Contents 1 Plot 2 Cast 3 Production 3.1 Development 3.2 Direction 3.2.1 Coppola and Paramount 3.3 Writing 3.4 Casting 3.5 Filming 3.6 Music 4 Release 4.1 Box office 4.2 Critical response 4.3 Accolades 4.3.1 American Film Institute recognition 5 Cultural influence 5.1 Television 6 Home media 6.1 The Godfather: The Coppola Restoration 6.2 Video game 7 See also 8 Notes 9 References 10 Bibliography 11 External links


Plot In 1945, at his daughter Connie's wedding, Vito Corleone hears requests in his role as the Godfather, the Don of a New York crime family. Vito's youngest son, Michael, who was a Marine during World War II, introduces his girlfriend, Kay Adams, to his family at the reception. Johnny Fontane, a famous singer and Vito's godson, seeks Vito's help in securing a movie role; Vito dispatches his consigliere, Tom Hagen, to Los Angeles to persuade the obnoxious studio head, Jack Woltz, to give Johnny the part. Woltz refuses until he wakes up in bed with the severed head of his prized stallion. Shortly before Christmas, drug baron Virgil "The Turk" Sollozzo, backed by the Tattaglia crime family, asks Vito for investment in his narcotics business and protection through his political connections. Wary of involvement in a dangerous new trade that risks alienating political insiders, Vito declines. Suspicious, Vito sends his enforcer, Luca Brasi, to spy on them. However, a Tattaglia button man garrotes Brasi during Brasi's first meeting with Bruno Tattaglia and Sollozzo. Later Sollozzo has Vito gunned down in the street, then kidnaps Hagen. With Corleone first-born Sonny in command, Sollozzo pressures Hagen to persuade Sonny to accept Sollozzo's deal, then releases him. The family receives fish wrapped in Brasi's bullet-proof vest, indicating that Luca "sleeps with the fishes." Vito survives, and at the hospital Michael thwarts another attempt on his father; Michael's jaw is broken by NYPD Captain Marc McCluskey, Sollozzo's bodyguard. Sonny retaliates with a hit on Bruno Tattaglia. Michael plots to murder Sollozzo and McCluskey: on the pretext of settling the dispute, Michael agrees to meet them in a Bronx restaurant. There, retrieving a planted handgun, he kills both men. Despite a clampdown by the authorities, the Five Families erupt in open warfare and Vito's sons fear for their safety. Michael takes refuge in Sicily and Fredo is sheltered by Moe Greene in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister and threatens to kill him if it happens again. When it does, Sonny speeds to their home, but is ambushed at a highway toll booth and riddled with submachine gun fire. While in Sicily, Michael meets and marries Apollonia Vitelli, but a car bomb intended for him takes her life. Devastated by Sonny's death, Vito moves to end the feuds. Realizing that the Tattaglias are controlled by the now-dominant Don Emilio Barzini, Vito assures the Five Families that he will withdraw his opposition to their heroin business and forgo avenging his son's murder. His safety guaranteed, Michael returns home to enter the family business and marry Kay, promising her that the business will be legitimate within five years. Kay gives birth to two children by the early 1950s, and with his father at the end of his career and his brother too weak, Michael takes the family reins. He insists Hagen relocate to Las Vegas and relinquish his role to Vito because Tom is not a "wartime consigliere"; Vito agrees Tom should "have no part in what will happen" in the coming battles with rival families. Michael travels to Las Vegas to buy out Greene's stake in the family's casinos. Michael is dismayed to see that Fredo has fallen under Greene's sway. Vito suffers a fatal heart attack. At the funeral, Tessio, a Corleone capo, asks Michael to meet with Don Barzini, signalling the betrayal that Vito had forewarned. The meeting is set for the same day as the christening of Connie's baby. While Michael stands at the altar as the child's godfather, Corleone assassins murder the other New York dons and Moe Greene. Tessio is executed for his treachery and Michael extracts Carlo's confession to his complicity in setting up Sonny's murder for Barzini. A Corleone capo, Clemenza, garrotes Carlo with a wire. Connie accuses Michael of the murder, telling Kay that Michael ordered all the killings. Kay is relieved when Michael finally denies it, but, when the capos arrive, they address her husband as Don Corleone, and she watches as they close the door on her.


