jeannie Linero ... Lucy Mancini
Julie Gregg ... Sandra Corleone
Ardell Sheridan ... Mrs. Clemenza
Simonetta Stefanelli ... Apollonia Vitelli Corleone
Angelo Infanti ... Fabrizio
Corrado Gaipa ... Don Tommasino
Franco Citti ... Calo
Saro Urzì ... Vitelli
rest of cast listed alphabetically:
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 (uncredited)

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

Sofia Coppola ... Michael Francis Rizzi (uncredited)
Don Costello ... Don Victor Stracci (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)
Peter Lemongello ... Singer (uncredited)

Tony Lip ... Wedding Guest (uncredited)
Frank Macetta ... (uncredited)

Lou Martini Jr. ... Boy at Wedding (uncredited)
Father Joseph Medeglia ... Priest at Baptism (uncredited)
Carol Morley ... Night Nurse (uncredited)
Rick Petrucelli ... Man in Passenger Seat (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)

Matthew Vlahakis ... Clemenza's Son (uncredited)
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Directed by
Francis Ford Coppola 
 
Writing credits
Mario Puzo (novel)

Mario Puzo (screenplay) and
Francis Ford Coppola (screenplay)

Produced by
Gray Frederickson .... associate producer
Albert S. Ruddy .... producer
 
Original Music by
Nino Rota 
 
Cinematography by
Gordon Willis 
 
Film Editing by
William Reynolds 
Peter Zinner 
 
Casting by
Louis DiGiaimo  (as 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 artist (as Philip Rhodes)
Dick Smith .... makeup artist
 
Production Management
Fred C. Caruso .... unit production manager (as Fred Caruso)
Valerio De Paolis .... production manager: Sicily (as Valerio DePaolis)
Ned Kopp .... production manager: second unit (uncredited)
 
Second Unit Director or Assistant Director
Tony Brandt .... assistant director: Sicily
Fred T. Gallo .... assistant director (as Fred Gallo)
Steven P. Skloot .... second assistant director
 
Art Department
Samuel Verts .... assistant art director: Sicily
William Canfield .... set dresser (uncredited)
Robert Scaife .... construction coordinator (uncredited)
 
Sound Department
Howard Beals .... sound effects editor
Charles Grenzbach .... sound re-recordist (as Bud Grenzbach)
Christopher Newman .... production sound recordist
Richard Portman .... sound re-recordist
Steve Cook .... adr mixer (uncredited)
Pierre Jalbert .... assistant sound editor (uncredited)
Les Lazarowitz .... boom operator (uncredited)
 
Special Effects by
Sass Bedig .... special effects
A.D. Flowers .... special effects
Joe Lombardi .... special effects
Paul J. Lombardi .... special effects supervisor (uncredited)
 
Stunts
Paul Baxley .... stunt coordinator (uncredited)
Joe Bucaro III .... stunt double: young Vincenzo (uncredited)
Steven Burnett .... stunts (uncredited)
 
Camera and Electrical Department
Michael Chapman .... camera operator
Howard Block .... additional camera operator (uncredited)
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
 
Editorial Department
Walter Murch .... post-production consultant
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)
 
Music Department
Carlo Savina .... conductor
Carmine Coppola .... composer: additional music, mall wedding sequence (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)
 
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
Tony Bowers .... location coordinator
Michael Briggs .... location coordinator
Gary Chazan .... assistant to producer
Nancy Hopton .... continuity (as Nancy Tonery)
Robert S. Mendelsohn .... executive assistant to producer
Peter Zinner .... foreign post-production
Rocco Derasmo .... teamster (uncredited)
James Giblin .... teamster captain (uncredited)
Sonny Grosso .... technical advisor (uncredited)
Johnny Jensen .... cinemobile technician (uncredited)
Randy Jurgensen .... technical advisor (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)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
Mario Puzo's The Godfather (USA) (complete title)
more
Parents Guide:
View content advisory for parents
Runtime:
175 min
Country:
USA
Language:
English | Italian | Latin
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 more
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 more
Company:
Alfran Productions more

Fun Stuff

Trivia:
Cameo: [Gray Frederickson]the cowboy in the studio when Tom encounters Woltz the first time. more
Goofs:
Anachronisms: In several scenes wine bottles are shown with the DOC Italian wine classification designation shown on the bottle. DOC designations did not come in effect until 1963. more
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]
[...]
more
Movie Connections:
Referenced in "The Mentalist: Red-Handed (#1.6)" (2008) more
Soundtrack:
Santa Claus Is Coming To Town more

FAQ

Doesn't Michael break Vito's promise to the Commission with his actions at the end of the movie?
How much sex, violence, and profanity are in this movie?
What service did Bonasera perform for Don Corleone?
more

User Comments

   (Comment on this title)
358 out of 625 people found the following comment useful.
For me it isn't "the greatest ever", but it's still great, 24 April 2005
10/10
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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