WeeklyClassics-290

Ask any ordinary movie fan as to what there favorite movies are; chances are that the first two Godfather pictures will be firmly on that list. Go to any movie store anywhere; ask them for ‘The Godfather’, they will know what you talking about. Its one of those movies that is common knowledge to even the most average film-goer. Fans of the series range from the current occupant of the White House, US President Barack Obama, to Saddam Hussein former dictator and current occupant of a graveyard in Iraq. This review is simply a plea to the people who haven’t seen the movies, to watch it and as to why its, to use a memorable line, ‘An offer you can’t refuse’.

The Godfather (1972)

Fresh from winning an Oscar after co-writing the script for Patton in 1970, Francis Ford Coppola turned his attention to author Mario Puzo’s bestselling novel ‘The Godfather’ and decided to make it his next project. In the early 1970’s gangster movies were not keenly made by the Hollywood studio system. Paramount Pictures, which bought the rights to the novel, were very hesitant to give Coppola the go-ahead.

Prior to The Godfather’s success, gangster movies were a tried and tested genre that seemed to have run its course. The old films from the 1930’s to the 1960’s relied on gangsters being seen simply as violent criminals who had an almost cartoonish demeanor. Actors were simply required to put on a heavy Italian accent and act tough while threatening to do nasty things to those unfortunate enough to cross their paths. Cheesy acting and even cornier dialogue was not enough to draw the crowds in for a gangster movie to the Vietnam era generation.

Coppola managed to convince the studio executives that his approach would be different to previous attempts. Instead of having gangsters simply as one-dimensional figures, he would add real depth to the characters, making them complex and to an extent even sympathetic. His other challenges included convincing Paramount Studios that Marlon Brando was the man he wanted in the title role and Al Pacino as his son Michael Corleone.

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The studios were not easily convinced. Brando was notoriously difficult to work with and his appeal, which shined its brightest in the 1950s, was rapidly fading. Laurence Olivier, Burt Lancaster and even Orson Welles were among those keen to play the role of Don Vito Corleone. However Coppola was adamant that Brando was his man and only convinced them after showing them a tape of Marlon Brando auditioning with makeup on. This was unheard for someone of his stature to do, and reluctantly Paramount Studios accepted. Al Pacino, who was unknown at the time, had as much difficultly getting a part in the movie. Again Coppola stood his ground and again the studio gave in.

The Mafia, the subject the movie was based on, also was opposed to the movie and threatened the production of the film. Only after making a deal not to mention the word ‘Mafia’ in the film, did the mob give their approval.

The movie deals with the life of the fictional Corleone crime family and its aging boss, Don Vito Corleone, along with the inner works of his particular ‘family’. His son Micheal, initially a distant outsider, is slowly drawn into the violent politics of his father’s business. Although the aging Don knows that his offspring will become involved in his line of work, he is very hesitant for Michael to join the family business. His other son Santino ‘Sonny’ Corleone, played brilliantly by James Caan, is a violent and hotheaded individual and is seen as the natural successor. Fredo, the third son, is the polar opposite of both Micheal and Sonny. An immature and weak man, he can barely hold a conversation let alone run a mob family. After the murder of Sonny, due to a dispute with the other crime families over the trafficking of drugs, Michael eventually takes control of the Corleone family and proves himself to be a worthy successor to the Don, much to the surprise of others.

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In a nutshell that is the basic premise of the movie, but the real beauty of the film lies in Francis Ford Coppola’s ability to weave a seductive web out of this grim tale. He perfectly orchestrates the story with classic performances, a perfect script, a memorable score from Nino Rota and stellar cinematography by Gordon Willis. The now legendary theme music works in a perfect crescendo with the dark visuals and is further complimented by the wonderful acting.

Al Pacino was a real gem of a discovery in this film. To see him transform from an aloof and quiet young man to a ruthless kingpin is remarkable. In the beginning of the movie, his eyes convey a hesitance and shyness which by the end of the picture completely vanishes, only to be replaced by cold blooded ruthlessness. This powerhouse of a performance is further built up in ‘The Godfather Part II’ where Pacino outdoes himself.