Cast Al Pacino as Michael Corleone and Marlon Brando as Vito Corleone Marlon Brando as Vito Corleone Al Pacino as Michael Corleone James Caan as Sonny Corleone Robert Duvall as Tom Hagen Diane Keaton as Kay Adams-Corleone John Cazale as Fredo Corleone Talia Shire as Connie Corleone Gianni Russo as Carlo Rizzi Richard S. Castellano as Peter Clemenza Abe Vigoda as Salvatore Tessio Al Lettieri as Virgil "The Turk" Sollozzo Sterling Hayden as Captain Mark McCluskey Lenny Montana as Luca Brasi Richard Conte as Emilio Barzini Al Martino as Johnny Fontane John Marley as Jack Woltz Alex Rocco as Moe Greene Morgana King as Carmela Corleone Corrado Gaipa as Don Tommasino Franco Citti as Calò Angelo Infanti as Fabrizio Johnny Martino as Paulie Gatto Victor Rendina as Philip Tattaglia Tony Giorgio as Bruno Tattaglia Simonetta Stefanelli as Apollonia Vitelli-Corleone Richard Bright as Al Neri


Production Development The film is based on Mario Puzo's The Godfather; a novel that remained on The New York Times Best Seller list for 67 weeks and sold over nine million copies in two years.[5][6][7] Published in 1969, it became the best selling published work in history for several years.[8] Paramount Pictures originally found out about Puzo's novel in 1967 when a literary scout for the company contacted then Paramount Vice President of Production Peter Bart about Puzo's sixty-page unfinished manuscript.[6] Bart believed the work was "much beyond a Mafia story" and offered Puzo a $12,500 option for the work, with an option for $80,000 if the finished work were made into a film.[6][9] Despite Puzo's agent telling him to turn down the offer, Puzo was desperate for money and accepted the deal.[6][9] Paramount's Robert Evans relates that, when they met in early 1968, it was he who offered Puzo the $12,500 deal for the 60-page manuscript titled Mafia after the author confided in him that he urgently needed $10,000 to pay off gambling debts.[10] In March 1967, Paramount announced that they backed Puzo's upcoming work in the hopes of making a film.[6] In 1969, Paramount confirmed their intentions to make a film out of the novel for the price of $80,000,[N 1][9][11][12][13] with aims to have the film released on Christmas Day in 1971.[14] On March 23, 1970, Albert S. Ruddy was officially announced as the film's producer, in part because studio executives were impressed with his interview and because he was known for bringing his films in under budget.[15][16][17] Direction Francis Ford Coppola was selected as director, as Paramount wanted the picture to be directed by an Italian American to make the film "ethnic to the core". Evans wanted the picture to be directed by an Italian American to make the film "ethnic to the core".[18][19] Paramount's latest mafia based movie, The Brotherhood, had been a box office bomb;[7][20] Evans believed that the reason for its failure was its almost complete lack of cast members or creative personnel of Italian descent (the director Martin Ritt and star Kirk Douglas were both Jewish).[10] Sergio Leone was Paramount's first choice to direct the film.[21][22] Leone turned down the option to work on his own gangster film Once Upon a Time in America.[21][22] Peter Bogdanovich was then approached but he also declined the offer because he was not interested in the mafia.[23][24][25] In addition, Peter Yates, Richard Brooks, Arthur Penn, Costa-Gavras, and Otto Preminger were all offered the position and declined.[26][27] Evans' chief assistant Peter Bart suggested Francis Ford Coppola, as a director of Italian ancestry who would work for a low sum and budget after the poor reception of his latest film The Rain People.[28][18] Coppola initially turned down the job because he found Puzo's novel sleazy and sensationalist, describing it as "pretty cheap stuff".[10][29] At the time Coppola's studio, American Zoetrope, owed over $400,000 to Warner Bros. for budget overruns with the film THX 1138 and when coupled with his poor financial standing, along with advice from friends and family, Coppola reversed his initial decision and took the job.[27][30][31] Coppola was officially announced as director of the film on September 28, 1970.[32] Paramount had offered twelve other directors the job with The Godfather before Coppola agreed.[33] Coppola agreed to receive $125,000 and six percent of the gross rentals.