I'd rank Godfather 2 a bit higher, but OTOH I see the first 2 Godfather films as linked together. They both draw on the original book, while Godfather 3 does not. So it's those 2, then Goodfellas, then probably Casino. Once Upon a Time in America might be 5th although in some ways it's in a category all its own.
The Godfather is right up there, but personally my favourite mob movie would be _Carlito's Way_ which features some unknown actor called Alpa Chino or something playing the lead role.
I'm a Sicilian American from the Bronx. In fact my grandfather came from a town very near Corleone, and I can assure you it's all quite accurate to time and place. In fact, it was shot largely on location in the New York scenes, and the Sicilian scenes were shot in another nearby town. I look forward to your reaction to Part II.
I still remember roughly what effect this film had when it first came out. Everyone talked about it. It was a behemoth right from the start. I’d characterize it as “mass awe”. No surprise that it still is so towering 51 years later.
Talia Shire is actually Francis Ford Coppola's sister, (and btw, Jason Schwartzman is Talia's son). Everybody always mentioning Marlon Brando (of course), Al Pacino, James Caan & Robert Duvall, but there are at least 5 (including Brando) who are my all time favorite actors: John Cazale (probably my no.1 favorite actor of all time), Sterling Hayden, Al Lettieri & Joseph Spinell.
Special thanks for noting Joe Spinnel. It's sometimes appalling to me how underecognized he was and remains. One of the most underrated American character actors of modern cinema.
There are others that come from that family as well. Francis' daughter Sofia Coppola was briefly an actress and in the third one, and then became a filmmaker herself. Nicolas Cage is a nephew to both Francis and Talia. There are some others around that aren't famous enough that you'd know them, like Nicolas Cage's brother used to work in radio, and was known as "Cope".
@@richiecabral3602 it is well known that Sofia & Nicolas are the daughter, and a nephew of Francis Ford Coppola, that's why I didn't mentioned it....But then again, I already knew that someone was going to point that out, on my comment.
18:00 Yes, you noticed a key point which was emphasized in the book: Tom Hagen did not laugh at Michael -- and he was alarmed that the others did. Tom long understood Michael's strength and innate ability to strategize as well as his father could.
It's often a dynamic between siblings especially of different ages to assert dominance by ridicule but what I really don't understand is the frequent failure of casual viewers to appreciate Michael's wartime military record (established early in the film) and what it means about his experience with violence. As a seasoned, decorated marine corp vet of the South Pacific, wounded in action himself, he would've been a present, active participant at countless scenes of close range mortal combat. Perhaps Guadalcanal, Iwo Jima, Bataan, all of the above. People focus on his buttoned down "college boy" aspect but often fail to understand that side of him. Michael would by no means be a babe in the woods stranger to taking of human lives. His Japanese kill count would've likely been in the hundreds.
@@jathygamer8746 The movie also copies the book in the nice scene in front of the hospital with the baker Enzo standing beside him. Enzo's hands shook terribly while Michael was completely calm (in the book and the film). Regarding the scene under discussion, the point was that Tom Hagen had a much better understanding of Michael's character (as did his father), that "bravery" was not a problem for Michael, and that anything he said was well-considered. The book (and the film) refer to him as a "war hero."
@@Al_NERi I agree. The book (and the very ending of Part 2) emphasize that the family in general thought that "fighting for others" (as in the military) was a fool's errand, and that Michael was a fool for signing up after Pearl Harbor. They just didn't get it -- except for Tom Hagen.
The silent leader, There is even a moment where Michael is discussing shooting the two guys in the restaurant. He is there with Tom, Sonny and other associates and he is sitting in the chair while they are standing or sitting on the edge of desks. He is right in the centre. Even before it happened he was already becoming THE GUY.
This is great, you've already watched Duvall, you've watched James Caan, you've watched Brando.....you've even seen Sterling Hayden!.....so you can really appreciate this movie on another level that most other reactors cannot! Thanks for reminding me how great it is on a first watch! The first two Godfathers are great, and for so many reasons. The acting overshadows the directing, which is practically invisible. And yet it looks incredible, every single shot.....and you barely notice because you're so absorbed in the story and the acting! Very weird! This is a movie that rewards endless rewatches. I'm still noticing stuff I never picked up on!
Agreed. The story envelops you. I can't wait to re-watch it and pick up things I didn't notice on the first watch. I'll try not to wait too long before watching Part II. Just need to fit it into the schedule.
"Leave the gun. Take the cannoli." Good call. 👍 Fun Fact: Theatrical debut of Morgana King, Sofia Coppola, Italia Coppola, and Joe Spinell (in the uncredited role of Willi Cicci). Location Location Fact: Because Corleone, Sicily, was too developed, even in the early 1970s, the Sicilian town of Savoca, outside Taormina, was used instead. Historical Fact: Most of the cars in the movie have wooden bumpers. Bumpers were removed by car owners during World War II, and replaced with wooden ones. The chrome ones were turned in to help with the war effort. After the war, it took several years for them to be replaced. What Script Fact: Lenny Montana (Luca Brasi) was so nervous about working with Marlon Brando that in the first take of their scene together, he flubbed some lines. Director Francis Ford Coppola liked the genuine nervousness and used it in the final cut. The scenes of Luca practicing his speech were added later. Dark Filmmaking Fact: Cinematographer Gordon Willis earned himself the nickname "The Prince Of Darkness" since his sets were so underlit. Paramount Pictures executives initially thought that the footage was too dark, until persuaded otherwise by Willis and Francis Ford Coppola that it was to emphasize the shadiness of the Corleone family's dealings.
I felt a little proud knowing who Jack Dempsey was. I remember we had a boxing game for the Sega Mega Drive (Sega Genesis in USA) which had 8 boxing legends. Ali, Joe Lewis, Joe Fraizer, Rocky Marciano, Evander Holyfield, Larry Holmes, Floyd Patterson and Jack Dempsey.
You will probably like Part II much more - it gives a much better build-up to the godfather and his relationships. While both are terrific I happen to think Part II is the stronger of the two. The contrast of DeNiro’s family and relationship values to Pacino’s is both subtle and terrific story development.
Definitely keep watching them, mate! I don't want to get carried away here, and bore you to death, but I first saw the first two when I was probably 12 years old, just before the third one came out in the theaters, and I saw that one on the big screen when it came out, and they've been my favorite movie, I tend to think of them together as a whole, ever since. Even though it's kind of a cliche to say that The Godfather is my favorite movie, it's always been true for me. I don't want to get too lost in this, but for me, I think it's a great example of when the usually conflicting theories of film being either auteur or collaborative can come together and work so well to create cinema. All the elements from the cast and acting, the writing, cinematography, music, and everything else, are all so good, but at the same time, I really feel that Coppola orchestrates them all so well, and put his personal influence on it. A couple things I would like to say, first, I do recommend that you also watch the third one. The third one gets such a bad rap, and as a result, a lot of people don't bother reacting to it. Which I think is a shame. The truth is that the third one is the lesser of the three, but that's only because the first two are so good! That, and that there was such a long gap in between the first two and the third, by that time, the first two had been placed on such a high pedestal, that I don't know that there's anything that Coppola could have done to please most people. It just had such an expectation to meet, and such a great act to have to follow, that there's no way people would have been happy. Then, it just became the cool thing to shit on it, and everyone else jumped on the band wagon in order to fit in and seem like they knew what they were talking about. I'm not saying that it didn't have it's faults, and that it couldn't have been better, but there's no way that it's as bad as people make out, and it's still a good movie. Also, from my perspective, it was necessary to complete Michael's story arc. Coppola himself has said the movies are about family, and who am I to argue with him, but for me, from the very beginning, it was always Michael's story. I don't want to spoil anything, and this will probably make more sense after you see the second one, but I just can't understand people who are fine with leaving it at that. Who wants to see two thirds of a story, and never reach the end? I feel like you have to complete the story. That being said, Coppola recently did a new edit of the third one, that he's calling "The Godfather Coda", and listen. Francis Ford Coppola is a hero of mine. Though, he had so much success so early in his career, that it kind of made it impossible for him to make anything that wasn't epic, and he wasn't able to just experiment, try things out as a filmmaker, explore his art, and sometimes come up short. The fact that he took so much shit for the third Godfather is proof of it. He tried again a while back with "Tetro", which was the smaller more artistic attempt that he had been denied for so long, and that I think he made out of his own pocket, and it got some decent reviews, but not much else. Don't feel too sorry for him. He has a successful company making wine, and I think is invested in some hotel thing that's made him very wealthy. So, he's not hurting financially, and I'm sure he has a great life, and a legendary reputation he can always ride on, but if he gets bored in his old age, and is desperate to stretch his artistic muscles, and follows his buddy George Lucas' example of toying around with his established work, I'm not going to give him too much crap about it, and I don't think it's as detrimental as the Star Wars prequels. I bought it though, and though I've intended to, I couldn't get through watching it, and still haven't. Granted, since you've never seen the original, it might make no difference to you, and you might even prefer it, but it kind of bummed me out because I do know the original so well. I don't even know that it changed that much, but it was enough to make a difference to me. Supposedly the big changes are a restructuring of the beginning and end. I don't know that there was anything much better about the beginning I saw, and I've yet to see the new end. I think he also edited it to just be a little quicker paced, and maybe less of his daughter Sofia's performance, as she also took a lot of shit for her acting. Which is weird to me because he was of the era of slower movies, and one of the guys that's responsible for making them so, but I guess maybe that makes it more modern and accessible to younger audiences, including you maybe. The thing that made me stop watching, was that, and maybe this was just my imagination, to be fair, but I swear it was speed up just a hair, and I don't mean in the pace of the editing. I mean the movement and dialogue seemed just a bit quicker to me. Not so much that it's probably even noticeable to many, but when it came to one of my favorite scenes in the movie, I noticed, and for me, it just sucked some of the drama out of the scene. Again, it's not anything that you would even know to recognize, but if you do watch the third one, I'd recommend you watch the original theatrical cut, but just my opinion.
