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| Directed by Francis Ford Coppola; Starring Marlon Brando, Al Pacino, James Caan, Richard S. Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte, Al Lettieri, Diane Keaton, Abe Vigoda, Talia Shire, Gianni Russo, John Cazale, Rudy Bond, Al Martino, Morgana King, Lenny Montana, John Martino, Salatore Corsitto, Richard Bright, Alex Rocco, and Tony Giorgio |
Through my time as a film critic, I’ve found that there is one question that seems to pop up the most: “What is your favorite film?” Over the years, my favorites have jumped from Vertigo to The Bridge on the River Kwai, but nothing has lasted in that position longer than the 1972 masterpiece The Godfather. It has been my favorite since I first saw it at 13 or so and I doubt that it will ever be ousted. The beauty of a crime drama amongst family values is forever focused around this film. Despite another great sequel, a mediocre third part, and a rumored fourth, The Godfather remains untarnished and perfect when left alone (the Godfather Legacy blending of Parts I and II work better as an interesting set piece than master cinemateque).
I think that is the secret to the long lasting adoration to this film that myself and many others have found: it cannot be tarnished. When I watch it, I don’t think about the fact that Pacino would go on to do Revolution, or Caan with Alien Nation, or Brando with The Island of Dr. Moreau. I don’t even worry about the fact that the ingenious direction of Coppola would later be behind the camera of Jack or The Rainmaker. It doesn’t matter that there have been two wannabe TV Miniseries from Godfather scribe Mario Puzo. What seems to matter is that all is and will always be perfect with this little 1972 gem.
The fact that it is a gangster film with a heart and soul makes it ever so engaging. Rarely do we see that (I can only think of GoodFellas, Scarface [1932], Public Enemy, and Little Caesar off the top of my head) and only Martin Scorsese seems to be equip with a future film that might do so. The Corleone family, under its Mafioso patriarch, are the side of the Mafia we rarely could see as the FBI made them as scoundrels. When grieving Vito (Brando) tells another don that nothing can bring their sons back, there is a sense of compassion that Al Capone could very well of had, but the news would never allow that to be known. When Sonny (Caan) is upset over the abuse his sister is getting from her husband, it is shown just how tightly woven the family is. The subtle love for Fredo (Cazale) is well put by Michael (Pacino), that is only until it seems that Fredo has taken sides against the family.
Coppola’s direction is the best of his terrific streak through the seventies (The Conversation, The Godfather, The Godfather Part II, Apocalypse Now) and shows exactly why he still retains respect after all the terrible things he has made in the eighties and the nineties. The screenplay he produced with original novelist Mario Puzo still serves as the greatest place to grab a piece of dialogue (“Leave the gun, take the canoli”, “Luca Brasi sleeps with the fishes”, “Women are more dangerous than shotguns”). It also could be a nominee for the greatest ensemble casts of all time (doing battle with Bridge on the River Kwai, Network, and Pulp Fiction): easily the best work from always great actors like Al Pacino, James Caan, Diane Keaton, and Robert Duvall, and the second best from Oscar winner Marlon Brando (only defeated by his work in On the Waterfront).
But one thing that is forgotten in the list of respected people from The Godfather, seems to be its terrific supporting cast. Talia Shire puts her flat performance in Rocky to shame, Abe Vigoda easily makes the viewer forget that his claim to fame is in playing a character named Fish, Richard S. Castellano makes arguably the greatest accomplice ever, and Sterling Hayden even makes his work in Stanley Kubrick films seem simple.
Then there is the indelible John Cazale. Making only 5 films (The Godfather, The Godfather Part II, The Conversation, Dog Day Afternoon, and The Deer Hunter), he serves as the actor with the most seamless filmography ever (edging out those 3 from James Dean). Fredo by Cazale was probably the best cast character in the entire film as Cazale puts forth an edgy, haunted, and beautiful performance that is only overshadowed by the one he would do for the sequel. If you ever have about 13 hours to spend watching films, I recommend hitting his 5 films.
With the workings of a piece of art, The Godfather would serve, at least in my own mind, as the Mona Lisa of film.
