the godfather


marlon brando
james caan
robert duvall
diane keaton
al pacino

the godfather, part ii
on the waterfront

marlene dietrich
joan fontaine
rita hayworth
margaret lockwood
carol reed

fritz lang
f.w. murnau
leni riefenstahl
josef von sternberg
conrad veidt
wim wenders

all quiet on the western front
beauty & the beast
birth of a nation
blue angel
cabinet of dr caligari
the kid

frank capra
charlie chaplin
alfred hitchcock
erich von stroheim
robert wiene

richard attenborough
richard burton
john gielgud stewart granger
cary grant
jack hawkins
trevor howard
james mason
john mills
david niven
laurence olivier
eric portman
dennis price
richard todd
peter ustinov

isabelle adjani
ursula andress
f. barber
emmanuelle beart
j. bisset
madeleine carroll
julie christie
josette day
britt ekland
ava gardner
valerie hobson
grace kelly
margaret lockwood
m. sologne



f r a n c i s   c o p p o l a ' s  :  c l a s s i c  ]

"Quite simply the finest gangster film ever made."
- Paul Page

credits | review | books | dvds | videos
the godfather
marlon brando | james caan | robert duvall
diane keaton | al pacino




      Francis Ford Coppola, 1972


      Albert S. Ruddy

    running time:

      175 minutes. Colour


      Coppola, Mario Puzo (from Puzo's novel)


      Gordon Willis


      Nino Rota

    main cast:


    • best film
    • best actor (Brando)
    • best screenplay

    oscar nominations:

    • best director
    • best supporting actor (Pacino, Duvall, Caan)
    • best costume (Anna Hill Johnstone)
    • best sound recording (Bud Grenzbach, Richard Portman, Christopher Newman)
    • best film editing (William Reynolds, Peter Zinner)



    Quite simply the finest gangster film ever made, although morally disturbing in its presentation of the Mafia as, if not exactly the good guys, then at least worthy of our admiration. What, specifically, we are asked to admire are their sense of family and their loyalty to each other. Bearing in mind that the Mafia take care of their families and each other by means of organised crime and murder, this is a most specious argument, but in The Godfather it is put across with such brazen confidence that one finds oneself nodding agreement.

    What we are shown here is the dark side of the American Dream, a glamorous, ruthless group of people whose aspirations are precisely the same as those of legitimate big business, only their methods are a little different. Paramount (in the person of Robert Evans) chose the hitherto not particularly successful Francis Coppola to direct the film because he was of Italian origin and more likely to understand the society he was trying to depict. It was an excellent choice because Coppola delivered an extraordinary movie, a portrait of American free enterprise gone mad. Every scene, from the opening set piece to the massacre on the cathedral steps, teams with life (or death); the characters are vividly drawn and, yes, we do admire them and mourn with Brando and Pacino at the murder of Sonny (James Caan). Now, very well, deep down this is mere pulp fiction, but it's raised to epic proportions by a director who, at his best, is a genuine artist of the cinema.

    The grainy realism of the photography and Nino Rota's distinctive music - whose Oscar nomination was withdrawn when it was later learned that part of the score had been used in the 1958 Italian film Fortunella - merely add further dimensions to what is already a masterly work.

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the godfather
marlon brando | james caan | robert duvall
diane keaton | al pacino


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Changes last made: 2015