I definitely intend to watch Part II and Part III. Part II if not before Christmas then the beginning of January. Interesting to hear you speak positively of Part III. You've a similar view to my brother who said PART I and Part II are better but Part III is by no means a bad film. I wasn't aware there was two versions for Part III. I suppose after I've seen Part II I'll access which version to watch. Appreciate the comment and the suggestion of going with the original cut for Part III.
In the book, Michael Corleone was in the Marine Corps and was decorated for actions in the Pacific. The beginning of the book and this movie was set in 1946 or 1948. Real close to the end of the War.
For Marlon´s Brando character in this movie, Don Vito Corleone, Francis Ford Coppola put a jaw prosthesis in his mouth and a gauze, to give him that particular face. Brando was relatively young in this film, and Coppola pretended to age him and look more threatening.
Sincerity exposes one to vulnerability -- which neither godfather could abide. In the end he saw his family life as utterly compartmentalized. There was no need or value in being "sincere" with his wife about his requirements for murdering. It had nothing to do with his family. This topic is explored (and exploded, lol) in Part 2. It's done so in one of the MOST STUNNING scenes in movie history. Quite something!
I just discovered this channel today and subscribed immediately when I saw the calibre of films on review. Any channel reviewing the likes of The Godfather, Death Rides A Horse and The Killing is my kind of film review channel. Cheers. I'll see you around surely.
It comes out clearly in P2 that Vito Corleone built his Mafia family based on tradition, and around the ethnic loyalties that once dominated America's major cities in the early 20th century. Once those ethnic loyalties weakened, as the ethnic Italians moved from the large cities, and rose up the economic ladder, Vito lost much of his effectiveness. Vito knew that this newer organized crime transformation was going to revolve around drugs, which would destroy family, loyalty and community. Vito wanted no part in that. In P2 you see where Vito came from, and how Michael was no longer part of that tradition. So, in a very real sense, there is a warped sincerity in Vito's Mafia family empire. But modernity, with things like drugs, are going to completely destroy that tradition. Michael has to operate in a much colder, lonelier and cynical world than Vito, and losing his soul becomes a major theme in P2. The late 19th, early 20th century Irish immigrants formed something like this family/ community/ tradition system in their big city neighborhoods. But that was formed around urban ward politics, and local Catholic parishes. This movie exaggerates the Mafia presence in Italian -American community. But it is a very useful metaphor to look at how ethnics formed their communities in America.
The one thing reactors always seem to miss is the Don Vito's ability to see what affect the drug trade would have on organized crime. Don Vito was right. The drug trade proved to be the reason many Don's and Cappos died in prison.
Luca Brasi was played by Lenny Montana a former wrestler and probably connected with the mob. The Godfather was is first movie and he was nervous about having a scene with the famous Marlon Brando and actually spent time practicing his lines before each take. Coppola noticed this and wrote it into the script.
8:27 The house used for Wolz's mansion is still standing in Beverly Hills. It's the same place where Jacqueline & John F Kennedy spent their honeymoon in 1956. Love Marlon Brando's performance here, but it's no surprise. But in his twenties, he surprised everyone in 1953 by playing Marc Anthony just about perfectly in a Hollywood film based on Shakespear's "Julius Caesar," playing opposite an array of proven pros like Deborah Kerr, James Mason, Edmund O'Brien, Greer Gason, Louis Calhern & John Gielgud. 19:09 If you like Sterling Hayden in "The Killing," you'll love him in "Asphalt Jungle," a real suspenseful caper movie.
Oh yes, "Asphalt Jungle" is one of the many Noir films I have on the list. I think that will be the next Noir I choose. I loved Brando in both "The Godfather" and "One-Eyed Jacks" so I want to watch more of his work too.
People from all over have continued to immigrate to the US since the beginning, but at times, there are large waves from countries which undergo significantly worse conditions. In the 1840's, there was the potato famine and great numbers of Irish came here. Around 1900, there were pogroms against Jews in eastern Europe, and a sudden uptick in Italian immigrants, then Russians after the collapse of the Soviet Union around 1990. The West Coast has always been a beacon for Chinese. (Very simplified history here.) And at first, immigrants face significant discriminate because of their uptick in numbers, until second and third generations get absorbed in. Yet, these newcomers band together with their fellow countrymen in an "us vs. them" manner. (Again, over simplified.) So the crime underground of a small number of each wave takes on a different ethnic face for awhile. We had Irish mobsters (and Irish policemen), then the Italian mafia, then the Russian mob. (My point is that certain peoples are overall prone the join a gangster underground.) I do love this movie for its interlocking cause-and-effects. But it took me a long time to realize it sort of gives an unrealistic and somewhat noble patina to gangsters. We see the Godfather's family interacting with other crime families where the wrongs that the other "five families" do against the Corleones are avenged, with we the audience on the side of the Don. We sympathize with a certain "justice" metered out in retaliation. And the finances of these gang wars are depicted in this movie come from profits from "victimless" crimes, like bootleg liquor in the 1920's, prostitution, gambling, etc. What we don't see are all the times that the Godfather's people went into the corner bars and the mom-and-pop grocery stores, bleeding them for "protection" - "Nice place that you have here. Hate to see anything bad happen to it." We also see these convoluted tactics, particularly at the end, of closely choreography of the various hits. Goodfellas is a more realistic depiction of the mob, based on an actual story. The low-level pawns are often not loyal and often not very bright. They squeal to the other gangs and to the police, they get their instructions wrong, and after the caper, often parade around displaying their sudden wealth which gives away the plot. Still a great movie.
I see your point and you do feel weird as a viewer siding with people who do horrendous things. I guess that is a testament to the writing and the performances. Goodfellas is a masterpiece!
You are missing the point totally the point is RESPECT! The Godfather is a family man who is loyal to his families. He gives respect and he expects the same in return. FAMILY ...RESPECT... LOYALTY.
I do think there is some of that in there too. Particularly with the immediate family. But I maintain there is an of performance when many of the associates interact around the Godfather.
There is dead and then there is Sonny Corleone dead. It wasn't just that Carlo felt confident in hitting Connie because he had the backing of Barzini, it was planned. Sonny was set-up to be killed.
Francis Ford Coppola gave Sterling Hayden one of the best death scenes ever put to film in this. James Caan too. The Godfather always ranks high on all time lists and I've seen it dozens of times over the decades since its release. I suppose that makes it an all time favorite, but I don't think of it as a favorite. Sincerity, or the lack thereof, is an interesting angle to take, as opposed to, say, honor among thieves, omerta and all the usual mafia lore. But it fits with the lie Michael tells his wife as he looks her in the face. Chilling. The Godfather Part II is also excellent, the rare sequel that surpasses expectations and more. Francis Ford Coppola also directed Brando in Apocalypse Now (1979), another masterpiece of cinema that you should watch. Coppola's 1983 film The Outsiders launched the careers of several Hollywood stars -- Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estevez, Tom Cruise, Diane Lane. He got the idea for the film from a group of school kids who wrote him a letter raving about the book they read in class, The Outsiders by S.E. Hinton, and asking him to turn it into a movie. Their letter got his attention. He read the book, liked it, and decided to film it. The kids who wrote the letter were my age. They went to a school on the other side of town from the one I went to. The local newspaper wrote the story up. We all ended up reading the book and liking it. One of the girls in my high school graduating class was part of the group of kids who wrote the letter. She told us more of the story when we asked her about it years later. Also, when you're ready for another classic film featuring Sterling Hayden, check out Stanley Kubrick's 1964 film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.
