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Download The Godfather 1972 Movie Legally
Year:
1972
Country:
USA
Genre:
Crime, Drama, Thriller
IMDB rating:
9.2
Director:
Francis Ford Coppola

 

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Marlon Brando as Vito Corleone
Al Pacino as Don Michael Corleone
James Caan as Santino 'Sonny' Corleone
Richard S. Castellano as Young Peter Clemenza
Robert Duvall as Tom Hagen
Sterling Hayden as Capt. McCluskey
John Marley as Jack Woltz
Richard Conte as Don Emilio Barzini
Al Lettieri as Virgil 'The Turk' Sollozzo
Diane Keaton as Kay Adams Michelson
Abe Vigoda as Sal Tessio
Talia Shire as Connie Corleone Rizzi
Gianni Russo as Carlo Rizzi
John Cazale as Fredo Corleone
The Godfather Storyline: When the aging head of a famous crime family decides to transfer his position to one of his subalterns, a series of unfortunate events start happening to the family, and a war begins between all the well-known families leading to insolence, deportation, murder and revenge, and ends with the favorable successor being finally chosen.
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Reviews
Slightly overrated
One thing that's a bit annoying when seeing `The Godfather' is the sense that, as a viewer, you feel you are required to bow down before this film and worship it as movie perfection, or else reveal yourself to be a person of no taste. Well, I can definitely acknowledge that this is a very good movie, but not necessarily great, nor is it on my personal favorites list.

For starters, while this definitely gives you some great characters and atmosphere, there's really nothing in this movie that you couldn't get from reading the book. In fact, the strength of this film comes from the way the director and actors faithfully bring the novel to life.

What's best? No question - the acting. Judged on that scale alone, it gets a 10. I cannot disagree with those who state that this combines the best acting performances in American film history. The directing and scriptwriting are also very good, worthy of at least a 9.

What's not so good? The pacing. As others have noted, this film can be boring at times. Most notably, at least for me, was the time spent showing Mike in Sicily after he shot the cop and the Turk. Other than getting married, it doesn't really show him doing much of anything, nor does it really contribute much to the story. In contrast, the book made this particular sub-plot far more interesting and relevant.

And that, at heart, is my problem. I've seen the movie and I've read the book. And I far more enjoyed the latter. The book gives all sorts of details the movie skips. For example, in the film, Al Neri is just a guy dressed up as a cop who performs as one of Mike's hit men. In the book, we learn how he went from being a good cop with a bad temper to taking over the role once held by Luca Brasi (another character who is developed far more fully in the book).

So there you have it. On the one hand, you have to intellectually acknowledge the great talent displayed in the making of this film, but on the other, I must admit it just isn't very satisfying emotionally. These characters seem cold and distant, and I never really cared much for any of them. In that respect, I much more preferred "Goodfellas". The acting wasn't as good, but the characters were far more engaging and the pacing much more lively. In short, `The Godfather' is sort of like a great, but somber, piece of music, something you can admire but not dance to.

8/10
2002-04-04
The Greatest Cast For A Movie Ever.
SPOILERS for the film lie ahead! Read at your own risk.

Regarded as one of the greatest movies of all time. "The Godfather" is a beloved classic about organised crime, and the Sicilian lifestyles in America. Of course the movie is about the building of a dynasty, a business built on death, murder and betrayal that goes on to run itself on favours and illegal pleasures. However, in this story we see the life of Don Vito Corleone (Played to a tee by the magnificent Marlon Brando), giving favours on his daughter's Wedding day. Here we see a loving, caring man who is both equally loved and feared. So far in the movie, it has had fair tension and introduced us to the family. Then all of a sudden a film-maker awakens to find his prized race horse's head under his bed sheets, and suddenly the tensions of this movie rises considerably.

After many hits later, as well as an attempted assassination on Don Corleone. We cut to Michael Corleone (Played superbly by Al Pacino), the youngest son in the Corleone family, who resents the family business. Until a bloody act of revenge, unwittingly consumes him mentally beyond the return of normality. We then cut to Michael's new life as well as Vito recuperating. Vito expresses great upset that this fate has befallen Michael, as he never wanted him to get involved with the family business. Michael has now become a shell of his former joyful self, yet he has built a "happy" life for himself whilst in hiding.