Although Al Pacino, James Caan and Robert Duvall were all nominated for their great performances, it was Marlon Brando who won the Oscar, which he famously rejected at the awards ceremony. It’s no surprise that Brando won the award. His performance is one for the ages and justifiably famous. The mumbling and brooding Don Vito Corleone has become so iconic a character, that it’s spawned countless imitations and is possibly the closest a murdering gangster has come to being seen as a tragic hero on the screen.

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The film won three Oscars, including Best Picture in 1972. Since then the accolades have continued to pour in for the movie. It’s regularly voted as one of the greatest movies ever made by any country in the world. Many have tried to mimic its style along with its dark undertones, but to very limited success. Still a classic after 40 years, its one of the few films that can truly be called a must-see.

Godfather Part II (1974)

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The second part of the Godfather saga, continues a few years after the events of the first film. Michael Corleone, now firmly the head of his father’s criminal organization, faces a number of challenges as he seeks to expand his empire in the United States and in pre-revolution Cuba. While Michael is consolidating his position in the underworld, simultaneously the rise of a young Vito Corleone and his rags-to-riches story is narrated to us. Vito was born Vito Andolini in Sicily where as a young boy he witnesses his mothers murder at the hands of a local Mafia chieftain and has to flee to America. Over the years Vito becomes involved in criminal activities and slowly but surely rises to the top of the pecking order until he finally becomes a Don.

This section of the movie is shown through a series of flashback sequences and is used as a comparison to his son Michael, who must now deal with the dilemmas handed down to him by the legacy of his father. This is a father and son movie, without the two ever sharing the screen. They are simply linked by their actions over a period of time. But while Vito Corleone becomes more powerful and respected in his time, Michael ends up being more isolated by those who are closest to him.

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What Francis Ford Coppola managed to achieve in Godfather Part II, was unheard of in Hollywood during the 1970’s. He managed to make a sequel that in many ways outdoes the film that spawned it. Part II has a better storyline than the first one, and its complex narrative style told while going back-and-forth in time was ingenious and startlingly original.

Al Pacino returns as Michael Corleone in Part II, as does Robert Duvall as consigliere Tom Hagen, along with John Cazale as Fredo and Talia Shire as Connie Corleone. The new additions to the cast include Robert De Niro as the young Vito Corleone and legendary acting teacher Lee Strasberg as the Jewish gangster Hyman Roth.

Pacino gave arguably the greatest performance of his career in this movie. Like the first film, where his eyes show the change of the soul in the character, his ruthless and cold-hearted practicality is transmitted through his gaze. Any person who orders the murder of his own brother has to be stone cold, and Pacino portrays that aspect of Michael Corleone in spades. Robert De Niro on the other hand is also superb as the young Don Vito. Perfectly capturing the mannerism and soft spoken voice of Marlon Brando, De Niro speaks mostly in a Sicilian dialect throughout the movie and is thoroughly mesmerizing.

Credit must also be given to John Cazale and Lee Strasberg is their respective roles along with Michael V. Gazzo as Frank Pentangeli.

The film won six Academy Awards for 1974, including Best Picture, Best Director and Best Supporting Actor for De Niro. It’s generally regarded as the greatest sequel in movie history and justifiably so. Whether it is better than the original can be debated. It can however hold its own as a masterpiece of storytelling and acting.

The third part is not mentioned in this review, because I personally don’t think it can be categorized in the same league as Godfather I and II. Apart from another great performance by Pacino, it was mostly a disaster and very forgettable. However it’s these two movies that are required viewing. They are still the standard by which portrayals of the horrific yet fascinating world of the Mafia are to be judged.

Because this blog is weekly we will continue to highlight one classic a week, including foreign-language films, as well as local classics, so check back same time next week to see our next weekly classic!

View Dawn.com’s weekly classics archive here.

Raza Ali Sayeed is a journalist at Dawn.com