[34][35] Coppola and Paramount Before The Godfather was in production, Paramount had been going through an unsuccessful period.[7] In addition to the failure of The Brotherhood, the studio had usurped their budget for their recent films: Darling Lili,[16] Paint Your Wagon, and Waterloo.[7][20] The budget for the film was originally $2.5 million but as the book grew in popularity Coppola argued for and ultimately received a larger budget.[N 2][26][36][38] Paramount executives wanted the movie to be set in then modern-day Kansas City and shot in the studio backlot in order to cut down on costs.[26][16][36] Coppola objected and wanted to set the movie in the same time period as its eponymous novel, the 1940s and 1950s;[26][31][16][32] Coppola's reasons included: Michael Corleone's Marine Corps stint, the emergence of corporate America, and America in the years after World War II.[32] The executives eventually agreed to Coppola's wish as the novel became increasingly successful.[36][16] The studio heads subsequently let Coppola film on location in New York City and Sicily.[41] Gulf & Western executive Charles Bluhdorn was frustrated with Coppola over the number of screen tests he had performed without finding a person to play the various roles.[39] Production quickly fell behind because of Coppola's indecisiveness and conflicts with Paramount, which led to costs being around $40,000 per day.[39] With the rising costs, Paramount had then Vice President Jack Ballard keep a close eye on production costs.[42] While filming, Coppola stated that he felt he could be fired at any point as he knew Paramount executives were not happy with many of the decisions he had made.[26] Coppola was aware that Evans had asked Elia Kazan to take over directing the film, because he feared that Coppola was too inexperienced to cope with the increased size of the production.[43] Coppola was also convinced that the film editor, Aram Avakian, and the assistant director, Steve Kestner, were conspiring to get him fired. Avakian complained to Evans that he could not edit the scenes correctly because Coppola was not shooting enough footage. Evans however was satisfied with the footage being sent to the west coast, and authorized Coppola to fire them both. Coppola later explained: "Like the godfather, I fired people as a preemptory strike. The people who were angling the most to have me fired, I had fired."[44] Brando threatened that he would quit if Coppola were fired.[26][42] Paramount wanted The Godfather to appeal to a wide audience and threatened Coppola with a "violence coach" to make the film more exciting. Coppola added a few more violent scenes to keep the studio happy. The scene in which Connie smashes crockery after finding out Carlo has been cheating was added for this reason.[31] Writing On April 14, 1970, it was revealed that Puzo was hired by Paramount for $100,000, along with a percentage of the film's profits, to work on the screenplay for the film.[45][46][17] Working from the book, Coppola wanted to have the themes of culture, character, power, and family at the forefront of the film, whereas Puzo wanted to retain aspects from his novel[47] and his initial draft of 150 pages was finished on August 10, 1970.[45][46] After Coppola was hired as director, both Puzo and Coppola worked on the screenplay, but separately.[48] Puzo worked on his draft in Los Angeles, while Coppola wrote his version in San Francisco.[48] Coppola created a book where he tore pages out of Puzo's book and pasted them into his book.[48] There, he made notes about each of the book's fifty scenes, which related to major themes prevalent in the scene, whether the scene should be included in the film, along with ideas and concepts that could be used when filming to make the film true to Italian culture.[48][42] The two remained in contact while they wrote their respective screenplays and made decisions on what to include and what to remove for the final version.[48] A second draft was completed on March 1, 1971, and was 173 pages long.[45][49] The final screenplay was finished on March 29, 1971,[46] wound up being 163 pages long,[48][45] 40 pages over what Paramount had asked for.[50] When filming, Coppola referred to the notebook he had created over the final draft of the screenplay.[48][42] Screenwriter Robert Towne did uncredited work on the script, particularly on the Pacino-Brando garden scene.[51] Despite finishing the third draft, some scenes in the film were still not written yet and were written during production.