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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) | |
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) | |
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 | |
| 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) | |
Music Department | |||
| Carlo Savina | .... | conductor | |
| 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 | |
| Tony Bowers | .... | location coordinator | |
| Michael Briggs | .... | location coordinator | |
| 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) | |
| 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) | |
Thanks | |||
| 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) | |
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| The Godfather: Part II | Scarface | The Departed | Black Caesar | City of God |
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| IMDb USA section |
Tell me a movie that is more famous than this. Tell me a movie that has had more parodies spinned off its storyline than this. Tell me one movie that has been as quoted as a much as this. The answer is you can't. No movie has had as much of an impact as The Godfather has had ever since it was released.
The acting was simply amazing, what else could you say. What could be more appealing to people(even today) than watching actors like Al Pacino, Marlon Brando, James Caan, Diane Keaton, Talia Shire and Robert Duvall. This is like heaven for someone who is a fan of movies. With this movie Brando was able to bring himself back into the limelight. His performance as the godfather alone is iconic. His character has been recreated so much in films that it has almost if it has not already become a cliché. His performance though was not a cliché. His performance was subtle and breathtaking. It was so genuine and realistic that it was not just probably but definitely more genuine than Marlon Brando himself. Al Pacino was perfect for this film as well. What a way to start up your career. His character was all about depth and he displayed it perfectly. He was able to display his own inner-battles in his mind as well as the battles he had with his family, friends and enemies. His character was more of a psychological character study than anything else to me. Robert Duvall to me was the glue to the movie. He added a different perspective to everything in just that he was not Italian yet having the respect of the mafia. His character is a man of high authority within the Corleone family who was listened to and insightful;. This was simply perfect giving the film great balance throughout. The rest of the cast was just icing on the cake.
The writing was phenomenal and breathtaking. As mentioned before there has been no movie quoted more than this. It is not even the quotes though that makes the writing in here so perfect. It is the symbolism and meaning that went into every scene. There are countless symbols, messages and lines in here that are so memorable yet it is as realistic as a movie could get.
The directing by Coppola was perfect as well. Not many movies can be 3 hours and yet maintain a good level of interest from the audience like The Godfather. Coppola deserves credit for this. The symbolism and messages that went into every scene also has to do with the directing not just the writing. The movie is so well edited and strung together that the only word that could come to my mind is perfection.
The cinematography and music were perfect. The score of this movie is one of the most memorable ever. If you were to hear it you could identify it right away. The cinematography was what actually really drove this movie. The Godfather seems to have this mystique to it, it gives you the feeling you are watching something truly remarkable.
The horse's head, the scene of Brando running with his groceries, the coffee shop scene, "I'll give him an offer he can't refuse" and countless other scenes and quotes from this movie have become a part of our culture. These scenes and lines have been recycled over and over again in comedies, commercials, etc. that it is impossible to avoid the greatness of The Godfather. The Godfather is like a disease once you see it you fall in love with it. I don't know if it is the greatest movie ever but it is definitely the most iconic film ever made.