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The Godfather Part II (1974) | Transcript
The early life and career of Vito Corleone in 1920s New York City is portrayed, while his son, Michael, expands and tightens his…
Francis Ford Coppola
Interviews, transcripts, and criticism on Francis Ford Coppola in the Scraps archive.
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The Godfather Coda: The Death of Michael Corleone (2020) | Transcript
The Godfather Coda: The Death of Michael Corleone
Megalopolis (2024) | Transcript
The city of New Rome faces the duel between Cesar Catilina, a brilliant artist in favor of an Utopian future, and the greedy…
Megalopolis – A Lifetime Dream | Review
Coppola's Megalopolis, a decade-long project, debuts at Cannes, facing mixed reactions. The film blends epic ambition and innovative storytelling, challenging conventional cinema.
Megalopolis: Coppola’s Ambitious Film at Cannes 2024 | Review
Farcical, baroque, pompous, obsessed with time: the latest grand film by Francis Ford Coppola is yet another kamikaze love letter to cinema
El Futuro, Según Francis Ford Coppola
El director estadounidense, de 84 años, reflexiona sobre las humanidades y el cine en la era de la inteligencia artificial
Apocalypse Now (1979) – Review by Stanley Kauffmann
When I read three years ago that Vittorio Storaro had been chosen as the cinematographer for Apocalypse Now, I was shocked. Storaro, the…
Apocalypse Now: Misguided Journey to the Heart of Darkness
However distant it may seem at first glance, Apocalypse Now remains not only deeply indebted to Conrad’s tale but not fully comprehensible without…
The Power of Adaptation in Apocalypse Now
In The Power of Adaptation in "Apocalypse Now" Marsha Kinder critically compares and contrasts the film and the novel. In this article, Kinder…
Godfather II: Of Families and Families – By Barbara Grizzuti Harrison
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)
Francis Ford Coppola and Gay Talese conversation on friends, censorship, death, and money
Apocalypse Now (1979) – Review by William Cadbury
What does Apocalypse Now mean—the film as we have it, considering the minimal difference between the 35mm version with the title sequence and…
New York Stories (1989): Two-Base Hit – Review by Pauline Kael
Pauline Kael reviews 'New York Stories', the 1989 anthology film consisting of three shorts with the central theme being New York City. Episodes…
‘The Godfather’ and the Decline of Marlon Brando – Review by Stanley Kauffmann
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 Godfather Part II – Review by Leonard Quart and Albert Auster
The Godfather II is a sequel to a film whose narrative drive and choreographed violence made it one of the better genre films…
The Godfather: The Resurrection of Don Brando – Review by Richard Schickel
There’s nothing fun or funny to be found here. It offers us only the absorption of good acting and good storytelling combined with…
The Godfather: How Brando Brought Don Corleone to Life – By Joseph Gelmis
And then there was Marlon Brando, against all the odds, cast in one of filmdom’s juiciest roles, as mob chief Don Vito Corleone.…
The Godfather Plays on Our Secret Admiration for Men Who Get What They Want – By Arthur Schlesinger Jr. [Vogue]
Inflation does not always assure survival. My guess is that three years from now we will still remember scenes from Raoul Walsh’s The…
The Godfather: Keeping up with the Corleones – Review by William S. Pechter [Commentary]
The Godfather is, furthermore, and by critical consensus, a stunning confirmation of my claims for Coppola's talents: vividly seen, richly detailed, throbbing with…
The Godfather: Alchemy – Review by Pauline Kael
A wide, startlingly vivid view of a Mafia dynasty, in which organized crime becomes an obscene nightmare image of American free enterprise. The…
Coppola Films Conrad in Vietnam – By Diane Jacobs
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…
Francis Ford Coppola Interview (1974) – By Marjorie Rosen [Film Comment]
by Marjorie Rosen In Hollywood circles the adage, “You’re as good as your last picture,” holds more truth than is comfortable or healthy.…
Apocalypse Now: A Soldier’s Tale – By John Milius
Apocalypse Now achieved its highest aspiration: Not only was it immersed in the historical period and place - Vietnam - but it was…
Closing Arias: Operatic Montage in the Closing Sequences of the Trilogies of Coppola and Leone
Certain films contain what I shall call "operatic montage," a form of montage which manipulates temporal and spatial relations in film, typically to…
The Godfather Part II (1974) – Review by Pauline Kael
Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as…