My God, Sonny's death was absolutely crazy. Did not expect him to go out in such a brutal manner! I have added Dr. Strangelove to my watchlist. Thanks for recommending.
You bring up an interesting point about the Vito/Luca Brazi relationship. In real life the actor that played Luca was not a professional actor he was I believe a wrestler so the scene where he thanked Vito for the invitation was supposed to come off as one professional acknowledging another professional in some sort of extension to their business relationship. However the actor was so awestruck by being in the room with the great Marlon Brando he could not get his lines straight. So after several unsuccessful takes the director decided to go with the nervousness and kept the best of the screwed up scenes then had the actor do the rehearsing scenes so that it looked like the character was also nervous to be in Vito’s presence. This actually fits with the Luca back story. Kay’s instincts about Luca were right he is a scary guy. His back story has some very horrific acts in it. He is only still alive because of Vito’s intervention and he knows it. Luca is not the kind of man that Vito would chose as a friend if he were in any kind of legitimate business. But he keeps Luca around because Luca owes Vito his life and Vito knows from his past that Luca will have no problem doing anything Vito asks him to do. The Horse-head thing, though it’s not explicit that it was Luca’s doing, it’s strongly implied. In the book Luca spent some of his off hours at Mafia owned bars including some owned by the Tatallias so Luca being in a Tatalia club would not in itself be suspicious. So when Sullozo killed him it was not because he suspected Luca of being a spy it was because he was going to kill Vito and knew he had to kill Luca first. As Tom said “ not even Sonny will be able to stop Luca…”
It's always fascinating how certain things find there way into a movie. Moments are created that were totally unplanned. It was a great choice for him to used that as Luca prepping to meet Corleone. One of my favourite moments in the film. I'll have to get my hands on the book.
Never mind Carlo’s motivation. The whole thing was a set up. Those guys with the Tommy guns were not stationed at the toll booth 24/7. The phone call from a woman asking for Carlo was designed to light the fuse and create a fight between Connie and Carlo. Barzini knew that after the fight, Sonny would go to kick Carlo’s ass and be vulnerable. Barzini was pretty smart (though not smart enough) but the ploy worked and Sonny fell for it.
Great book too. The undertaker with the daughter with the shattered jaw had looked down on the mafia and feared attachment to them . He did not want to be in debt to those guys bc what he feared was that they d want to "borrow " his crematory or smth. Make him disappear bodies . It wa sthat specifically he feared . When instead the don brought him sonny, it was a labor of love bc he was ao grateful that he never asked for assistance in murders
"It's amazing how effective silence can be." I remember reading about an actor complaining they had no lines in a scene. The director said you have lines, they're just not spoken. A lot can be said by the look on a face, where the eyes move, nervous tics, how the camera frames a scene, all that.
@@IrishGuyReacts You would need something more visibly demonstrable. Have the actor turn their back, or pace, or walk to the window and look out. Something the audience can see.
Sterling Hayden is not an actor many remember. I'm glad you did. He was far too good to be forgotten, even though he hated acting. And, yes, that was Adrienne from "Rocky." Her name is Talia Shire, she is director Francis Coppola's sister and Nicolas Cage's aunt.
It's a culture thing that most people won't tune into unless you grew up in this milieu. The conclusion that there is no sincerity is off. With Italians, choosing a Godfather for your son or daughter is a big deal and reserved for only someone you hold in high esteem. In fact with Italians, your Godfather and everyone in his family becomes family as well. It's a big deal. Your Godfather is family and a friend,. Buonasera the undertaker was disrespectful in not having Vito and his wife over as you would a friend and then he asks for a favor. You have to separate business and family in this movie. In business one slip of the tongue gets you killed. The Don was shot simply because Sonny spoke out of turn. One small and minor error like that got the Don shot and eventually Sonny killed. It's life and death in their business. Both Michael and Vito were not motivated by power in the traditional sense. It wasn't power for the sake of power. Power is for survival. Michael's transformation is all due to the road he had no choice but to journey. His dad's life was in danger. Who of us would not protect our family any way possible. Michael's path from that moment on was to not make a mistake because a mistake gets you killed. Hence all the seriousness of his character. In that world of business it's very Machiavellian and there is no room for sincerity as you put it.
35.44 They worked out Mo Green 's murder in an interesting way, since he was wearing almost nothing. They rigged the right arm of his glasses with a small bb gun to shoot outward to break the lens, then fed the blood from the left side
5:50 I think you immediately hit on the underlying dynamic of the godfather: He doesn't have real friends -- only family really matters. His "friendships" are purely mercenary (although -- in this version they generally have integrity. I think in the real world mafia friendships have no integrity whatsoever).
Hi, greetings from Germany. If I make any mistakes in English, sorry in advance. I subscribed to you today, and directly watched 5 videos. I like it very much, and you recognize things in some of the movies I know, that I never noticed myself. I think it's good that you comment on so many older films. Most channels review the same films for the most part. I saw that you really like John Wayne...there's a movie of his that I recently discovered. I hadn't seen this movie of his before, and it's quite unusual because it puts John Wayne in a very unusual role. The movie offers you a lot of emotions, ups and downs, and a lot of profundity...a film where you don't expect this at all. The film fits in with the films you are currently watching. It is "The Cowboys" with John Wayne. I attach to this comment my own review, which I wrote on a German film portal. My review: John Wayne, as cattleman Andersen, lost his two sons at an early age. In a conversation with his wife, he admits that they never got along, never found each other...there is melancholy and regret to be heard. Due to a shortage of drovers caused by the gold rush, he now has to set out on the long cattle drive with ten inexperienced boys and a teenage half-breed instead, assisted by the afro-american cook Nightlinger. A lot of time must be invested in advance in training and disciplining the boys. Cohesion develops bit by bit. For Andersen and his wife, preparing the boys for the long trek is also a reflection on their time with their own sons. Thus, directly upon the boys' first appearance at the ranch, she admonishes him to be more lenient and lenient in his dealings with them. This is an indirect reference by her to his rude parenting methods that had failed in the past and had led to the estrangement between him and his sons. The trek with the boys puts him back into the long discarded role of father in a variety of situations (fears, group dynamics, danger from cattle thieves, cohesion, gaining respect). It is the strongest moments of the film when John Wayne as Wil Anderson has to deal with the different characters and emotions of the boys on the road...accompanied congenially by Roscoe Lee Browne as cook Nightlinger. **SPOILER** The symbolism of Andersen sacrificing himself for the boys at the end is pathetic to some, but to me it, along with his meaningful last words to the boys surrounding him, gives a good conclusion to the father "sons" story told here. He has removed his doubts weighing on him all these years as to whether he could ever have been a good father to his deceased sons, his feelings of guilt toward them, and has made his peace. He is grateful to the boys, and they to him! Great work is done at this point by the camera direction, which provides an impressive image: The camera zooming out of the frame shows the boys surrounded by trees and greenery, surrounding the dying Andersen.... The final phase of the film, in which the boys avenge Andersen's death, and bring the cattle trek in his honor to a close, lets them show all that Andersen taught them: Cohesion, pulling together, discipline, camaraderie...and last but not least strength of character!
Thanks so much for the sub and the kind words. Very Much appreciated. The Cowboys is another movie on my watchlist. I'll be sure to read your review again after I've watched it. Thanks for putting up the spoiler warning too before the final portion of your comment.
Johnny Fontaine is based on Frank Sinatra for the part in the movie From here to Eternity. True story. Sinatra tried stop the Godfather from being made, the movie " the making of the Godfather ' is all about that
One thing which sets the Godfather films apart is that we sympathize with the "Bad guys". If we take the films together, we see Vito, and then especially Michael, start out with good intentions (or at least understandable ones), and then we see them gradually change due to the corruption and violence around them - and ultimately within them. It's more understandable with Vito because of his background; he literally started with nothing, and in his own way he uses his power to help his community. He's like a feudal lord. You're right about the parallels between the Italians and the Irish in that period of American history. Neither group was welcomed with open arms at first. Both formed criminal gangs (as did Jewish immigrants - Meyer Lansky and Buggsy Siegel are examples).
The Irish owe a lot to America. Those that survived the coffin ships. I'm currently reading a book on the famine. By God some of the stuff was beyond horrific.
@@IrishGuyReacts Absolutely. Some of my Mother's family may have experienced some of that, although they came over later. You can still see some of the effects of the migration - when I was a kid, I heard that there were more Irish in New York City than in Dublin, and Boston probably wasn't far behind in that respect... and in both cities, they had and probably still have Irish gangs.
The horse in the stable was not killed for the movie. The head was from one old one they bought from a slaughterhouse that was scheduled to be killed anyway. Grisley yes, but not quite as morally iffy as ppl think. I hate the idea of killing animals as well.