In the meantime. A montage of hits is carried out by all of the five families, which ultimately ends up bringing more tragedy to the Corleone family. Eventually it finally leads to a cause of action, in which Vito ensures the protection of every family within the Mafioso (An interesting note that the word "Mafia", is never uttered in the movie). At the same time, Michael has returned and is now the "Don" of the Corleone family, and is allowing the five families to run the Corleone's resources dry. After Vito sadly passes away, Michael then begins his plan as he has all other heads of the five families brutally murdered (While attending a Christening no less). Ensuring his place as the strongest "Don" to the remaining families, as a door swings closed to his now realising wife.

Something of a Masterpiece when the film came out back in 1972. "The Godfather". has only gotten better of age. There are so many iconic quotes and moments in the movie, and the cast is just seriously one of the best ever put to film. James Caan I hardly recognised, and Robert Duvall was just as brilliant as always. But obviously the biggest argument is, was this movie Brando's or Pachino's? Personally, I thought Brando was just incredible as always, and totally deserved the Oscar he turned down. Both nevertheless are unforgettable on screen.

The pacing was impeccable, as well as the locations that are all shot beautifully. Some part of me does feel that the film is a bit too long, however a lot does happen and instantly captivates you enough to check out the sequels. The music was fantastic, helping bring the era and authenticity out of the picture and into the deepest parts of my brain. I could listen to the "Love theme" all day. As said earlier, the movie is about the dynasty of the family, the business of the family and the vengeance of the family. So many themes are present and so much more are explored. Every gangster film ever made owes something to Francis Ford Coppola's efforts.

Final Verdict: Probably the first modern gangster epic ever made. As director Stanley Kubrick said: "Probably the finest cast ever assembled". 10/10.
2014-08-30
What is there to say?
Does it even need to be said that The Godfather is an amazing film? Is there really any purpose at all in pointing out all the things which make it so wonderful? Everybody knows. Everybody will always know. This is a film which will live forever. The story, the performances, the cinematography, the music...all so perfect. And all woven together so wonderfully by director Francis Ford Coppola who created a true classic.

There are so very many good reasons why this film will always be remembered so fondly. No matter how many times you see it the film never fails to make an impact. Even if you've seen the film so often you essentially have it memorized line for line and shot for shot it remains a thrilling experience. From the famous opening scene with Marlon Brando's Don Vito Corleone receiving requests for favors on the occasion of his daughter's wedding all the way to the end and the final settling of all family business the film never lets up. It's an undeniably powerful story and one which retains the capacity to surprise. Because initially it seems obvious that the story is about Don Vito Corleone. He is the Godfather after all. But, for as powerful a presence as Brando is, as the story plays itself out there comes the moment where you realize this is the story of Don Vito's son Michael, as played so wonderfully by Al Pacino. When Michael comes into his own the film, gripping from the start, becomes even more compelling. Has any character in any film evolved more than Michael Corleone does here? The Michael we meet at his sister's wedding bears no resemblance to the man we see in the end. And what a performance by Pacino, changing along with his character. What a journey it is for Michael as his story unfolds. And it is quite a ride as well for us who have the privilege of seeing it.

Brando and Pacino are the headliners but they are wonderfully supported by an amazing cast which includes the likes of James Caan, Robert Duvall, Diane Keaton and Al Lettieri. And that is just scratching the surface. There are so many memorable characters. And what a world Coppola has created for these characters to inhabit. The film has a unique look and feel to it. The world of The Godfather is quite unlike any other, often imitated but never duplicated. It's a triumph in every sense for Coppola. But perhaps his biggest success is in making you sympathize with the Corleones. We know right from the start that Don Vito Corleone is a man capable of doing monstrous things. But we identify with him anyway. And one cannot help but feel for Michael as he is inexorably pulled into the family business.

Everyone has their favorite Godfather characters, favorite moments, favorite lines. The film has become a cultural touchstone. And as it continues to be discovered by new generations it seems that the film, if possible, actually continues to grow in stature. It is a classic film which stands the test of time. The Godfather has earned its place of honor in the history of film. A true masterpiece.
2010-06-16
The Godfather (1972)
Taking a best-selling novel of more drive than genius (Mario Puzo's The Godfather), about a subject of something less than common experience (the Mafia), involving an isolated portion of one very particular ethnic group (first-generation and second-generation Italian-Americans), Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment.