[52] 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.[14][53][54][55] The league also requested that all the money earned from the premiere be donated to the league's fund to build a new hospital.[54][55] Coppola claimed that Puzo's screenplay only contained two instances of the word "mafia" being used, while "Cosa Nostra" was not used at all.[54][55] Those two uses were removed and replaced with other terms, which Coppola felt did not change the story at all.[54][55] The league eventually gave its support for the script.[54][55] Casting Al Pacino (pictured above in The Basic Training of Pavlo Hummel) was chosen to portray Michael Corleone Puzo was first to show interest in having Marlon Brando portray Don Vito Corleone by sending a letter to Brando in which he stated Brando was the "only actor who can play the Godfather."[56] Despite Puzo's wishes, the executives at Paramount were against having Brando, partly due to the poor performance of his recent films and also his short temper.[57][36] Coppola favored Brando or Laurence Olivier for the role,[58][59] but Olivier's agent refused the role claiming Olivier was sick;[60] however, Olivier went on to star in Sleuth later that year.[59] The studio mainly pushed for Ernest Borgnine to receive the part.[58] Other considerations were George C. Scott, Richard Conte, Anthony Quinn, and Orson Welles.[61][58][62] After months of debate between Coppola and Paramount over Brando, the two finalists for the role were Borgnine and Brando,[63] the latter of which Paramount president Stanley Jaffe required to perform a screen test.[64][65] Coppola did not want to offend Brando and stated that he needed to test equipment in order to set up the screen test at Brando's California residence.[65][66] For make-up, Brando stuck cotton balls in his cheeks,[63] put shoe polish in his hair to darken it, and rolled his collar.[67] Coppola placed Brando's audition tape in the middle of the videos of the audition tapes as the Paramount executives watched them.[68] The executives were impressed with Brando's efforts and allowed Coppola to cast Brando for the role if Brando accepted a lower salary and put up a bond to ensure he would not cause any delays in production.[63][68][69] From the start of production, Coppola wanted Robert Duvall to play the part of Tom Hagen.[14][70][71] After screen testing several other actors, Coppola eventually got his wish and Duvall was awarded the part of Tom Hagen.[70][71] Al Martino, a then famed singer in nightclubs, was notified of the character Johnny Fontane by a friend who read the eponymous novel and felt Martino represented the character of Johnny Fontane.[18] Martino then contacted producer Al Ruddy, who gave him the part.[18] However, Martino was stripped of the part after Coppola became director and then awarded the role to Italian singer Vic Damone.[18] Damone eventually dropped the role because he did not want to play an anti-Italian American character, in addition to being paid too little.[72] According to Martino, after being stripped of the role, he went to his godfather and crime boss Russ Bufalino who then orchestrated the publication of various news articles that talked of how Coppola was unaware of Ruddy giving Martino the part; that, when coupled with pressure from the mafia who felt Martino deserved the role, led Damone to quit as Fontane.[18] Either way, the part of Johnny Fontane ended up with Martino.[18][72] James Caan (pictured in 1976) was chosen to play Sonny Corleone Robert De Niro originally was given the part of Paulie Gatto.[73][63] A spot in The Gang That Couldn't Shoot Straight opened up after Al Pacino quit the project in favor of The Godfather, which led De Niro to audition for the role and leave The Godfather after receiving the part.[73][74] After De Niro quit, Johnny Martino was given the role of Gatto.[18] Coppola cast Diane Keaton for the role of Kay Adams due to her reputation for being eccentric.[75] John Cazale was given the part of Fredo Corleone after Coppola saw him perform in an Off Broadway production.[75] Gianni Russo was given the role of Carlo Rizzi after he was asked to perform a screen test in which he acted out the fight between Rizzi and Connie.[76] Nearing the start of filming on March 29, Michael Corleone had yet to be cast.[77] Paramount executives wanted a popular actor, either Warren Beatty or Robert Redford.