El futuro, según Francis Ford Coppola
19/11/2023
El director estadounidense, de 84 años, reflexiona sobre las humanidades y el cine en la era de la inteligencia artificial
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Francis Ford Coppola
Apocalypse Now (1979) – Review by Stanley Kauffmann
27/12/2019
When I read three years ago that Vittorio Storaro had been chosen as the cinematographer for Apocalypse Now, I was shocked. Storaro, the lush Vogue-style photographer of Last Tango in Paris and The Conformist, for a picture that was being billed as the definitive epic about Vietnam!
Apocalypse Now: Misguided Journey to the Heart of Darkness
09/11/2019
However distant it may seem at first glance, Apocalypse Now remains not only deeply indebted to Conrad’s tale but not fully comprehensible without reference to it
The Power of Adaptation in Apocalypse Now
08/11/2019
In The Power of Adaptation in “Apocalypse Now” Marsha Kinder critically compares and contrasts the film and the novel. In this article, Kinder states that “Coppola rarely hesitates to change Conrad’s story-setting, events, characters-whenever the revision is required by the Vietnam context.”
Godfather II: OF Families AND families – by Barbara Grizzuti Harrison
08/04/2019
The Godfather bore witness to the bitter truth: evil, hydra-headed, renews itself and triumphs in the end; in America, the Corleones win.
The Conversation. Francis Coppola & Gay Talese (1981)
01/03/2019
Francis Ford Coppola and Gay Talese conversation on friends, censorship, death, and money
Apocalypse Now (1979) – Review by William Cadbury
12/11/2018
What does Apocalypse Now mean—the film as we have it, considering the minimal difference between the 35mm version with the title sequence and the 70mm version without, but ignoring all the prerelease stories and versions, preliminary scripts, and encrusted commentary?
NEW YORK STORIES (1989): TWO-BASE HIT – Review by Pauline Kael
25/04/2018
Pauline Kael reviews ‘New York Stories’, the 1989 anthology film consisting of three shorts with the central theme being New York City. Episodes directed by Martin Scorsese, Francis Ford Coppola and Woody Allen.
‘The Godfather’ and the Decline of Marlon Brando – Review by Stanley Kauffmann
02/03/2018
Hurricane Marlon is sweeping the country, and I wish it were more than hot air. A tornado of praise—cover stories and huzzahs—blasts out the news that Brando is giving a marvelous performance as Don Corleone in The Godfather, the lapsed Great Actor has regained himself, and so on. As a Brando-watcher for almost 30 years, I’d like to agree.
THE GODFATHER PART II – Review by Leonard Quart and Albert Auster [Cinéaste]
06/02/2018
The Godfather II is a sequel to a film whose narrative drive and choreographed violence made it one of the better genre films of recent years. It is colder, more severe, less violent and much more ambitious than the original The Godfather.
THE GODFATHER: THE RESURRECTION OF DON BRANDO – Review by Richard Schickel
03/02/2018
There’s nothing fun or funny to be found here. It offers us only the absorption of good acting and good storytelling combined with a plausible anthropology of a strange, terribly relevant culture. What more could we possibly want from a movie? How often, these days, do we get anything like all that?
The Godfather: How Brando Brought Don Corleone to Life – by Joseph Gelmis
03/02/2018
And then there was Marlon Brando, against all the odds, cast in one of filmdom’s juiciest roles, as mob chief Don Vito Corleone. He was eased in, despite stiff opposition from the studio brass, because of the advocacy of a thirtyish fan, Francis Ford Coppola, an Italian-American who happened to be the director of The Godfather. Once he got the part, Brando in turn helped Coppola maintain camaraderie during the frenzied three-month shooting by kibitzing with the cast and establishing a fatherly relationship.
THE GODFATHER PLAYS ON OUR SECRET ADMIRATION FOR MEN WHO GET WHAT THEY WANT – by Arthur Schlesinger Jr. [Vogue]
02/02/2018
Inflation does not always assure survival. My guess is that three years from now we will still remember scenes from Raoul Walsh’s The Roaring Twenties (1939) while The Godfather will have become a vague memory.
THE GODFATHER: KEEPING UP WITH THE CORLEONES – Review by William S. Pechter [Commentary]
02/02/2018
The Godfather is, furthermore, and by critical consensus, a stunning confirmation of my claims for Coppola’s talents: vividly seen, richly detailed, throbbing with incident and a profusion of strikingly drawn characters
THE GODFATHER: ALCHEMY – Review by Pauline Kael
30/12/2017
A wide, startlingly vivid view of a Mafia dynasty, in which organized crime becomes an obscene nightmare image of American free enterprise. The movie is a popular melodrama with its roots in the gangster films of the 30s, but it expresses a new tragic realism, and it’s altogether extraordinary.
COPPOLA FILMS CONRAD IN VIETNAM – by Diane Jacobs
23/12/2017
Coppola’s “heart of darkness,” like Conrad’s, is a triumph of style over story. Or rather, the description—words for Conrad, mise-en-scène for Coppola—is the story’s raison d’être.
FRANCIS FORD COPPOLA INTERVIEW (1974) – by Marjorie Rosen [Film Comment]
20/12/2017
by Marjorie Rosen In Hollywood circles the adage, “You’re as good as your last picture,” holds more truth than is comfortable or healthy. It could
APOCALYPSE NOW: A SOLDIER’S TALE – BY JOHN MILIUS
16/12/2017
Apocalypse Now achieved its highest aspiration: Not only was it immersed in the historical period and place – Vietnam – but it was an allegory of people facing reality and truth.
CLOSING ARIAS: OPERATIC MONTAGE IN THE CLOSING SEQUENCES OF THE TRILOGIES OF COPPOLA AND LEONE
15/12/2017
Certain films contain what I shall call “operatic montage,” a form of montage which manipulates temporal and spatial relations in film, typically to melodramatic ends.
The Godfather Part II (1974)- Review by Pauline Kael
12/12/2017
Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as the small Vito singing in his cell — that one scarcely has the emotional resources to deal with the experience of this film.
THE MAKING OF THE CONVERSATION. AN INTERVIEW WITH FRANCIS FORD COPPOLA
23/11/2017
“The Conversation” was very ambitious, and I hung in not because it was going right, but because I couldn’t accept within myself the judgment that I couldn’t succeed in doing it. It’s a funny thing, but I just couldn’t let the project go.”