The Godfather, which opened at five theaters here yesterday, is a superb Hollywood movie that was photographed mostly in New York (with locations in Las Vegas, Sicily, and Hollywood). It's the gangster melodrama come of age, truly sorrowful and truly exciting, without the false piety of the films that flourished forty years ago, scaring the delighted hell out of us while cautioning that crime doesn't (or, at least, shouldn't) pay.

It still doesn't, but the punishments suffered by the members of the Corleone Family aren't limited to sudden ambushes on street corners or to the more elaborately choreographed assassinations on thruways. They also include lifelong sentences of ostracism in terrible, bourgeois confinement, of money and power, but of not much more glory than can be obtained by the ability to purchase expensive bedroom suites, the kind that include everything from the rug on the floor to the pictures on the wall with, perhaps, a horrible satin bedspread thrown in.

Yet The Godfather is not quite that simple. It was Mr. Puzo's point, which has been made somehow more ambiguous and more interesting in the film, that the experience of the Corleone Family, as particular as it is, may be the mid-twentieth-century equivalent of the oil and lumber and railroad barons of nineteenth-century America. In the course of the ten years of intra-Mafia gang wars (1945-1955) dramatized by the film, the Corleones are, in fact, inching toward social and financial respectability.

For the Corleones, the land of opportunity is America the Ugly, in which almost everyone who is not Sicilian or, more narrowly, not a Corleone, is a potential enemy. Mr. Coppola captures this feeling of remoteness through the physical look of place and period, and through the narrative's point of view. The Godfather seems to take place entirely inside a huge, smoky, plastic dome, through which the Corleones see our real world only dimly.

Thus, at the crucial meeting of Mafia families, when the decision is made to take over the hard drug market, one old don argues in favor, saying he would keep the trade confined to blacks—"they are animals anyway."

This is all the more terrifying because, within their isolation, there is such a sense of love and honor, no matter how bizarre.

The film is affecting for many reasons, including the return of Marlon Brando, who has been away only in spirit, as Don Vito Corleone, the magnificent, shrewd old Corleone patriarch. It's not a large role, but he is the key to the film, and to the contributions of all of the other performers, so many actors that it is impossible to give everyone his due.

Some, however, must be cited, especially Al Pacino, as the college- educated son who takes over the family business and becomes, in the process, an actor worthy to have Brando as his father; as well as James Caan, Richard Castellano, Robert Duvall, Al Lettieri, Abe Vigoda, Gianni Russo, Al Martino, and Morgana King. Mr. Coppola has not denied the characters' Italian heritage (as can be gathered by a quick reading of the cast), and by emphasizing it, he has made a movie that transcends its immediate milieu and genre.

The Godfather plays havoc with the emotions as the sweet things of life—marriages, baptisms, family feasts—become an inextricable part of the background for explicitly depicted murders by shotgun, garrote, machine gun, and booby-trapped automobile. The film is about an empire run from a dark, suburban Tudor palace where people, in siege, eat out of cardboard containers while babies cry and get underfoot. It is also more than a little disturbing to realize that characters, who are so moving one minute, are likely, in the next scene, to be blowing out the brains of a competitor over a white tablecloth. It's nothing personal, just their way of doing business as usual.

THE GODFATHER (MOVIE)

Directed by Francis Ford Coppola; written by Mario Puzo and Mr. Coppola, based on the novel by Mr. Puzo; director of photography, Gordon Willis; edited by William Reynolds, Peter Zinner, Marc Laub, and Murray Solomon; music by Nino Rota; production designer, Dean Tavoularis; produced by Albert S. Ruddy; released by Paramount Pictures. Running time: 175 minutes.
2014-09-08
Review The Godfather(1972)
"The Godfather," a 1970s film detailing the struggles of a Mafia family in post-World War II New York City, not only changed the face of cinema forever, but also resurrected a genre that had been dead since the Howard Hughes mafia opus "Scarface" hit the silver screen in the 1930s.

Directed by then-novice Francis Ford Coppola, future mastermind behind "Apocalypse Now," "Tucker," and "Youth Without Youth," "The Godfather" not only demonstrates poise and expertise in writing and directing but also in acting. Coppola put his career on the line fighting with power- hungry studio executives to get the actors he felt fit the roles.