[78][63][79] Producer Robert Evans wanted Ryan O'Neal to receive the role in part due to his recent success in Love Story.[79][80] Pacino was Coppola's favorite for the role as he could picture him roaming the Sicilian countryside, and wanted an unknown actor who looked like an Italian-American.[31][79][80] However, Paramount executives found Pacino to be too short to play Michael.[14][18] Dustin Hoffman, Martin Sheen, and James Caan also auditioned.[75] Caan was well received by the Paramount executives and was given the part of Michael initially, while the role of Sonny Corleone was awarded to Carmine Caridi.[18] Coppola still pushed for Pacino to play Michael after the fact and Evans eventually conceded, allowing Pacino to have the role of Michael as long as Caan played Sonny.[81] Evans preferred Caan over Caridi because Caan was seven inches shorter than Caridi, which was much closer to Pacino's height.[18] Despite agreeing to play Michael Corleone, Pacino was contracted to star in MGM's The Gang That Couldn't Shoot Straight, but the two studios agreed on a settlement and Pacino was signed by Paramount three weeks before shooting began.[82] Coppola gave several roles in the film to family members.[18] He gave his sister, Talia Shire, the role of Connie Corleone.[83][84] His daughter Sofia played Michael Francis Rizzi, Connie's and Carlo's newborn son.[18][85] Carmine Coppola, his father, appeared in the film as an extra playing a piano during a scene.[86] Coppola's wife, mother, and two sons all appeared as extras in the picture.[18] Several smaller roles, like Luca Brasi, were cast after the filming had started.[87] Filming 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.[88] Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts.[89][90] The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; however snow never materialized and a snow machine was used.[90] Principal filming in New York continued until July 2, 1971.[91][92] Coppola asked for a three-week break before heading overseas to film in Sicily.[91] Following the crew's departure for Sicily, Paramount announced that the release date would be moved from December to spring 1972.[93] The Don Barzini assassination scene was filmed on the steps of the New York Supreme Court building on Foley Square in Manhattan[94] Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him.[95][81] After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses.[96] Willis and Coppola chose to use a "tableau format" of filming to make it seem if it was viewed like a painting.[96] He made use of shadows and low light levels throughout the film to showcase psychological developments.[96] Willis and Coppola agreed to interplay light and dark scenes throughout the film.[39] Willis underexposed the film in order to create a "yellow tone."[96] 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.[97] 1941 Packard Super Eight featured in The Godfather One of the film's most shocking moments involved an actual, severed, horse's head.[31][98] 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.[99] On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Mineola, where three tollbooths were built, along with guard rails, and billboards to set the scene.[100] Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes.[101][102] The scene took three days to film and cost over $100,000.[103][102] Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs,[104][105] using over 120 unique locations.[106] Several scenes were filmed at the Filmways Studio in East Harlem.[107] The remaining portions were filmed in California, or on-site in Sicily, except for the scenes set in Las Vegas because there were insufficient funds to travel there.[108][104] Savoca and Forza d'Agrò were the Sicilian towns featured in the film.[109] The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras.[105][110] The house used as the Corleone household and the wedding location was at 110 Longfellow Road in the Todt Hill neighborhood of Staten Island.[110][111] The wall around the Corleone compound was made from styrofoam.[110] Scenes set in and around the Corleone olive oil business were filmed on Mott Street.[106][112] After filming had ended on August 7,[113] post-production efforts were focused on trimming the film to a manageable length.[114] In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences.