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Summary • Starts at Connie's wedding, the Godfather is granting various favours. Michael turns up with Kay - back from the war. Small sub plot where Jonny Fontaine asks for a favour, and the Godfather's advisor/lawyer/adopted son Hagen goes to the house of Woltz a film producer and is very persuasive on Jonny's behalf - including chopping up his favourite horse. Winds its way onto Sollozzo, a Turk asking for a narcotics deal from the Godfather, he is refused. He's working with the Barzini family. Luca Brazi goes to find out info, is murdered. Oldest Barzini son is murdered, attempt on Godfather's life. Michael kills Sollozzo and the bent copper helping him. Goes to Sicily to hide, meets a wife. Meanwhile, Sonny is murdered on his way to see Carlos who keeps beating up Connie. Michael's wife is killed in Sicily after Michael's whereabouts are discovered by his enemies. Michael comes home, the Godfather dies of a heart attack, Michael is Godfather to Connie and Carlos' son. Michael orchestrates the murders of the heads of the five families. Kills Carlos for his part in Sonny's murder, and Tessio (a bodyguard) for being a traitor to the Brazini family. Michael is the new Godfather.
Cast/Director • Director: Francis Ford Coppola • main character Don Vito Corleone played by Marlon Brando • JohnyFontane godson wants to be a movie star (Al Martino) • Michael Don's son ( Al picino) • Fredoother Don son ( Jon Cazale) • Don Barzini big boss Richard Conte
Other movies by Francis Ford Coppola • The godfather trilogy • Dracula • Many more that aren't very well known.
Positive Critique • 4 out of 4 stars Rarely can it be said that a film has defined a genre, but never is that more true than in the case of The Godfather. Since the release of the 1972 epic (which garnered ten Academy Award nominations and was named Best Picture), all "gangster movies" have been judged by the standards of this one (unfair as the comparison may be). If a film is about Jewish mobsters, it's a "Jewish Godfather"; if it's about the Chinese underworld, it's an "Oriental Godfather"; if it takes place in contemporary times, it's a "modern day Godfather." If The Godfather was only about gun-toting Mafia types, it would never have garnered as many accolades. The characteristic that sets this film apart from so many of its predecessors and successors is its ability to weave the often-disparate layers of story into a cohesive whole. Any of the individual issues explored by The Godfather are strong enough to form the foundation of a movie. Here, however, bolstered by so many complimentary themes, each is given added resonance. The picture is a series of mini-climaxes, all building to the devastating, definitive conclusion. Rarely does a film tell as many diverse-yet-interconnected stories. Strong performances, solid directing, and a tightly-plotted script all contribute to The Godfather's success. This motion picture was not slapped together to satiate the appetite of the masses; it was carefully and painstakingly crafted. Every major character - and more than a few minor ones - is molded into a distinct, complex individual. Stereotypes did not influence Coppola's film, although certain ones were formed as a result of it. • http://www.reelviews.net/movies/g/godfather.html
Negative Critique • I feel very differently about this film every time I see it. Sometimes I am content to drink up the atmosphere and the menace and just roll with it. But recently I’ve come to see this film as a challenge to cinephiles. We, of course, like to take movies seriously, but I think we can only take The Godfather seriously at our own peril. Studying an audience’s reaction to The Godfather is very revealing: the way they will chuckle with illicit delight in anticipation of the moments of violence. Indeed, it is depressing but I believe true, that many if not most people who love The Godfather love it mostly for the stylishness of its violence. So let’s take one of the iconic moments: the severed horse head in Harry Woltz’s bed. It gets giggles every time, and it affirms what is to me one of the most problematic assumptions of the film: the mob violence occurs mysteriously, even magically; that when the mob sets out to do something, it will simply happen, without human risk or mistake. And that’s what the scene is: after Tom Hagen is refused, he leaves, and yet the next morning, someone (Tom Hagen? Or some invisible and anonymous family connection?) has managed to sever the head of Woltz’ prize stud, carry it into his bedroom, tuck the huge bloody thing perfectly under the covers right next to Woltz’s sleeping body, all without being noticed by anyone, let alone Woltz. It just appears there in his bed as a nightmare; waking up covered in blood. Everyone loves this scene, right? To me it has always reeked of phoniness
Trailer • http://www.youtube.com/watch?v=bf16Vc3iZjE
Impact on our culture • "I'm gonna make him an offer he can't refuse." Don Corleone to Johnny Fontane about Woltz • "A man who doesn't spend time with his family can never be a real man." Don Corleone to Johnny Fontane • "You can act like a man! [slap] What's the matter with you?" Don Corleone to Johnny Fontane