There are Irish ties to The Godfather films. Puzo modelled a lot of the Corleone family dynamics to the Kennedy family of The United States. President Kennedy was not expected to be the leader of the family, like Michael. Like Michael, President Kennedy was Ivy League educated and defied his father to fight in WWII. President Kennedy was also a war hero, like Michael. President Kennedy only took over leadership of his family after the unexpected violent death of his more physically dominant older brother Joe Jr.. President Kennedy's father used his mob ties from prohibition to get votes for President Kennedy's election. President Kennedy's father, like Vito, wanted his children removed from mafia ties to take over political leadership of The Untied States.
Holy Shit! It's insane the parallels between the fictitious family and the Kennedy family. Didn't know His dad had ties to the mob. From what I've heard JFK was revered in Ireland back in the day. Two guarantees in most houses back then would be a picture of Christ on the wall and a picture of JFK on the wall.
@@IrishGuyReacts You'll see more parallels in the next two movies as the Corleones move higher in society, away from the mafia, to be more "untouchable", like the Kennedy family in The Untied States. In the book, one of Vito's ideas to cleanse the family money was to start a Hollywood movie studio or just execute a hostile takeover to remove Waltz, the guy with horse's head in his bed. President Kennedy's dad actually tried this in real life with a studio that became RKO.
I think it's one of the greatest movies ever made. Part II is brilliant but I think this one stands alone and the two movies are often conflated too much.
It might make you feel a little better to learn that the horse that was in the bed was a) going to be turned into dogfood anyway, and b) the shooting schedule of the film meant that it got to live several days longer than otherwise would have.
Even when watching horse races I'm always more concerned for the horse than the jockey lol. Probably because the Jockey is actively putting himself/herself into the situation.
It’s fascinating that you focused on sincerity out the gate. It’s a unique take, as far as I know. I think Part II will give you more material to chew with regard to sincerity, friendships, and being at the top. But I want to point out a minor character, Enzo the Baker, who returns the favor Corleone did him by loyally risking his life, despite great fear. I’m referring to the scene where Michael and Enzo stand guard outside the hospital and bluff the goons sent to kill Corleone. Also notable is that Enzo is there as a well wisher paying his respects to the Don.
When I saw the hospital scene I figured that Enzo the baker and the nameless nurse would be taken good care of - quietly - for the rest of their lives.
In the book carlo beat up the sister and then panicked an dcalled bartzini . He dindt plan it out in advance like that but he had acceoetd their ohone number ...he didnt touch her again after and was a model hubby because rhye let him beleive he coudl be an insider one day. Never in amillion years though. Never . They kept him close for mike to handle when the dad died bc the dad had forswon revenge . Michael didnt
Reading this comment is the first time it hit me that they left Carlo be because Don had sworn there would be no more retaliations. I already look forward to re-watching this film
It helps to know that the Godfather films were designed by Puzo and Coppola as a masculine version of Shakespeare's "King Lear". People who don't understand Shakespeare or King Lear usually misinterpret Part 2 and become very lost during Part 3. Michael obviously begins Part 1 as Cordelia, proving his love for Vito as the child on the outside, but ends up taking the role of Lear. Instead of daughters, Vito plans for the future of his family and kingdom with his sons. Part 2 develops the primary theme of emotional/moral blindness that is usually associated with King Lear and Gloucester. Part 3 uses the King Lear model to complete the narrative thread with a definitive ending and a clear moral to the story common to the Shakespearean tradition, but missing in the first two films.
@@MarcosElMalo2 It's nothing new. Coppola explains how he used the Lear model on all three films if you search the article "FRANCIS FORD COPPOLA: AN OFFER HE COULDN’T REFUSE" from January 2, 2017 issue of Scraps from the Loft.
@@IrishGuyReacts Have you seen Akira Kurosawa's "Throne of Blood" (1957)? If you haven't, it's the samurai version of Macbeth. Coppola has claimed that Macbeth's death scene in Throne of Blood was a visual influence on him for the death of Sonny Corleone at that tollbooth in Part 1.
Marlon Brando made some acting choices… On his own initiative he stuffed his cheeks with cotton, because he wanted the character to have slurred speach.
The dons enemies knew luca would never turn. For him to speka disloyalty was his tell on that. Luca was an awkward man whi had a hero worship of the don . The story of hwhy is pretty grorss but it left luca like that and fear and live adn awe if his power left that one like a cultshish slavery in his head . Thats all. He worshiped the man.
“Respect” is a very important term in gang culture. Unfortunately, it doesn’t really mean what it means to you and me. It’s about dominance and fear. This is made further clear in Pt II.
Maybe it's just me, but I can't imagine some ordinary little guy INVITING the Godfather - and by implication his bodyguards / henchmen - to his house for a cup of coffee. Not realistic, so why fault him for that?
His daughter was Goddaughter to Don Corleone’s wife. That’s not some ordinary little guy. That’s a little guy already networked to the Godfather. They would have seen each other socially, in the tight knit community. The point isn’t that Corleone would never have accepted, the point is that the undertaker should have invited him out of respect.
I think this hits home my point that there is often a lack of genuine friendships for The Godfather given who he is. This is a reason he is offended by it.
Where does "The Godfather" rank among your favourite mob movies?
I'd rank Godfather 2 a bit higher, but OTOH I see the first 2 Godfather films as linked together. They both draw on the original book, while Godfather 3 does not. So it's those 2, then Goodfellas, then probably Casino. Once Upon a Time in America might be 5th although in some ways it's in a category all its own.
I don't think I've ever heard ANYONE fail to rank it (and Part 2) among their most favored films. It's a force of nature
The Godfather is right up there, but personally my favourite mob movie would be _Carlito's Way_ which features some unknown actor called Alpa Chino or something playing the lead role.
This and The Godfather Part 2, which is equally good, are the best.
At the top. I love it so much.
I'm a Sicilian American from the Bronx. In fact my grandfather came from a town very near Corleone, and I can assure you it's all quite accurate to time and place. In fact, it was shot largely on location in the New York scenes, and the Sicilian scenes were shot in another nearby town. I look forward to your reaction to Part II.
I look forward to watching Part II . Thanks for checking out the video and the comment.
"The Godfather" is the single greatest American film ever made.
I still remember roughly what effect this film had when it first came out. Everyone talked about it. It was a behemoth right from the start. I’d characterize it as “mass awe”. No surprise that it still is so towering 51 years later.
Aged like a fine wine. A tremendous watch.
Talia Shire is actually Francis Ford Coppola's sister, (and btw, Jason Schwartzman is Talia's son). Everybody always mentioning Marlon Brando (of course), Al Pacino, James Caan & Robert Duvall, but there are at least 5 (including Brando) who are my all time favorite actors: John Cazale (probably my no.1 favorite actor of all time), Sterling Hayden, Al Lettieri & Joseph Spinell.
If John Cazale hadn't tragically died of cancer, he'd be bigger than DeNiro (and married to Meryl Streep)
Special thanks for noting Joe Spinnel. It's sometimes appalling to me how underecognized he was and remains. One of the most underrated American character actors of modern cinema.
Sterling Hayden was terrific in The Killing.
There are others that come from that family as well. Francis' daughter Sofia Coppola was briefly an actress and in the third one, and then became a filmmaker herself. Nicolas Cage is a nephew to both Francis and Talia. There are some others around that aren't famous enough that you'd know them, like Nicolas Cage's brother used to work in radio, and was known as "Cope".
@@richiecabral3602 it is well known that Sofia & Nicolas are the daughter, and a nephew of Francis Ford Coppola, that's why I didn't mentioned it....But then again, I already knew that someone was going to point that out, on my comment.
18:00 Yes, you noticed a key point which was emphasized in the book: Tom Hagen did not laugh at Michael -- and he was alarmed that the others did. Tom long understood Michael's strength and innate ability to strategize as well as his father could.
I haven't read the book. What I took from that scene was they all assumed he fought in WWII without ever having to kill someone up close
It's often a dynamic between siblings especially of different ages to assert dominance by ridicule but what I really don't understand is the frequent failure of casual viewers to appreciate Michael's wartime military record (established early in the film) and what it means about his experience with violence. As a seasoned, decorated marine corp vet of the South Pacific, wounded in action himself, he would've been a present, active participant at countless scenes of close range mortal combat. Perhaps Guadalcanal, Iwo Jima, Bataan, all of the above. People focus on his buttoned down "college boy" aspect but often fail to understand that side of him. Michael would by no means be a babe in the woods stranger to taking of human lives. His Japanese kill count would've likely been in the hundreds.
@@jathygamer8746 The movie also copies the book in the nice scene in front of the hospital with the baker Enzo standing beside him. Enzo's hands shook terribly while Michael was completely calm (in the book and the film).