[115] In September, the first rough cut of the film was viewed.[114] Many of the scenes removed from the film were centered around Sonny, which did not advance the plot.[116] By November, Coppola and Ruddy finished the semi-final cut.[116] Debates over personnel involved with the final editing remained even 25 years after the release of the film.[117] The film began to be shown to Paramount staff and exhibitors in late December and going into the new year.[118] Music See also: The Godfather (soundtrack) Love theme from The Godfather The famous theme, composed by Larry Kusic and Nino Rota. Problems playing this file? See media help. Coppola hired Italian composer Nino Rota to create the underscore for the film, including the main theme, "Speak Softly Love".[119][120] For the score, Rota was to relate to the situations and characters in the film.[119][120] Rota synthesized new music for the film and took some parts from his Fortunella score, in order to create an Italian feel and evoke the tragic film's themes.[121] Paramount executive Evans found the score to be too "highbrow" and did not want to use it; however, it was used after Coppola managed to get Evans to agree.[119][120] Coppola believed that Rota's musical piece gave the film even more of an Italian feel.[120] Coppola's father, Carmine, created some additional music for the film,[122] particularly the music played by the band during the opening wedding scene.[120][121] There are a total of nine instances within the film where incidental music can be heard.[121] There was a soundtrack released for the film in 1972 in vinyl form by Paramount Records, on CD in 1991 by Geffen Records, and digitally by Geffen on August 18, 2005.[123] The album contains over 31 minutes of music coming from the movie, with most being composed by Rota, along with a song from Coppola and one by Johnny Farrow and Marty Symes.[124][125][126] Allmusic gave the album five out of five stars, with editor Zach Curd saying it is a "dark, looming, and elegant soundtrack."[124] An editor for Filmtracks believed that Rota did a great job of relating the music to the core aspects of the film, which the editor believed to be "tradition, love, and fear."[126]


Release The world premiere for The Godfather took place in New York City on March 14, 1972, almost three months after the planned release date of Christmas Day in 1971,[127][128] with profits from the premiere donated to The Boys Club of New York.[129] Before the film premiered, the film had already made $15 million from rentals from over 400 theaters.[36] The following day, the film opened in New York at five theaters.[130][18][128] Next was Los Angeles at two theaters on March 22.[131] The Godfather was commercially released on March 24, 1972, throughout the rest of the United States.[130][128] The film reached 316 theaters around the country five days later.[132] Box office The Godfather was a blockbuster, breaking many box office records to become the highest grossing film of 1972. It earned $81.5 million in theatrical rentals in the USA & Canada during its initial release,[133] increasing its earnings to $85.7 million through a reissue in 1973,[134] and including a limited re-release in 1997 it ultimately earned an equivalent exhibition gross of $135 million.[130] It displaced Gone with the Wind to claim the record as the top rentals earner, a position it would retain until the release of Jaws in 1975.[131][135] News articles at the time proclaimed it was the first film to gross $100 million in North America,[131] but such accounts are erroneous; this record belongs to The Sound of Music, released in 1965.[136] The film repeated its native success overseas, earning in total an unprecedented $142 million in worldwide theatrical rentals, to become the highest net earner.[137] Profits were so high for The Godfather that earnings for Gulf & Western Industries, Inc., which owned Paramount, jumped from 77 cents per share to $3.30 a share for the year, according to a Los Angeles Times article, dated December 13, 1972.[131] To date, it has grossed between $245 million and $286 million in worldwide box office receipts,[138] and adjusted for ticket price inflation in North America, ranks among the top 25 highest-grossing films.[139] Critical response The Godfather has received critical acclaim and is seen as one of the most influential films of all time, particularly in the gangster genre.