I always think I don't really know The Godfather because I just remember the famous scenes. Then I look and realize it's *all* famous scenes. But to know the film is to see that it's as much a piece of popular entertainment as any Hollywood movie. It leaves very little unsaid, and its Romantic-American gangster morality play is actually rather uncomplicated. So it's the sum of its parts—but those parts are perfect.
Francis Ford Coppola's most overrated movie. Glorification of macho violence in its scene after scene of abuse (Talia Shire, etc.) and Mafia slayings. The only saving graces are the cinematography, memorable Nino Rota score, and the performances of Brando, Pacino, and Duvall.
Late to the party, but thankful for my "better late than never attitude" which made me appreciate Coppola, Brando & Pacino (!!!) a hella lot more than before. I really enjoy stories in which characters come to terms with their fate and choose to embrace it instead of running away from it & who they are meant to be.
The entire sub story when Michael is in Italy is my favourite part of the film and it easily could be cut and nothing would be effected and yet it establishes his cold ascend to mafia don for the remainder of the film. Brando steals this film nevertheless the fact that they wanted no one else to play his part but him says it all. I don't need to tell you this film is good just look at most top 10 film lists ever!
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.