When the menace known as The Joker emerges from his mysterious past, he wreaks havoc and chaos on the people of Gotham. The Dark Knight must accept one of the greatest psychological and physical tests of his ability to fight injustice.
The Godfather "Don" Vito Corleone is the head of the Corleone mafia family in New York. He is at the event of his daughter's wedding. Michael, Vito's youngest son and a decorated WW II Marine is also present at the wedding. Michael seems to be uninterested in being a part of the family business. Vito is a powerful man, and is kind to all those who give him respect but is ruthless against those who do not. But when a powerful and treacherous rival wants to sell drugs and needs the Don's influence for the same, Vito refuses to do it. What follows is a clash between Vito's fading old values and the new ways which may cause Michael to do the thing he was most reluctant in doing and wage a mob war against all the other mafia families which could tear the Corleone family apart.Written by
Francis Ford Coppola turned in an initial Director's Cut running two hours and six minutes. Paramount Pictures production chief Robert Evans rejected this version, and demanded a longer cut with more scenes about the family. The final release version was nearly fifty minutes longer than Coppola's initial cut. See more »
In Vito's brush with death, one hitman's pistol emits a muzzle flash, visible just after a cut to the overhead shot of them running away, but there is no accompanying sound effect for this last gunshot. 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...
[...] See more »
Although Mario Puzo is given possessory credit at the beginning, and is credited as a screenwriter at the end, no credit is given to him on-screen as author of the original novel, even though that credit is given on the poster. This credit does appear in the second film, however. See more »
Following Bonasera's exit in the first scene, Vito whistles at Sonny for not paying attention to business.
During the wedding reception, Tom Hagen informs Don Vito that consigliere Genco won't last the night in the hospital.
After the wedding, the Don and his sons are leaving the compound with Johnny Fontane to visit Genco. Vito asks Michael if Kay was able to get home all right.
In the hospital, the Don looks at Michael's military decorations with disdain then tells Michael that he has plans for him after graduation.
A dying Genco begs Vito to stay with him believing that Vito will somehow stop his death.
An extended version of Jack Woltz's party for his child star, Janie.
After being thrown out by Woltz, Tom looks up and sees Janie crying and her mother push her back into Woltz's bedroom.
Connie and Carlo argue and she runs crying into Mama's arms. Sonny wants to confront Carlo but Vito tells him not to interfere.
After Tom returns from Hollywood, he discusses with Vito what he has discovered about Woltz.
Michael and Kay are in their hotel bed in New York City and don't want to go to the family compound. Michael has Kay call Tom pretending to be an operator, then Michael tells Tom that they are in New Hampshire and will be at the compound the next day.
On the way to meet Sollozzo, Luca sees the nightclub's neon sign burn out.
Sonny gets a call from a detective telling him about his father's shooting. He then tries to call Tom.
Sonny tells Mama about the shooting. He then goes into Vito's study, calls Tessio and tells him to prepare his men. He then tries to call Luca.
A quick shot of Michael driving, returning home after his father's shooting and Rocco offering to escort Michael into the house.
Michael brings Tom's wife Theresa into the study where Sonny and Tessio are. Sonny comforts her and tells them both to wait outside but Michael stays. They discuss with Michael whether Clemenza or Paulie was the traitor. Michael tries to talk Sonny out of going to war stating Vito would not want it. Then Tom returns home and hugs Theresa.
Immediately following is a quick shot of the Corleone compound that dissolves to the scene where they discuss their next course of action.
Rocco admires Clemenza's car but Clemenza complains that the bumpers are wooden due to the war effort. He then tells Rocco that he is to kill Paulie.
Clemenza has Paulie check the hideout spot. He then has Paulie make a stop so he can buy some cannoli and have a meal at a restaurant.
In Sicily, Michael and the bodyguards watch a Communist demonstration march.
While relaxing in the afternoon sun, Fabrizio begs Michael to bring him along to America when he returns.
Michael and his bodyguards visit his father's childhood home and find it abandoned.
After Connie hangs up the phone on Carlo's "girlfriend", she then confronts him in the shower. Then, Carlo orders her to make him dinner.
Bonasera is shown getting ready to return his favor to Don Vito. Bonasera tells his wife who is helping him get dressed that maybe he will be asked to be an accomplice to murder.
After the car bomb, Michael wakes up in bed surrounded by nurses and Don Tommasino. Michael tells Tommasino to find Fabrizio and he passes out.
Michael and Vito talk in the new garden after his return from Sicily. Michael takes responsibility for avenging the deaths of Sonny and Apollonia so Vito will not have to break his promise to the other Dons.
Additional dialogue when Michael removes Tom from his position as consigliere.
The final scene is Kay in a Catholic church lighting candles and praying.
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.
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