[140][141] On Rotten Tomatoes, the film has a 98% rating based on 87 reviews with an average rating of 9.2/10 and the site's critical consensus reads, " One of Hollywood's greatest critical and commercial successes, The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema".[142] Metacritic assigned the film an average score of 100% based on 14 reviews from mainstream critics, considered to be "universal acclaim".[141] The film is ranked at the top of Metacritic's top 100 list,[143] and is ranked 7th on Rotten Tomatoes' all-time best list (100% "Certified Fresh").[144] Roger Ebert of the Chicago Sun Times praised Coppola's efforts to follow the storyline of the eponymous novel, the choice to set the film in the same time as the novel, and the film's ability to "absorb" the viewer over its three-hour run time.[145] While Ebert was mainly positive, he criticized Brando's performance, saying his movements lacked "precision" and his voice was "wheezy."[145] The Chicago Tribune's Gene Siskel gave the film four out of four stars, commenting that it was "very good."[146] The Village Voice's Andrew Sarris believed Brando portrayed Vito Corleone well and that his character dominated each scene it appeared in, but felt Puzo and Coppola had the character of Michael Corleone too focused on revenge.[147] In addition, Sarris stated that Richard Castellano, Robert Duvall, and James Caan were good in their respective roles.[147] Desson Howe of The Washington Post called the film a "jewel" and wrote that Coppola deserves most of the credit for the film.[148] Writing for The New York Times, Vincent Canby felt that Coppola had created one of the "most brutal and moving chronicles of American life" and went on to say that it "transcends its immediate milieu and genre."[149] Director Stanley Kubrick thought the film had the best cast ever and could be the best movie ever made.[150] Stanley Kauffmann of The New Republic wrote negatively of the film in a contemporary review, claiming that Pacino "rattles around in a part too demanding for him," while also criticizing Brando's make-up and Rota's score.[151] Previous mafia films had looked at the gangs from the perspective of an outraged outsider.[152] In contrast, The Godfather presents the gangster's perspective of the Mafia as a response to corrupt society.[152] Although the Corleone family is presented as immensely rich and powerful, no scenes depict prostitution, gambling, loan sharking or other forms of racketeering.[153] Some critics argue that the setting of a criminal counterculture allows for unapologetic gender stereotyping, and is an important part of the film's appeal ("You can act like a man!", Don Vito tells a weepy Johnny Fontane).[154] Remarking on the fortieth anniversary of the film's release, film critic John Podhoretz praised The Godfather as "arguably the great American work of popular art" and "the summa of all great moviemaking before it".[155] Two years before, Roger Ebert wrote in his journal that it "comes closest to being a film everyone agrees... is unquestionably great."[156] Accolades The Godfather was nominated for seven awards at the 30th Golden Globe Awards: Best Picture – Drama, James Caan for Best Supporting Actor, Al Pacino and Marlon Brando for Best Actor – Drama, Best Score, Best Director, and Best Screenplay.[157] When the winners were announced on January 28, 1973, the film had won the categories for: Best Screenplay, Best Director, Best Actor - Drama, Best Original Score, and Best Picture – Drama.[158][159] The Godfather won a record five Golden Globes, which was not surpassed until 2017.[160] Rota's score was also nominated for Grammy Award for Best Original Score for a Motion Picture or TV Special at the 15th Grammy Awards.[161][162] Rota was announced the winner of the category on March 3 at the Grammys' ceremony in Nashville, Tennessee.[161][162] When the nominations for the 45th Academy Awards were revealed on February 12, 1973, The Godfather was nominated for eleven awards.[163][164] The nominations were for: Best Picture, Best Costume Design, Marlon Brando for Best Actor, Mario Puzo and Francis Ford Coppola for Best Adapted Screenplay, Pacino, Caan, and Robert Duvall for Best Supporting Actor, Best Film Editing, Nino Rota for Best Original Score, Coppola for Best Director, and Best Sound.[163][164][165] Upon further review of Rota's love theme from The Godfather, the Academy found that Rota had used a similar score in Eduardo De Filippo's 1958 comedy Fortunella.