I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz.
Francis Ford Coppola
Mark Seal recalls how the clash of Hollywood sharks, Mafia kingpins, and cinematic geniuses shaped the Hollywood masterpiece ‘The Godfather’
Transcript of Mario Puzo’s 1970 letter to Marlon Brando telling him he was the only actor who could play Don Corleone
Janet Maslin reviews Francis Ford Coppola’s ‘The Godfather’. Published in Boston After Dark, 1972 March 28
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
Giacomo R. Carioti incontra a Roma il giovane produttore del ‘Padrino’, Albert S. Ruddy, con cui ricostruisce la storia del film
Vittorio Storaro recalls the photographic challenges he confronted during the tumultuous production of Francis Ford Coppola’s hallucinatory Vietnam War epic ‘Apocalypse Now’
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.
“The most important thing I wanted to do in the making of Apocalypse Now was to create a film experience that would give its audience a sense of the horror, the madness, the sensuousness, and the moral dilemma of the Vietnam war. “
American director Francis Ford Coppola interviewed by William Murray for Playboy magazine, July 1975 issue
Francis Ford Coppola on ‘The Godfather Part III. Interview by Ana Maria Bahiana for CINEMA Papers
Francis Coppola’s Apocalypse Now lives up to its grand title, disclosing not only the various faces of war but also the contradictions between excitement and boredom, terror and pity, brutality and beauty.
Apocalypse Now come segno della divisione fra il moderno e il postmoderno. Saggio di Francesco Binni
Viewed as a conventional updating of Joseph Conrad’s Heart of Darkness, Apocalypse Now looks like not much more than a cannibalization.
The director discusses his new movie — One from the Heart — and his bold vision for the future of filmmaking
10 Reasons why The Godfather Part III is crap
Speciale pubblicato dalla rivista “Duel” nel 2001 in occasione dell’uscita di “Apocalypse Now Redux”