Regarding the scene under discussion, the point was that Tom Hagen had a much better understanding of Michael's character (as did his father), that "bravery" was not a problem for Michael, and that anything he said was well-considered. The book (and the film) refer to him as a "war hero."
@@Al_NERi I agree. The book (and the very ending of Part 2) emphasize that the family in general thought that "fighting for others" (as in the military) was a fool's errand, and that Michael was a fool for signing up after Pearl Harbor. They just didn't get it -- except for Tom Hagen.
The silent leader, There is even a moment where Michael is discussing shooting the two guys in the restaurant. He is there with Tom, Sonny and other associates and he is sitting in the chair while they are standing or sitting on the edge of desks. He is right in the centre. Even before it happened he was already becoming THE GUY.
This is great, you've already watched Duvall, you've watched James Caan, you've watched Brando.....you've even seen Sterling Hayden!.....so you can really appreciate this movie on another level that most other reactors cannot! Thanks for reminding me how great it is on a first watch! The first two Godfathers are great, and for so many reasons. The acting overshadows the directing, which is practically invisible. And yet it looks incredible, every single shot.....and you barely notice because you're so absorbed in the story and the acting! Very weird! This is a movie that rewards endless rewatches. I'm still noticing stuff I never picked up on!
Agreed. The story envelops you. I can't wait to re-watch it and pick up things I didn't notice on the first watch. I'll try not to wait too long before watching Part II. Just need to fit it into the schedule.
"Leave the gun. Take the cannoli."
Good call. 👍
Fun Fact: Theatrical debut of Morgana King, Sofia Coppola, Italia Coppola, and Joe Spinell (in the uncredited role of Willi Cicci).
Location Location Fact: Because Corleone, Sicily, was too developed, even in the early 1970s, the Sicilian town of Savoca, outside Taormina, was used instead.
Historical Fact: Most of the cars in the movie have wooden bumpers. Bumpers were removed by car owners during World War II, and replaced with wooden ones. The chrome ones were turned in to help with the war effort. After the war, it took several years for them to be replaced.
What Script Fact: Lenny Montana (Luca Brasi) was so nervous about working with Marlon Brando that in the first take of their scene together, he flubbed some lines. Director Francis Ford Coppola liked the genuine nervousness and used it in the final cut. The scenes of Luca practicing his speech were added later.
Dark Filmmaking Fact: Cinematographer Gordon Willis earned himself the nickname "The Prince Of Darkness" since his sets were so underlit. Paramount Pictures executives initially thought that the footage was too dark, until persuaded otherwise by Willis and Francis Ford Coppola that it was to emphasize the shadiness of the Corleone family's dealings.
I love the fact that Luca practising his speech was used in the actual film. I love that scene.
It's a favorite scene, which is why I include the trivia.
Go in Peace and Walk with God. 😎 👍
The baptism scene is packed with so much symbolism!
Yes, very much so
After retiring from boxing, Jack Dempsey opened a steakhouse in New York City. It was very popular and lasted until the 1970s.
I felt a little proud knowing who Jack Dempsey was. I remember we had a boxing game for the Sega Mega Drive (Sega Genesis in USA) which had 8 boxing legends. Ali, Joe Lewis, Joe Fraizer, Rocky Marciano, Evander Holyfield, Larry Holmes, Floyd Patterson and Jack Dempsey.
Great reaction mate, when people talk about classics this film is always mentioned, fantastic in every way, subbed and comment for the algorithm
Thanks so much for the sub and commenting. Glad you enjoyed the reaction.
You will probably like Part II much more - it gives a much better build-up to the godfather and his relationships. While both are terrific I happen to think Part II is the stronger of the two. The contrast of DeNiro’s family and relationship values to Pacino’s is both subtle and terrific story development.
While I'm disappointed we won't have Brando for Part II. De Niro will be a great inclusion, I'm sure.
Definitely keep watching them, mate! I don't want to get carried away here, and bore you to death, but I first saw the first two when I was probably 12 years old, just before the third one came out in the theaters, and I saw that one on the big screen when it came out, and they've been my favorite movie, I tend to think of them together as a whole, ever since. Even though it's kind of a cliche to say that The Godfather is my favorite movie, it's always been true for me. I don't want to get too lost in this, but for me, I think it's a great example of when the usually conflicting theories of film being either auteur or collaborative can come together and work so well to create cinema. All the elements from the cast and acting, the writing, cinematography, music, and everything else, are all so good, but at the same time, I really feel that Coppola orchestrates them all so well, and put his personal influence on it.
A couple things I would like to say, first, I do recommend that you also watch the third one. The third one gets such a bad rap, and as a result, a lot of people don't bother reacting to it. Which I think is a shame.
The truth is that the third one is the lesser of the three, but that's only because the first two are so good! That, and that there was such a long gap in between the first two and the third, by that time, the first two had been placed on such a high pedestal, that I don't know that there's anything that Coppola could have done to please most people. It just had such an expectation to meet, and such a great act to have to follow, that there's no way people would have been happy. Then, it just became the cool thing to shit on it, and everyone else jumped on the band wagon in order to fit in and seem like they knew what they were talking about. I'm not saying that it didn't have it's faults, and that it couldn't have been better, but there's no way that it's as bad as people make out, and it's still a good movie.
Also, from my perspective, it was necessary to complete Michael's story arc. Coppola himself has said the movies are about family, and who am I to argue with him, but for me, from the very beginning, it was always Michael's story. I don't want to spoil anything, and this will probably make more sense after you see the second one, but I just can't understand people who are fine with leaving it at that. Who wants to see two thirds of a story, and never reach the end? I feel like you have to complete the story.
That being said, Coppola recently did a new edit of the third one, that he's calling "The Godfather Coda", and listen. Francis Ford Coppola is a hero of mine. Though, he had so much success so early in his career, that it kind of made it impossible for him to make anything that wasn't epic, and he wasn't able to just experiment, try things out as a filmmaker, explore his art, and sometimes come up short. The fact that he took so much shit for the third Godfather is proof of it. He tried again a while back with "Tetro", which was the smaller more artistic attempt that he had been denied for so long, and that I think he made out of his own pocket, and it got some decent reviews, but not much else. Don't feel too sorry for him. He has a successful company making wine, and I think is invested in some hotel thing that's made him very wealthy. So, he's not hurting financially, and I'm sure he has a great life, and a legendary reputation he can always ride on, but if he gets bored in his old age, and is desperate to stretch his artistic muscles, and follows his buddy George Lucas' example of toying around with his established work, I'm not going to give him too much crap about it, and I don't think it's as detrimental as the Star Wars prequels.
I bought it though, and though I've intended to, I couldn't get through watching it, and still haven't. Granted, since you've never seen the original, it might make no difference to you, and you might even prefer it, but it kind of bummed me out because I do know the original so well. I don't even know that it changed that much, but it was enough to make a difference to me. Supposedly the big changes are a restructuring of the beginning and end. I don't know that there was anything much better about the beginning I saw, and I've yet to see the new end. I think he also edited it to just be a little quicker paced, and maybe less of his daughter Sofia's performance, as she also took a lot of shit for her acting. Which is weird to me because he was of the era of slower movies, and one of the guys that's responsible for making them so, but I guess maybe that makes it more modern and accessible to younger audiences, including you maybe. The thing that made me stop watching, was that, and maybe this was just my imagination, to be fair, but I swear it was speed up just a hair, and I don't mean in the pace of the editing. I mean the movement and dialogue seemed just a bit quicker to me. Not so much that it's probably even noticeable to many, but when it came to one of my favorite scenes in the movie, I noticed, and for me, it just sucked some of the drama out of the scene. Again, it's not anything that you would even know to recognize, but if you do watch the third one, I'd recommend you watch the original theatrical cut, but just my opinion.
I definitely intend to watch Part II and Part III. Part II if not before Christmas then the beginning of January. Interesting to hear you speak positively of Part III. You've a similar view to my brother who said PART I and Part II are better but Part III is by no means a bad film.
I wasn't aware there was two versions for Part III. I suppose after I've seen Part II I'll access which version to watch. Appreciate the comment and the suggestion of going with the original cut for Part III.
In the book, Michael Corleone was in the Marine Corps and was decorated for actions in the Pacific. The beginning of the book and this movie was set in 1946 or 1948. Real close to the end of the War.
For Marlon´s Brando character in this movie, Don Vito Corleone, Francis Ford Coppola put a jaw prosthesis in his mouth and a gauze, to give him that particular face. Brando was relatively young in this film, and Coppola pretended to age him and look more threatening.
Great creative decision. Brando is unreal in this!
