Existing in a gray area of hyperbole and the best dark melodrama of all time, occupying the same territory of mobster glorification and evil-heartedness for an emotional pull more distressing than giving a full opinion. Only the primal emotion of its broad character arcs/drama and its mob-hit scenes that are more a surprise than suspenseful, aside from two turning-point ones with Pacino, are lukewarm elements.
Gorgeous operatic sweep in both visual panache and familial wrangling answered in Kensington Gore. Rota’s score captures ethnicity and grandeur; Willis’s photography, earthily nostalgic. Surely the successor to Visconti and a more convincing modern opera than that found on stage. The macroscopic view on the why and wherefore of American hegemony is fascinatingly revealing - it’s not pretty but it sure is beautiful.
I've gotten sick of the Godfather movies. I realize I shouldn't be reviewing them, but sometimes that's what happens to a movie that is talked about too much. I'm just sick of the glamorization of gangsters. I didn't watch 'The Sopranos', and I refuse to watch 'Narcos'.