Al Pacino, as Michael Corleone, youngest son of don Vito Corleone, expertly immerses himself in his character, down to the way he walks and talks, carries himself, and even shoots a gun in the famous "gun behind the toilet" assassination scene. Marlon Brando as the elder Corleone gives one of the greatest performances in cinematic history. With Robert Duvall as mild-mannered family consigliere Tom Hagen, and James Caan as the hotheaded Santino "Sonny" Corleone, every part is well cast and executed to perfection.

Not only are the acting, writing, and directing top-notch, but so is the way the film is carried with great setting, music, and a feeling of authenticity. As Michael travels the picturesque hills of 1940s Sicily, "Speak Softly Love," the famous tune by Nino Rota, transports audiences into the beautiful but deadly world of upper-class criminals. Everything in the film is well timed and well placed, offering the audience a portal into a life filled with twists and turns.

"The Godfather" also reflects the fact that Coppola collaborated well with Mario Puzo, the author of the novel, and Coppola did a plethora of research to ensure the authenticity of his mobsters. The actors talk, eat, sleep, and kill like real-world criminals, embodying the swagger of high-rolling Italian mobsters. The dialogue flows from their lips as if Al Capone or Jon Gotti said it.

"The Godfather" will go down in history as one of the most well made films of all time.
2016-06-28
Truly the Godfather of movies
Don Vito Corleone (Marlon Brando) is the head of a Mafia family. Sonny (James Caan) is his eldest and heir apparent. Michael (Al Pacino) is a return WWII hero and wants to keep out of the family business. The Don refuses to go into the drug business which precipitate a mob war.

There is no doubt that this is one of the greatest movie of all times. Director Francis Ford Coppola has crafted a masterpiece from Mario Puzo's novel. It is not just a great story, but great characters and great actors playing them. Forty years later, it's still as compelling as ever. The pacing is slower than today's standard, but it packs a punch more potent than anything recent. The acting power alone is incredible. When you consider that Al Pacino is the new unknown kid, the cast is unquestionable the best that Hollywood has to offer in that era. Every 10 minutes, there is an iconic scene. There is no way I can list them all.

I rarely give a 10. Rarer still do I give it with no reservation. A perfect movie is not enough. It has to have cultural significance and some originality. That is 'The Godfather'. It is still being referenced today. May all the haters sleep with the fishes.
2013-11-28
Masterpiece
No one can deny this movie being one of the (if not THE) greatest movies ever made. It is brilliant. Great performances by an amazing cast (that was controversial among the studio), beautiful music, brilliant directing of course, cinematography to die for and a storyline that fascinated me from the very first to the very last minute. The movie goes deep into the family and lets you be part of a dramatic journey. I would definitely recommend this movie to ANYONE. It is one of my all time favourite movies and I can watch it over and over again, finding more and more beauty in it every time. It is sad that many friends my age have never seen this movie.
2015-05-16
Review
The few "perfect" films to ever been released are so perfect in every aspect that each scene almost feels like a masterpiece on its own. In the case of Coppola's revolutionary The Godfather, this statement holds especially true. Phenomenal and sheer brilliance in every aspect that cannot be matched by modern "cinema", Coppola's The Godfather is cinematic perfection in every aspect of filmmaking. From performances delivered by an astounding ensemble cast, to Nina Rota's breathtakingly soaring and epic musical score to Coppola's very direction, The Godfather should essentially be viewed as a three hour masterclass on filmmaking for any aspiring filmmakers. So perfect in every aspect and so free of flaws, no film since its time has matched even half the brilliance of The Godfather.
2015-02-06
An Epic, Masterful Look into the Underground World
"The Godfather" simply put, is one of the greatest films of all time. The script is thee best I've ever read. The direction is flawless. The acting may very well have the best ensemble cast in any movie I've ever seen or will ever see. It's also one of the most precise and intricate films I've ever come across as writer, Mario Puzo brings out some of the most hidden and guarded secrets of the underground world ever captured on film. Watching "The Godfather," is like watching cinematic art. Francis Ford Coppola's direction is what brings this film, that's so ambitious and so grand, down to earth with precision direction as he handles each and every scene with such care. The film starts with a black screen and an opening monologue from an undertaker. As the man starts talking about honor, family, respect, and justice we are pulled right in on his luminous eyes as he stands in near darkness. He begs for justice since the American system has failed him. He goes to Don Corleone (Marlon Brando) for justice. Don Vito is the man of power. He's the one who pulls all the strings and watches his puppets dance from behind the stage and out of sight; untouchable, or so we think. Some of the greatest moments in the film- and very intentional to show the distinguishable difference between Michael and Vito- are of Vito crying over his son, Sonny's (James Caan), death. When Michael learns of the news, he has little reaction. Two of the most emotionally powerful scenes in the film are from the cause of a loved one that has died long before he should have, and they come from Brando. As Vito stands over the body of his son he nearly breaks down. There is clash of feelings between the two men that are never conflicting, but compared.

