1972 – The Godfather

To tell you the truth, I was dreading this film.  I thought it was all shooting and blood and guts and severed horse heads.  But I was so wrong.  I absolutely loved this film.

I adored Marlon Brando as Don Vito Corleone and now want to see all of his other films (Paramount nearly made a huge mistake refusing Brando the part).  I enjoyed the constant focus on and presence of family, including children, such that each family member understood his/her purpose.  I fell for the suits and cars and gender tension of the Italian-American 1940s — so sexy.  I loved that any action scenes throughout the film were overshadowed by intense emotions and deep character development (despite Paramount’s attempts to generate a “hit” by squeezing in additional thrill sequences).  And I like that men have been the primary advocates of this film, exposing tangible depth within the gender far more impressive than many stereotypes give them credit.

Don Vito Corleone, the Godfather, is head of the fictional Corleone family living in the Cosa Nostra (Mafia) world of New York City in the 1940s.  The film is based on the 1969 novel by Mario Puzo, who also composed the screenplay.  I won’t go into all the details because you really should see this film yourself.  There are a lot of family members and friends of the family and enemies of the family and connections between them all, but Puzo and Francis Ford Coppola somehow make it possible to follow every detail.  The deep drama that carries the viewer throughout is nearly palpable.

I don’t care who you are — if you don’t fall in love with Don Vito by the end, you weren’t paying attention.  All the hype surrounding this film is well-deserved.  See it.