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When Paramount decided to make a film of Mario Puzo’s pulpy novel about a Mafia family, the subject matter was considered déclassé at best, the domain of grimy quickies like The St. Valentine’s Day Massacre (1967) and The Brotherhood (1968). But the success of the novel (something like 2 million copies sold in the first two years after publication) apparently convinced ambitious Paramount boss Robert Evans to give The Godfather the A-list treatment. After the usual dance of overtures to other filmmakers (Peter Bogdanovich, Sergio Leone), Francis Ford Coppola joined the project, not only as director but also as Puzo’s co-writer on an Oscar-winning script about the ascension of the Corleone crime clan’s heir apparent, Michael. Gobs of plot from the novel were cut (and later repurposed for the movie’s sequel), notably patriarch Vito Corleone’s backstory. Getting the movie cast was an ordeal, especially because Paramount hated Al Pacino for Michael even more than they hated Marlon Brando for Vito. The studio pitched such unlikely alternates as Ryan O’Neal for the son and Danny Thomas for the father. Making the film was fractious for all involved, with Coppola and Pacino constantly at risk of termination; the director was targeted for overspending, and the actor was targeted for underplaying.
The disharmony wasn’t enough to inhibit the creative process, however, because the film represents a career high for everyone involved. The Godfather comfortably ranks among American cinema’s true masterpieces, a powerful drama that’s also fabulously entertaining. Working with famed cinematographer Gordon Willis, nicknamed “The Prince of Darkness” for his moody lighting style, Coppola created a unique look that evoked vintage sepia-toned photographs. And drawing on his own Italian-American heritage, Coppola blended his cast into a tight unit and set them in warm locations like the Corleone family compound, creating a sense of familial connection that counterbalances the film’s violent storyline. The acting is amazing, from the stars (James Caan, Robert Duvall, Sterling Hayden, Diane Keaton) to the perfectly selected bit players Coppola employs to imbue every scene with gritty flavor. And although it’s essentially Pacino’s movie, no one actor dominates; The Godfather is an egalitarian ensemble piece. It also features more classic scenes (the horse’s head!) than nearly any other single movie.
Astonishingly, Coppola and co. nearly topped themselves with the sequel: Both ’70s Godfather films won Oscars as Best Picture. The sequel’s tragic thread about Michael’s hapless brother Fredo (John Cazale) is moving, but way too much screen time is devoted to Young Vito (Robert De Niro), even though each individual scene within the Young Vito storyline is interesting. Acting Oscars went to both actors who played Vito; Brando won for his leading role in the first film and De Niro won for his supporting role in the second. However the ending of the first movie is so perfect that a continuation wasn’t really necessary from an artistic perspective, so while The Godfather is 175 incisive minutes of nonstop genius, The Godfather: Part II is merely 200 leisurely minutes of top-shelf filmmaking punctuated by moments of brilliance.
The disharmony wasn’t enough to inhibit the creative process, however, because the film represents a career high for everyone involved. The Godfather comfortably ranks among American cinema’s true masterpieces, a powerful drama that’s also fabulously entertaining. Working with famed cinematographer Gordon Willis, nicknamed “The Prince of Darkness” for his moody lighting style, Coppola created a unique look that evoked vintage sepia-toned photographs. And drawing on his own Italian-American heritage, Coppola blended his cast into a tight unit and set them in warm locations like the Corleone family compound, creating a sense of familial connection that counterbalances the film’s violent storyline. The acting is amazing, from the stars (James Caan, Robert Duvall, Sterling Hayden, Diane Keaton) to the perfectly selected bit players Coppola employs to imbue every scene with gritty flavor. And although it’s essentially Pacino’s movie, no one actor dominates; The Godfather is an egalitarian ensemble piece. It also features more classic scenes (the horse’s head!) than nearly any other single movie.
Astonishingly, Coppola and co. nearly topped themselves with the sequel: Both ’70s Godfather films won Oscars as Best Picture. The sequel’s tragic thread about Michael’s hapless brother Fredo (John Cazale) is moving, but way too much screen time is devoted to Young Vito (Robert De Niro), even though each individual scene within the Young Vito storyline is interesting. Acting Oscars went to both actors who played Vito; Brando won for his leading role in the first film and De Niro won for his supporting role in the second. However the ending of the first movie is so perfect that a continuation wasn’t really necessary from an artistic perspective, so while The Godfather is 175 incisive minutes of nonstop genius, The Godfather: Part II is merely 200 leisurely minutes of top-shelf filmmaking punctuated by moments of brilliance.
The Godfather: OUTTA SIGHT
The Godfather, Part II: RIGHT ON
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