An exquisite, cohesive Mafia epic, The Godfather constructs a compelling family saga from outstanding performances. Don Vito Corleone (Marlon Brando) is the spider at the centre of a web of deceit, murder and larceny. Easy with the fear that he induces, interpreting it as respect, Corleone is kept busy even on his daughter Connie's (Talia Shire) wedding day. While guests eat, drink and dance on the lawns of his spacious estate, Corleone grants an audience to people who want something from him - a service that no one else can provide. His visitors range from the lowliest undertaker to the most famous singer, Johnny Fontane (Al Martino), but they all have something in common. After Corleone has granted his favour they will always be in his debt and one day, they're afraid, he will collect.
Such a criminal empire, dependent upon personal contacts, could never exist without its army of soldiers. In this case the important qualification is blood - pick wisely from your own family and distrust everyone else. Thus Sonny Corleone (James Caan) is pretty much second in command along with his adopted brother Tom Hagen (Robert Duvall). The pair make a good team with Sonny providing the fire and impetuousness while Tom plumps for calm, measured consideration (this is why Tom is the consigliari, advisor to the Godfather). Smarter than both of these two is war hero Michael Corleone (Al Pacino), purposefully kept on the sidelines by his father. The drawback of this pyramid of power is that narcotics are the next big line for the Mafia and Corleone has a strict policy of non-involvement in drugs.
However, unknown to Corleone, this new market will be the key to both the downfall and resurrection of the clan. When Sollozzo (Al Lettieri), a rising force in the city, comes to Corleone for assistance and offers a healthy cut of the profits in return, the Godfather refuses. He listens politely, of course, but he refuses to risk his political contacts and prestige for such tainted money, he is behind the times. Other Mob families have no similar qualms and back Sollozzo enthusiastically, igniting one of the periodic wars which wrack the metropolis and leave behind a trail of corpses and bad blood. If Corleone is not careful, and in his old age he is complacent, he too will be "sleeping with the fishes".
The Godfather holds a central place in cinema history, an epic which has coloured everything made subsequently with its imagery and operatic scope. Violence plays a vital part in this intricate tale of corruption and revenge, some of the set-pieces are unforgettable, but it isn't the crucial element - family is. The responsibilities, respect, sacrifices and love which well from this genetic union are the lifeblood of The Godfather, the aspect which allows personal identification with the characters. Seen from within the Corleone family are much like anyone else's - they bicker, love, celebrate and sadden. However, viewed from the outside, the trail of destruction as one generation hands over to the next is staggering, horrifying and awfully gripping.
Francis Coppola, in making The Godfather, has managed to combine blind luck with a nose for talent. Given an average novel, budgetary constraints and a studio who wished to make the movie contemporary, Coppola turned everything around with a superb screenplay, great casting and a dedication to staying in period. The role of Don Corleone feels made for Brando, his restrained motions and rasping speech patterns are stunningly suggestive of power while his actions (courtesy of the script) wield it. In tandem, Pacino, Duvall and Caan are each astonishingly good at establishing their character and playing it to the bitter end (although Pacino's gradual and subtle transformation is brilliant). With a host of established character actors, who can suggest the nuances of their role without being handed much screen time, the entire cast are seamlessly excellent.
The technical and associated aspects of The Godfather are equally fine, a few of which deserve special mention. The cinematography, which casts the early parts of the film in slight sepia tones and covers many scenes in a deep veil of shadow, is beautifully controlled. Editing this lengthy film must have been an exhausting task but thankfully it is handled well, especially in the montage sequences (which contrast life-death and bring out the smell of hypocrisy). The post-war era is splendidly recreated, with Coppola even going to the trouble of removing the TV ariels from certain streets. On the aural side, the score by Nino Rota is immensely memorable and startlingly evocative of certain key moments. Altogether, The Godfather is near-perfect in its execution, composition and impact.
Such a criminal empire, dependent upon personal contacts, could never exist without its army of soldiers. In this case the important qualification is blood - pick wisely from your own family and distrust everyone else. Thus Sonny Corleone (James Caan) is pretty much second in command along with his adopted brother Tom Hagen (Robert Duvall). The pair make a good team with Sonny providing the fire and impetuousness while Tom plumps for calm, measured consideration (this is why Tom is the consigliari, advisor to the Godfather). Smarter than both of these two is war hero Michael Corleone (Al Pacino), purposefully kept on the sidelines by his father. The drawback of this pyramid of power is that narcotics are the next big line for the Mafia and Corleone has a strict policy of non-involvement in drugs.
However, unknown to Corleone, this new market will be the key to both the downfall and resurrection of the clan. When Sollozzo (Al Lettieri), a rising force in the city, comes to Corleone for assistance and offers a healthy cut of the profits in return, the Godfather refuses. He listens politely, of course, but he refuses to risk his political contacts and prestige for such tainted money, he is behind the times. Other Mob families have no similar qualms and back Sollozzo enthusiastically, igniting one of the periodic wars which wrack the metropolis and leave behind a trail of corpses and bad blood. If Corleone is not careful, and in his old age he is complacent, he too will be "sleeping with the fishes".
The Godfather holds a central place in cinema history, an epic which has coloured everything made subsequently with its imagery and operatic scope. Violence plays a vital part in this intricate tale of corruption and revenge, some of the set-pieces are unforgettable, but it isn't the crucial element - family is. The responsibilities, respect, sacrifices and love which well from this genetic union are the lifeblood of The Godfather, the aspect which allows personal identification with the characters. Seen from within the Corleone family are much like anyone else's - they bicker, love, celebrate and sadden. However, viewed from the outside, the trail of destruction as one generation hands over to the next is staggering, horrifying and awfully gripping.
Francis Coppola, in making The Godfather, has managed to combine blind luck with a nose for talent. Given an average novel, budgetary constraints and a studio who wished to make the movie contemporary, Coppola turned everything around with a superb screenplay, great casting and a dedication to staying in period. The role of Don Corleone feels made for Brando, his restrained motions and rasping speech patterns are stunningly suggestive of power while his actions (courtesy of the script) wield it. In tandem, Pacino, Duvall and Caan are each astonishingly good at establishing their character and playing it to the bitter end (although Pacino's gradual and subtle transformation is brilliant). With a host of established character actors, who can suggest the nuances of their role without being handed much screen time, the entire cast are seamlessly excellent.
The technical and associated aspects of The Godfather are equally fine, a few of which deserve special mention. The cinematography, which casts the early parts of the film in slight sepia tones and covers many scenes in a deep veil of shadow, is beautifully controlled. Editing this lengthy film must have been an exhausting task but thankfully it is handled well, especially in the montage sequences (which contrast life-death and bring out the smell of hypocrisy). The post-war era is splendidly recreated, with Coppola even going to the trouble of removing the TV ariels from certain streets. On the aural side, the score by Nino Rota is immensely memorable and startlingly evocative of certain key moments. Altogether, The Godfather is near-perfect in its execution, composition and impact.
