The Godfather (1972)

The Godfather (1972)
  • Time: 168 min
  • Genre: Crime | Drama
  • Director: Francis Ford Coppola
  • Cast: Marlon Brando, Al Pacino, James Caan


The story spans the years from 1945 to 1955 and chronicles the fictional Italian-American Corleone crime family. When organized crime family patriarch Vito Corleone barely survives an attempt on his life, his youngest son, Michael, steps in to take care of the would-be killers, launching a campaign of bloody revenge.


  • “The Godfather” is regarded as one of the most important and influential films of the century. This film has definitely changed the way gangster films are created. Back in the golden days of cinema, gangster films were notable for their violence and profanity. This movie changed the way contemporary gangster or crime films are approached. When you watch this, you know you are watching something special. The acting is superb. Because all of the characters are so realistic, because they are made for their roles. I think Academy Awards must give Marlon Brando a award every year for his incredible performance in this movie. Because this movie has Extraordinary performances, amazing direction, incredible screenplay, and an excellent soundtrack, it’s more than good, more than great, it’s perfection in every way! Francesco Coppola is really able to submerge you into this wonderful experience… Fan-tas-tic movie!!

  • “The Godfather” was a Hollywood strange hit: an intelligent film that grossed a large sum of money ($ 330 million dollars in two-and-half years); a quality film really can triumph. Now it’s the touchstone for the genre, and it’s highly praised by the critics. “The Godfather” feels sometimes as an artifact of its time. We review: by 1972 (year when the film was premiered), USA transited politic-social problems: Vietnam disaster, the murders of Martin Luther King and John and Robert Kennedy, racial rights, etc. Was a cynicism age, colorful world had disappeared, Doris Day days seemed very far. Logically, “The Godfather” (based on the book written by Puzo) represented the mirror of the new larvae, the distorted reflection of the declining U.S. company. Considering that “The Godfather” was far to the hippie naivety, this marks a new code: cold blood, inspired by the Roman tradition. Not sense and not too much drama, even if here there are murders of sons. “The Godfather” works as a contemporary transport about Greek and prehistoric elements: loyalty, the own family protection, the business, upper class, respect and revenge, etc. Considering that Francis Ford Coppola had a great talent here, he adds height and depth, and makes human: the characters look, think, feel and acting like persons; preparing the wedding, preparing the dinner, having a family concept, etc. Coppola and Puzo add tragedy, pain: Corleone cries when his son was murdered. Michael Corleone assumes his position as a guard soldier and boss protecting his father in the hospital. The viewer really gets excited by the alternative moral in that world of criminals. Any director with common sense would have done the easy bet: that the viewer sympathize with the criminal or gangster, but meanwhile the criminal commits the worst atrocities without knowing why of his job (why not have a normal job, less morally exhausting?); while Ford Coppla makes the characters are comfortable with their “profession”, as the Mafia is an organization, that commands respect, even rooted in religion, and less wild than it appears: even the rivalry between the five families is held (temporarily) under the appearance and respect or conversation. The movie has a R level of violence, typical of gangster genre, but here the context is much more realistic and with a deep script. Despite the humanism appearence, “The Godfather” doesn’t quite feel totally human (unlike “The Sopranos”), and therefore, not totally modern. “The Godfather Part II” is a little more human (without falling into melodrama), even if can not escape of Roman tradition of its first part. Here are stoic, stiff men. The viewer can sympathize with their cause, their codes, and their love for the family, but they are a little bit laconic, and only the performances of the actors make them charismatics and humans. “The Godfather” is a masterpiece, but the dour Vietnam shine is slightly out of time; narrative of events comes before reflection, without maintaining a balance. Other minor fault: the story of Apolonia is pure filler because of her death, does not add much to the plot; perhaps her death shows that Michael can not escape his destiny as gangster; but lacks the power of synthesis of the rest of the movie. Also the scene where Michael tells Kay about how his father freed Johnny Fontane is a too thick line not very suitable for the subtlety and elegance that keeps the rest of the film (Michael is telling to Kay about the criminality of his father without much anesthesia). And there are some overacted faces in Marlon Brando (here offers a very good performance), a certain plasticity in the face gestures

Leave a Reply

Your email address will not be published. Required fields are marked *