‘THE GODFATHER’ AND THE DECLINE OF MARLON BRANDO – Review by Stanley Kauffmann

2018-03-02T22:07:19+00:00March 2nd, 2018|Categories: CINEMA|Tags: , , , , |

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: THE RESURRECTION OF DON BRANDO – Review by Richard Schickel

2018-02-03T19:23:51+00:00February 3rd, 2018|Categories: CINEMA|Tags: , , , , , |

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 [Newsday]

2018-02-03T18:49:35+00:00February 3rd, 2018|Categories: CINEMA|Tags: , , , , |

And then there was Marion 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]

2018-02-02T17:37:51+00:00February 2nd, 2018|Categories: CINEMA|Tags: , , , , |

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: ALCHEMY – Review by Pauline Kael

2017-12-30T13:54:12+00:00December 30th, 2017|Categories: Uncategorised|Tags: , , , , |

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.

FRANCIS FORD COPPOLA INTERVIEW (1974) – by Marjorie Rosen [Film Comment]

2018-01-18T12:30:59+00:00December 20th, 2017|Categories: INTERVIEWS|Tags: , , , , , |

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 also be why interviewing a director as the reviews for his latest opus are rolling in may either resemble a wake or a euphoric victory [...]

THE GODFATHER PART II: FATHERS AND SONS – Review by Pauline Kael

2017-12-12T09:42:17+00:00December 12th, 2017|Categories: CINEMA|Tags: , , , , |

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 GODFATHER PART III (1990) – Review by Pauline Kael

2017-08-19T10:34:04+00:00August 18th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael At the end of The Godfather Part II (1974), the story was complete—beautifully complete. Francis Ford Coppola knew it, and for over a decade he resisted Paramount’s pleas for another sequel. But the studio’s blandishments became more honeyed, his piggy bank was smashed, and late in 1988 [...]

THE GODFATHER – Review by Vincent Canby [The New York Times]

2018-02-02T14:34:57+00:00May 2nd, 2017|Categories: CINEMA|Tags: , , , , |

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.