Sincerity exposes one to vulnerability -- which neither godfather could abide. In the end he saw his family life as utterly compartmentalized. There was no need or value in being "sincere" with his wife about his requirements for murdering. It had nothing to do with his family. This topic is explored (and exploded, lol) in Part 2. It's done so in one of the MOST STUNNING scenes in movie history. Quite something!
It's about deception. Deception puts people off their guard.
Really excited or Part II
I just discovered this channel today and subscribed immediately when I saw the calibre of films on review. Any channel reviewing the likes of The Godfather, Death Rides A Horse and The Killing is my kind of film review channel. Cheers. I'll see you around surely.
Thanks so much. Glad you like the film choices. Quite often I like to choose the older movies.
It’s here! I’m so excited. Hope you had a blast watching.
I hope you enjoy the reaction.
It comes out clearly in P2 that Vito Corleone built his Mafia family based on tradition, and around the ethnic loyalties that once dominated America's major cities in the early 20th century. Once those ethnic loyalties weakened, as the ethnic Italians moved from the large cities, and rose up the economic ladder, Vito lost much of his effectiveness. Vito knew that this newer organized crime transformation was going to revolve around drugs, which would destroy family, loyalty and community. Vito wanted no part in that.
In P2 you see where Vito came from, and how Michael was no longer part of that tradition. So, in a very real sense, there is a warped sincerity in Vito's Mafia family empire. But modernity, with things like drugs, are going to completely destroy that tradition. Michael has to operate in a much colder, lonelier and cynical world than Vito, and losing his soul becomes a major theme in P2.
The late 19th, early 20th century Irish immigrants formed something like this family/ community/ tradition system in their big city neighborhoods. But that was formed around urban ward politics, and local Catholic parishes. This movie exaggerates the Mafia presence in Italian -American community. But it is a very useful metaphor to look at how ethnics formed their communities in America.
The one thing reactors always seem to miss is the Don Vito's ability to see what affect the drug trade would have on organized crime. Don Vito was right. The drug trade proved to be the reason many Don's and Cappos died in prison.
I'm wonder will I see some of that in the sequel.
My favorite mob movie! Sonny dying always gets me...strong, loyal (to family business) but emotional...lovely character!
Luca Brasi was played by Lenny Montana a former wrestler and probably
connected with the mob. The Godfather was is first movie and he was nervous about having a scene
with the famous Marlon Brando and actually spent time practicing his lines before each take. Coppola noticed
this and wrote it into the script.
That' s great story. Art imitating life. Was he a professional wrestler?
@@IrishGuyReacts probably so, I got that tidbit from an interview with Coppola, but they did not go into any more of Montana’s background.
8:27 The house used for Wolz's mansion is still standing in Beverly Hills. It's the same place where Jacqueline & John F Kennedy spent their honeymoon in 1956. Love Marlon Brando's performance here, but it's no surprise. But in his twenties, he surprised everyone in 1953 by playing Marc Anthony just about perfectly in a Hollywood film based on Shakespear's "Julius Caesar," playing opposite an array of proven pros like Deborah Kerr, James Mason, Edmund O'Brien, Greer Gason, Louis Calhern & John Gielgud. 19:09 If you like Sterling Hayden in "The Killing," you'll love him in "Asphalt Jungle," a real suspenseful caper movie.
Oh yes, "Asphalt Jungle" is one of the many Noir films I have on the list. I think that will be the next Noir I choose.
I loved Brando in both "The Godfather" and "One-Eyed Jacks" so I want to watch more of his work too.
People from all over have continued to immigrate to the US since the beginning, but at times, there are large waves from countries which undergo significantly worse conditions. In the 1840's, there was the potato famine and great numbers of Irish came here. Around 1900, there were pogroms against Jews in eastern Europe, and a sudden uptick in Italian immigrants, then Russians after the collapse of the Soviet Union around 1990. The West Coast has always been a beacon for Chinese. (Very simplified history here.)
And at first, immigrants face significant discriminate because of their uptick in numbers, until second and third generations get absorbed in. Yet, these newcomers band together with their fellow countrymen in an "us vs. them" manner. (Again, over simplified.) So the crime underground of a small number of each wave takes on a different ethnic face for awhile. We had Irish mobsters (and Irish policemen), then the Italian mafia, then the Russian mob. (My point is that certain peoples are overall prone the join a gangster underground.)
I do love this movie for its interlocking cause-and-effects. But it took me a long time to realize it sort of gives an unrealistic and somewhat noble patina to gangsters. We see the Godfather's family interacting with other crime families where the wrongs that the other "five families" do against the Corleones are avenged, with we the audience on the side of the Don. We sympathize with a certain "justice" metered out in retaliation.
And the finances of these gang wars are depicted in this movie come from profits from "victimless" crimes, like bootleg liquor in the 1920's, prostitution, gambling, etc. What we don't see are all the times that the Godfather's people went into the corner bars and the mom-and-pop grocery stores, bleeding them for "protection" - "Nice place that you have here. Hate to see anything bad happen to it."
We also see these convoluted tactics, particularly at the end, of closely choreography of the various hits. Goodfellas is a more realistic depiction of the mob, based on an actual story. The low-level pawns are often not loyal and often not very bright. They squeal to the other gangs and to the police, they get their instructions wrong, and after the caper, often parade around displaying their sudden wealth which gives away the plot.
Still a great movie.
I see your point and you do feel weird as a viewer siding with people who do horrendous things. I guess that is a testament to the writing and the performances.
Goodfellas is a masterpiece!
You are missing the point totally the point is RESPECT! The Godfather is a family man who is loyal to his families. He gives respect and he expects the same in return.
FAMILY ...RESPECT... LOYALTY.
I do think there is some of that in there too. Particularly with the immediate family. But I maintain there is an of performance when many of the associates interact around the Godfather.
5:21 'It's not personal, it's business"
Exactly!
There is dead and then there is Sonny Corleone dead. It wasn't just that Carlo felt confident in hitting Connie because he had the backing of Barzini, it was planned. Sonny was set-up to be killed.
Layers in the film that become more clear on re-watches I'm sure.
Francis Ford Coppola gave Sterling Hayden one of the best death scenes ever put to film in this. James Caan too. The Godfather always ranks high on all time lists and I've seen it dozens of times over the decades since its release. I suppose that makes it an all time favorite, but I don't think of it as a favorite. Sincerity, or the lack thereof, is an interesting angle to take, as opposed to, say, honor among thieves, omerta and all the usual mafia lore. But it fits with the lie Michael tells his wife as he looks her in the face. Chilling. The Godfather Part II is also excellent, the rare sequel that surpasses expectations and more. Francis Ford Coppola also directed Brando in Apocalypse Now (1979), another masterpiece of cinema that you should watch. Coppola's 1983 film The Outsiders launched the careers of several Hollywood stars -- Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estevez, Tom Cruise, Diane Lane. He got the idea for the film from a group of school kids who wrote him a letter raving about the book they read in class, The Outsiders by S.E. Hinton, and asking him to turn it into a movie. Their letter got his attention. He read the book, liked it, and decided to film it. The kids who wrote the letter were my age. They went to a school on the other side of town from the one I went to. The local newspaper wrote the story up. We all ended up reading the book and liking it. One of the girls in my high school graduating class was part of the group of kids who wrote the letter. She told us more of the story when we asked her about it years later. Also, when you're ready for another classic film featuring Sterling Hayden, check out Stanley Kubrick's 1964 film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.
My God, Sonny's death was absolutely crazy. Did not expect him to go out in such a brutal manner!
I have added Dr. Strangelove to my watchlist. Thanks for recommending.
Al Leterri's sister was married to the brother of a Genovese Crime Boss.
You bring up an interesting point about the Vito/Luca Brazi relationship. In real life the actor that played Luca was not a professional actor he was I believe a wrestler so the scene where he thanked Vito for the invitation was supposed to come off as one professional acknowledging another professional in some sort of extension to their business relationship. However the actor was so awestruck by being in the room with the great Marlon Brando he could not get his lines straight. So after several unsuccessful takes the director decided to go with the nervousness and kept the best of the screwed up scenes then had the actor do the rehearsing scenes so that it looked like the character was also nervous to be in Vito’s presence.
This actually fits with the Luca back story. Kay’s instincts about Luca were right he is a scary guy. His back story has some very horrific acts in it. He is only still alive because of Vito’s intervention and he knows it. Luca is not the kind of man that Vito would chose as a friend if he were in any kind of legitimate business. But he keeps Luca around because Luca owes Vito his life and Vito knows from his past that Luca will have no problem doing anything Vito asks him to do. The Horse-head thing, though it’s not explicit that it was Luca’s doing, it’s strongly implied.