The film opens during the wedding of Don Vito' daughter, Connie (Talia Shire), and we see just how strong the bond of family really is. You have the family dancing with each other, drinking, laughing, and sitting next to each other to show how close they are, then we see some of the outsiders such as the Barzini family, and surprisingly Michael (Al Pacino) along with his girlfriend Kay (Diane Keaton) on the outskirts without much interaction. Michael seems almost out of place as if he is the adopted son and Tom Hagen (Robert Duvall) is more apart of the family than he is. His opening words are to Kay, and they include, "That's my family, Kay. That's not me."

We get the feeling that Michael's nearly ashamed of the stigma that goes along with his last name: This is what makes Al Pacino' role- significantly- the hardest performance in the entire film to portray. He's the one doing all the heavy lifting as he has to go from outsider and completely against the family's actions and businesses to, by films end, head of the family. Brando has the teary eyed moments that actors live for, but Michael is too cold for that. Never for a second as he gradually comes to power do we think this turn is ridiculous or laughable, and in lesser hands it very easily could have been.

The final act of the film is loaded with plot points as decisions are made left and right as the film becomes visually and emotionally captivating. As the film draws to an end, Michael has gained half of the power of the family and makes most of the decisions. He's treated, not with respect, but as an outsider, too high ranking for his experience. The Corleone family is on the brink of disaster and losing everything, yet we never get that feeling. We see the two leader's confidence and we keep our confidence in them, even if the other family members doubt their decisions. Michael goes to Las Vegas and makes Moe Greene an offer he can't refuse. Then he refuses. This is Pacino' shinning moment in the film. There's no screaming or the hoopla that goes along with his name. After he treats Moe Greene like utter garbage, Fredo (John Cazale) get's upset and starts barking at him. Coppola is perfectly on his game here, too, as we watch from Fredo's height, looking down on Michael who sits in a chair as he coldly looks up with his radiating eyes, that have so much going on behind them, and simply says, "Fredo, don't ever take sides with anyone against family again. Ever."

That's some serious foreshadowing for the second film, and only after watching the second film can you go back and appreciate what Pacino and Coppola pulled off in this scene; Cazale too. We have no idea how serious Michael is. These are some of the stepping stones that make Michael's change believable. He's not quite his father- Vito has a soft spot for his children (admittedly so)- as he's capable of turning on anyone and using the line, "It's strictly business" when it comes to family issues. Michael's sister, Connie, calls him a "cold hearted bastard" at the end of the film. It's hard to find better superlatives than that, yet we still love him. The interesting thing about Pacino' performance is that he doesn't sugarcoat it. He doesn't try to make the audience love him. He plays the character as the character should be played. That's the sign of great writing; great acting; and great directing since we could have very easily seen someone try to make him likable. This crew just presents the character with all his flaws and let's us decide if we love him or hate him. Its films like "The Godfather," that made me wish I had amnesia, so I could feel the same heart pounding moments over and over again.
2008-06-29
Probably - if not definitely - the most overrated movie of all time
In a word, underwhelming. The Godfather is a decent film with some strong acting, but I did not find any exceptional or unique quality in the film that would render it a masterpiece. It's a simple a mob story in which everybody is an antagonist; the story is not gripping, the characters are hard to care about, the camera work is adequate but not in any way remarkable, the list goes on. I don't think The Godfather is a bad movie, but in no way is it the best I've ever seen, or anywhere close.

The movie has been so hyped that I really was expecting to see the best movie all time when I watched it. What I saw was a decent flick with some very quotable moments, but in my mind the film has no singular or superior quality when compared to other great films. Monstrously overrated, but still a respectable movie.
2016-11-30
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