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The Godfather Is Widely Regarded As One of the Greatest Films in World Cinema and One of the Most Influential, Especially in the Gangster Genre

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The Godfather Is Widely Regarded As One of the Greatest Films in World Cinema and One of the Most Influential, Especially in the Gangster Genre The Godfather is widely regarded as one of the greatest films in world cinema and one of the most influential, especially in the gangster genre. The Godfather is a 1972 American crime film directed by Francis Ford Coppola and produced by Albert S. Ruddy, based on Mario Puzo's best- selling novel of the same name. The Godfather was selected for preservation in the U.S. National Film Registry of the Library of Congress in 1990, being deemed "culturally, historically, or aesthetically significant" and is ranked the second-greatest film in American cinema (behind Citizen Kane) by the American Film Institute. It stars Marlon Brando and Al Pacino as the leaders of a fictional New York crime family. Marlon Brando Stanley Kowalski in A Streetcar Named Desire (1951) Emiliano Zapata in Viva Zapata! (1952) Johnny Strabler in The Wild One (1953) Mark Antony in Julius Caesar (1953) Terry Malloy in On the Waterfront (1954) Air Force Major Lloyd Gruver in Sayonara (1957) Al Pacino (Alfredo James) Frank Serpico in Serpico (1973) Sonny in Dog Day Afternoon (1975), Tony Montana in Scarface (1983) Frank Slade in Scent of a Woman (1992) Carlito in Carlito's Way (1993), Benjamin "Lefty" Ruggiero in Donnie Brasco (1997) Vincent Hanna in Heat (1995) The story, spanning 1945 to 1955, chronicles the family under the patriarch Vito Corleone (Brando), focusing on the transformation of Michael Corleone (Pacino) from reluctant family outsider to ruthless mafia boss. Paramount Pictures obtained the rights to Mario Puzo’s novel (1969) for the price of $80,000, before it gained popularity. Mario Puzo's The Godfather, which remained on The New York Times Best Seller list for 67 weeks and sold over 9 million copies in two years. Published in 1969, it became the best selling published work in history for several years. Studio executives had trouble finding a director; their first few candidates turned down the position. wanted the picture to be directed by an Italian American to make the film "ethnic to the core". Francis Ford Coppola was officially announced as director of the film on September 28, 1970. Paramount and Coppola disagreed over who would play several characters, in particular, Vito. One of the candidates was a Maltese actor, Joseph Calleia. Paramount and Coppola disagreed over who would play several characters, in particular, Vito. One of the candidates was a Maltese actor, Joseph Calleia. The musical score was composed primarily by Nino Rota with additional pieces by Carmine Coppola. The Italian-American Civil Rights League wanted all uses of the words "mafia" and "Cosa Nostra" to be removed from the script, in addition to feeling that the film emphasized stereotypes about Italian-Americans. The league eventually gave its support for the script. Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration. Cinematographer Gordon Willis and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses. They used a "tableau format" of filming to make it seem if it was viewed like a painting. Willis made use of shadows and low light levels throughout the film to showcase psychological developments. Willis and Coppola agreed to interplay light and dark scenes throughout the film. 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. Willis underexposed the film in order to create a "yellow tone." The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes. Coppola's request to film on location was observed; approximately 90% was shot in New York City and its surrounding suburbs, using over 120 unique locations. Several scenes were filmed at the Filmways Studio in East Harlem. The remaining portions were filmed in California, or on-site in Sicily. Savoca and Forza d'Agrò were the Sicilian towns featured in the film. Marlon Brando wanted to make Don Corleone "look like a bulldog," so he stuffed his cheeks with cotton wool for the audition. For the actual filming, he wore a mouthpiece made by a dentist. This appliance is on display in the American Museum of the Moving Image in Queens, New York. The cat held by Marlon Brando in the opening scene was a stray that Coppola found while on the lot at Paramount Pictures, and was not originally called for in the script. So content was the cat, that its purring muffled some of Brando's dialogue, and, as a result, most of his lines had to be looped. The cat held by Marlon Brando in the opening scene was a stray that Coppola found while on the lot at Paramount Pictures, and was not originally called for in the script. So content was the cat, that its purring muffled some of Brando's dialogue, and, as a result, most of his lines had to be looped. Whenever oranges appear in the film, they foreshadow death or a near death involving the Corleone family. One of the film's most shocking moments involved an actual, severed, horse's head. Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film. One of the film's most shocking moments involved an actual, severed, horse's head. Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film. Francis Ford Coppola told Variety, "There were many people killed in that movie, but everyone worries about the horse. It was the same on the set. When the head arrived, it upset many crew members who are animal lovers, who like little doggies. What they don't know is that we got the head from a pet food manufacturer who slaughters two hundred horses a day just to feed those little doggies." The film was the highest-grossing film of 1972 and was for a time the highest-grossing film ever made. It won the Oscars for Best Picture, Best Actor (Brando) and Best Adapted Screenplay (for Puzo and Coppola). There was intense friction between Francis Ford Coppola and Paramount Pictures, in which Paramount Pictures frequently tried to have Coppola replaced, citing his inability to stay on schedule, unnecessary expenses, and production and casting errors (Coppola actually completed the film ahead of schedule and under budget). Marlon Brando boycotted the Academy Awards ceremony and refused to accept the Oscar. He sent American Indian Rights activist Sacheen Littlefeather in his place, to announce at the awards podium Brando's reasons for declining the award which were based on his objection to the depiction of American Indians by Hollywood and television. Marlon Brando boycotted the Academy Awards ceremony and refused to accept the Oscar. He sent American Indian Rights activist Sacheen Littlefeather in his place, to announce at the awards podium Brando's reasons for declining the award which were based on his objection to the depiction of American Indians by Hollywood and television. Al Pacino also boycotted the ceremony. He felt insulted at being nominated for the Academy Award for Best Supporting Actor award, noting that he had more screen time than his co-star and Best Actor winner Brando and thus he should have received an Academy Award nomination for Best Actor. Although many films about gangsters preceded The Godfather, Coppola's heavy infusion of Italian culture and stereotypes, and his portrayal of mobsters as characters of considerable psychological depth and complexity was unprecedented. A comprehensive study of Italian American culture on film, conducted from 1996 to 2001 by the Italic Institute of America, showed that close to 300 movies featuring Italian Americans as mobsters have been produced since The Godfather, an average of nine per year. .
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