In the book Luca spent some of his off hours at Mafia owned bars including some owned by the Tatallias so Luca being in a Tatalia club would not in itself be suspicious. So when Sullozo killed him it was not because he suspected Luca of being a spy it was because he was going to kill Vito and knew he had to kill Luca first. As Tom said “ not even Sonny will be able to stop Luca…”
It's always fascinating how certain things find there way into a movie. Moments are created that were totally unplanned. It was a great choice for him to used that as Luca prepping to meet Corleone. One of my favourite moments in the film.
I'll have to get my hands on the book.
The best film ever made!
Certainly lived up to the hype. Brando is top notch!
Never mind Carlo’s motivation. The whole thing was a set up. Those guys with the Tommy guns were not stationed at the toll booth 24/7.
The phone call from a woman asking for Carlo was designed to light the fuse and create a fight between Connie and Carlo. Barzini knew that after the fight, Sonny would go to kick Carlo’s ass and be vulnerable. Barzini was pretty smart (though not smart enough) but the ploy worked and Sonny fell for it.
I just knew when he left that house he wasn't going to come back alive. I thought he would get to Carlo first though.
GREAT review. You picked up on all the key details on all levels. I really enjoyed your review.
Thanks very much. Glad you enjoyed it.
I think "transactional" was the word you wanted. Excellent reaction, as usual 👍
Thanks for the support. Much appreciated.
Great book too. The undertaker with the daughter with the shattered jaw had looked down on the mafia and feared attachment to them . He did not want to be in debt to those guys bc what he feared was that they d want to "borrow " his crematory or smth. Make him disappear bodies . It wa sthat specifically he feared . When instead the don brought him sonny, it was a labor of love bc he was ao grateful that he never asked for assistance in murders
Yeah, you definitely get the impression it was last resort and he had held off contacting Corleone until he saw what happened to his daughter.
"It's amazing how effective silence can be." I remember reading about an actor complaining they had no lines in a scene. The director said you have lines, they're just not spoken. A lot can be said by the look on a face, where the eyes move, nervous tics, how the camera frames a scene, all that.
Indeed. This is the kind of thing you can't attain in theatre. I sometimes forget that when writing play scripts.
@@IrishGuyReacts You would need something more visibly demonstrable. Have the actor turn their back, or pace, or walk to the window and look out. Something the audience can see.
Sterling Hayden is not an actor many remember. I'm glad you did. He was far too good to be forgotten, even though he hated acting. And, yes, that was Adrienne from "Rocky." Her name is Talia Shire, she is director Francis Coppola's sister and Nicolas Cage's aunt.
Sterling was so damn good in "The Killing". Was a great introduction to him for me.
Watching The Godfather with The Police lookin' over your shoulder. Subbed!
🎥 💓 🍿
Fantastic band. And now I can say a fantastic film. Thanks for the sub. Much appreciated.
" leave the gun . Don't forget my cannoli"
I had a cannoli for the first time earlier in the year. Absolutely delicious.
It's a culture thing that most people won't tune into unless you grew up in this milieu. The conclusion that there is no sincerity is off. With Italians, choosing a Godfather for your son or daughter is a big deal and reserved for only someone you hold in high esteem. In fact with Italians, your Godfather and everyone in his family becomes family as well. It's a big deal. Your Godfather is family and a friend,. Buonasera the undertaker was disrespectful in not having Vito and his wife over as you would a friend and then he asks for a favor. You have to separate business and family in this movie. In business one slip of the tongue gets you killed. The Don was shot simply because Sonny spoke out of turn. One small and minor error like that got the Don shot and eventually Sonny killed. It's life and death in their business. Both Michael and Vito were not motivated by power in the traditional sense. It wasn't power for the sake of power. Power is for survival. Michael's transformation is all due to the road he had no choice but to journey. His dad's life was in danger. Who of us would not protect our family any way possible. Michael's path from that moment on was to not make a mistake because a mistake gets you killed. Hence all the seriousness of his character. In that world of business it's very Machiavellian and there is no room for sincerity as you put it.
Nice points you raise. Appreciate the comment. Very interesting to process it in a different manner while accessing your verdict.
If you want to see another great film that features a memorable Sterling Hayden performance then I cannot recommend _Dr Strangelove_ highly enough.
Thank you for the suggestion. Would love to see more of his movies.
35.44 They worked out Mo Green 's murder in an interesting way, since he was wearing almost nothing. They rigged the right arm of his glasses with a small bb gun to shoot outward to break the lens, then fed the blood from the left side
It's a great effect and a very strong visual. You knew something was coming but not in such a manner.
5:50 I think you immediately hit on the underlying dynamic of the godfather: He doesn't have real friends -- only family really matters. His "friendships" are purely mercenary (although -- in this version they generally have integrity. I think in the real world mafia friendships have no integrity whatsoever).
It's another aspect component that makes Don such an intriguing character. I was immediately interested to discover what this guy is about.
the actor who said Mike was a war hero is Sonny Grasso, he and his partner broke up the French Connection
Looking forward to watching that film.
Roy Scheider plays Gasso, but they don't use his name like they don't use Eddie Eagan instead they call him Popeye Doyle@@IrishGuyReacts
Hi, greetings from Germany. If I make any mistakes in English, sorry in advance.
I subscribed to you today, and directly watched 5 videos. I like it very much, and you recognize things in some of the movies I know, that I never noticed myself.
I think it's good that you comment on so many older films. Most channels review the same films for the most part. I saw that you really like John Wayne...there's a movie of his that I recently discovered. I hadn't seen this movie of his before, and it's quite unusual because it puts John Wayne in a very unusual role.
The movie offers you a lot of emotions, ups and downs, and a lot of profundity...a film where you don't expect this at all. The film fits in with the films you are currently watching.
It is "The Cowboys" with John Wayne. I attach to this comment my own review, which I wrote on a German film portal.
My review:
John Wayne, as cattleman Andersen, lost his two sons at an early age. In a conversation with his wife, he admits that they never got along, never found each other...there is melancholy and regret to be heard.
Due to a shortage of drovers caused by the gold rush, he now has to set out on the long cattle drive with ten inexperienced boys and a teenage half-breed instead, assisted by the afro-american cook Nightlinger.
A lot of time must be invested in advance in training and disciplining the boys. Cohesion develops bit by bit.
For Andersen and his wife, preparing the boys for the long trek is also a reflection on their time with their own sons. Thus, directly upon the boys' first appearance at the ranch, she admonishes him to be more lenient and lenient in his dealings with them. This is an indirect reference by her to his rude parenting methods that had failed in the past and had led to the estrangement between him and his sons.
The trek with the boys puts him back into the long discarded role of father in a variety of situations (fears, group dynamics, danger from cattle thieves, cohesion, gaining respect).
It is the strongest moments of the film when John Wayne as Wil Anderson has to deal with the different characters and emotions of the boys on the road...accompanied congenially by Roscoe Lee Browne as cook Nightlinger.
**SPOILER**
The symbolism of Andersen sacrificing himself for the boys at the end is pathetic to some, but to me it, along with his meaningful last words to the boys surrounding him, gives a good conclusion to the father "sons" story told here.
He has removed his doubts weighing on him all these years as to whether he could ever have been a good father to his deceased sons, his feelings of guilt toward them, and has made his peace. He is grateful to the boys, and they to him!
Great work is done at this point by the camera direction, which provides an impressive image: The camera zooming out of the frame shows the boys surrounded by trees and greenery, surrounding the dying Andersen....
The final phase of the film, in which the boys avenge Andersen's death, and bring the cattle trek in his honor to a close, lets them show all that Andersen taught them: Cohesion, pulling together, discipline, camaraderie...and last but not least strength of character!
Thanks so much for the sub and the kind words. Very Much appreciated.
The Cowboys is another movie on my watchlist. I'll be sure to read your review again after I've watched it. Thanks for putting up the spoiler warning too before the final portion of your comment.
I just learned, when you see an orange, someone is about to die.
The subtle things
The $600,000 for the horse Khartoum is $10 million in today's money.
My God! That's a hell of a sum of money!
Roberto Mancini!!!!! Love it!
I'm happy now that at least one person got who I was referring to. Haha
Johnny Fontaine is based on Frank Sinatra for the part in the movie From here to Eternity. True story. Sinatra tried stop the Godfather from being made, the movie " the making of the Godfather ' is all about that
Holy crap! I'll have to watch that documentary.
The movie is called The Offer
I love thi smovie. Thanks for reacting to it. But my favorite Marlon Brando film is On the Waterfront.
I'll have to get to "On The Waterfront" at some point. I've see two Brando movies. "The Godfather" and "One-Eyed Jacks". Both brilliant films.
The guy who played Luca Brasi is Lenny Montana. He was a real life Colombo family enforcer.
He definitely had the look. Very intimidating presence.
A movie about people who lie when they say "Hello."
So much of that is said is a lie. That final scene. Extremely powerful!
One thing which sets the Godfather films apart is that we sympathize with the "Bad guys". If we take the films together, we see Vito, and then especially Michael, start out with good intentions (or at least understandable ones), and then we see them gradually change due to the corruption and violence around them - and ultimately within them. It's more understandable with Vito because of his background; he literally started with nothing, and in his own way he uses his power to help his community. He's like a feudal lord.
You're right about the parallels between the Italians and the Irish in that period of American history. Neither group was welcomed with open arms at first. Both formed criminal gangs (as did Jewish immigrants - Meyer Lansky and Buggsy Siegel are examples).
The Irish owe a lot to America. Those that survived the coffin ships. I'm currently reading a book on the famine. By God some of the stuff was beyond horrific.
@@IrishGuyReacts Absolutely. Some of my Mother's family may have experienced some of that, although they came over later. You can still see some of the effects of the migration - when I was a kid, I heard that there were more Irish in New York City than in Dublin, and Boston probably wasn't far behind in that respect... and in both cities, they had and probably still have Irish gangs.
I saw it in the theater, although not during it's original run. It's definitely a cinematic film - the restaurant scene was almost unbearably tense.
Definitely. The way in which they built up that scene was so powerful and effective.
The horse in the stable was not killed for the movie. The head was from one old one they bought from a slaughterhouse that was scheduled to be killed anyway. Grisley yes, but not quite as morally iffy as ppl think. I hate the idea of killing animals as well.
Jesus! If they had killed an actual horse for the film it would have made it a lot tougher for me to enjoy the film.
ADRIEN is actually FRABCIS COPPOLAS sister in real life 😁
Had absolutely no idea of that factoid.
They couldn't get a fake horse head to look real enough for Coppola, so they got a real one from a slaughterhouse and used that one
Pity they couldn't find a prop that looked realistic.
You should watch Part II as soon as possible!
I'll try not to leave it too long.
There are Irish ties to The Godfather films. Puzo modelled a lot of the Corleone family dynamics to the Kennedy family of The United States. President Kennedy was not expected to be the leader of the family, like Michael. Like Michael, President Kennedy was Ivy League educated and defied his father to fight in WWII. President Kennedy was also a war hero, like Michael. President Kennedy only took over leadership of his family after the unexpected violent death of his more physically dominant older brother Joe Jr.. President Kennedy's father used his mob ties from prohibition to get votes for President Kennedy's election. President Kennedy's father, like Vito, wanted his children removed from mafia ties to take over political leadership of The Untied States.
Holy Shit! It's insane the parallels between the fictitious family and the Kennedy family. Didn't know His dad had ties to the mob. From what I've heard JFK was revered in Ireland back in the day. Two guarantees in most houses back then would be a picture of Christ on the wall and a picture of JFK on the wall.
@@IrishGuyReacts You'll see more parallels in the next two movies as the Corleones move higher in society, away from the mafia, to be more "untouchable", like the Kennedy family in The Untied States. In the book, one of Vito's ideas to cleanse the family money was to start a Hollywood movie studio or just execute a hostile takeover to remove Waltz, the guy with horse's head in his bed. President Kennedy's dad actually tried this in real life with a studio that became RKO.
I think it's one of the greatest movies ever made. Part II is brilliant but I think this one stands alone and the two movies are often conflated too much.
It will be interesting to see which one I prefer.
It might make you feel a little better to learn that the horse that was in the bed was a) going to be turned into dogfood anyway, and b) the shooting schedule of the film meant that it got to live several days longer than otherwise would have.
Even when watching horse races I'm always more concerned for the horse than the jockey lol. Probably because the Jockey is actively putting himself/herself into the situation.
It’s fascinating that you focused on sincerity out the gate. It’s a unique take, as far as I know. I think Part II will give you more material to chew with regard to sincerity, friendships, and being at the top. But I want to point out a minor character, Enzo the Baker, who returns the favor Corleone did him by loyally risking his life, despite great fear.
I’m referring to the scene where Michael and Enzo stand guard outside the hospital and bluff the goons sent to kill Corleone. Also notable is that Enzo is there as a well wisher paying his respects to the Don.
Yes, I picked up on that more when I went back to edit the reaction regarding Enzo the baker. I feel this film will have a lot of re-watch value.
When I saw the hospital scene I figured that Enzo the baker and the nameless nurse would be taken good care of - quietly - for the rest of their lives.
Leave a comment.
Take the cannoli.
10/10 comment. I'm going to start referencing that cannoli line in random conversations.
First time? Really? Oh boy! The book is a pretty good read, too -- and it comes with some nice background info that isn't in either movie.
I'd like to get my hands o the book.
It almost didn't get made. To make it they hsd to get permission from the Mafia. Someone from the Mafia was on set while they filmed it.
Crazy how much influence and power they had.
In the book carlo beat up the sister and then panicked an dcalled bartzini . He dindt plan it out in advance like that but he had acceoetd their ohone number ...he didnt touch her again after and was a model hubby because rhye let him beleive he coudl be an insider one day. Never in amillion years though. Never . They kept him close for mike to handle when the dad died bc the dad had forswon revenge . Michael didnt
Reading this comment is the first time it hit me that they left Carlo be because Don had sworn there would be no more retaliations. I already look forward to re-watching this film
Leave the gun… Take the cannoli
Haha , nicely commented.
You my Brothers We Have Same DNA
Is that a reference to the movie?
@@IrishGuyReacts its True
Carlo beat up his wife again for business reasons.....yes, Part Two is just as good---
Looking forward when I get around to watching Part II
Michael is Frodo. But he keeps the Ring.
Interesting analogy. I like it. I wonder who is Sam?
@IrishGuyReacts iPhone that's Michael's problem. He has no Sam. Potential Sam's are Hagen or Kaye, o think. Maybe Connie.
It helps to know that the Godfather films were designed by Puzo and Coppola as a masculine version of Shakespeare's "King Lear". People who don't understand Shakespeare or King Lear usually misinterpret Part 2 and become very lost during Part 3. Michael obviously begins Part 1 as Cordelia, proving his love for Vito as the child on the outside, but ends up taking the role of Lear. Instead of daughters, Vito plans for the future of his family and kingdom with his sons. Part 2 develops the primary theme of emotional/moral blindness that is usually associated with King Lear and Gloucester. Part 3 uses the King Lear model to complete the narrative thread with a definitive ending and a clear moral to the story common to the Shakespearean tradition, but missing in the first two films.
This is retconning.
@@MarcosElMalo2 It's nothing new. Coppola explains how he used the Lear model on all three films if you search the article "FRANCIS FORD COPPOLA: AN OFFER HE COULDN’T REFUSE" from January 2, 2017 issue of Scraps from the Loft.
I never actually read King Lear. I was always partial to Macbeth and The Merchant Of Venice. Interesting take though .
@@IrishGuyReacts Have you seen Akira Kurosawa's "Throne of Blood" (1957)? If you haven't, it's the samurai version of Macbeth. Coppola has claimed that Macbeth's death scene in Throne of Blood was a visual influence on him for the death of Sonny Corleone at that tollbooth in Part 1.
Marlon Brando made some acting choices… On his own initiative he stuffed his cheeks with cotton, because he wanted the character to have slurred speach.
that voice just instantly grabs your attention. Brando is the man in this film!
The dons enemies knew luca would never turn. For him to speka disloyalty was his tell on that. Luca was an awkward man whi had a hero worship of the don . The story of hwhy is pretty grorss but it left luca like that and fear and live adn awe if his power left that one like a cultshish slavery in his head . Thats all. He worshiped the man.
Hmm that's good point. I foolishly thought he might actually change sides. A folly prediction on my part.
Johnny fontane= frank Sinatra
maybe we could react to a movie like a co host somtime if you want to
Hey there. Might be an interesting idea going into the new year.
“Respect” is a very important term in gang culture. Unfortunately, it doesn’t really mean what it means to you and me. It’s about dominance and fear. This is made further clear in Pt II.
Fascinating and terrifying the way the rules works for these gangs.
Weird editing choices
Editing is was never my strong suit. I thought this turned out okay though.
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Maybe it's just me, but I can't imagine some ordinary little guy INVITING the Godfather - and by implication his bodyguards / henchmen - to his house for a cup of coffee. Not realistic, so why fault him for that?
His daughter was Goddaughter to Don Corleone’s wife. That’s not some ordinary little guy. That’s a little guy already networked to the Godfather. They would have seen each other socially, in the tight knit community. The point isn’t that Corleone would never have accepted, the point is that the undertaker should have invited him out of respect.
I think this hits home my point that there is often a lack of genuine friendships for The Godfather given who he is. This is a reason he is offended by it.
In the book, Luca Brasi is the.scsriest psychopath in the story. 🥃