[166][167][168] This led to re-balloting, where members of the music branch chose from six films: The Godfather and the five films that had been on the shortlist for best original dramatic score but did not get nominated. John Addison's score for Sleuth won this new vote, and thus replaced Rota's score on the official list of nominees.[169] Going into the awards ceremony, The Godfather was seen as the favorite to take home the most awards.[158] From the nominations that The Godfather had remaining, it only won three of the Academy Awards: Best Actor, Best Adapted Screenplay, and Best Picture.[165][170] Brando, who had also not attended the Golden Globes ceremony two months earlier,[168][171] boycotted the Academy Awards ceremony and refused to accept the Oscar, becoming the second actor to refuse a Best Actor award after George C. Scott in 1970.[172][173] Brando 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.[172][173][174] In addition, Pacino boycotted the ceremony. He was 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.[175] The Godfather had five nominations for awards at the 26th British Academy Film Awards.[176] The nominees were: Pacino for Most Promising Newcomer, Rota for the Anthony Asquith Award for Film Music, Duvall for Best Supporting Actor, and Brando for Best Actor, the film's costume designer Anna Hill Johnstone for Best Costume Design.[176] All of The Godfather's nominations failed to win except for Rota.[176] Awards and nominations received by The Godfather Award Category Nominee Result 45th Academy Awards Best Picture Albert S. Ruddy Won Best Director Francis Ford Coppola Nominated Best Actor (refused) Marlon Brando Won Best Supporting Actor James Caan Nominated Robert Duvall Nominated Al Pacino Nominated Best Adapted Screenplay Mario Puzo, Francis Ford Coppola Won Best Costume Design Anna Hill Johnstone Nominated Best Film Editing William Reynolds, Peter Zinner Nominated Best Sound Bud Grenzbach, Richard Portman, Christopher Newman Nominated Best Original Dramatic Score Nino Rota Revoked 26th British Academy Film Awards Best Actor Marlon Brando (Also for The Nightcomers) Nominated Best Supporting Actor Robert Duvall Nominated Most Promising Newcomer to Leading Film Roles Al Pacino Nominated Best Film Music Nino Rota Won Best Costume Design Anna Hill Johnstone Nominated 25th Directors Guild of America Awards Outstanding Directorial Achievement in Motion Pictures Francis Ford Coppola Won 30th Golden Globe Awards Best Motion Picture - Drama Won Best Director - Motion Picture Francis Ford Coppola Won Best Motion Picture Actor - Drama Marlon Brando Won Al Pacino Nominated Best Supporting Actor - Motion Picture James Caan Nominated Best Screenplay Mario Puzo and Francis Ford Coppola Won Best Original Score Nino Rota Won 15th Grammy Awards Best Original Score Written for a Motion Picture or TV Special Nino Rota Won 25th Writers Guild of America Awards Best Drama Adapted from Another Medium Mario Puzo and Francis Ford Coppola Won 1990 Selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[177] 1998 Time Out conducted a poll and The Godfather was voted the best film of all time.[178] 1999 Entertainment Weekly named it the greatest film ever made.[179][180][181] 2002 Sight & Sound polled film directors voted the film and its sequel as the second best film ever;[182] the critics poll separately voted it fourth.[183] 2002 The Godfather was ranked the second best film of all time by Film4, after Star Wars Episode V: The Empire Strikes Back.[184] 2005 Named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).[185][186] 2006 The Writers Guild of America, West agreed, voting it the number two in its list of the 101 greatest screenplays, after Casablanca.[187] 2008 Voted in at No. 1 on Empire magazine's list of The 500 Greatest Movies of All Time.[188] 2012 The Motion Picture Editors Guild listed The Godfather as the sixth best-edited film of all time based on a survey of its membership.[189] American Film Institute recognition 1998 AFI's 100 Years...100 Movies – No. 3[190] 2001 AFI's 100 Years...100 Thrills – No. 11[191] 2005 AFI's 100 Years...100 Movie Quotes: "I'm going to make him an offer he can't refuse." – No. 2[192] 2006 AFI's 100 Years of Film Scores – No. 5[193] 2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 2[194] 2008 AFI's 10 Top 10 – No. 1 Gangster Film[195]


Cultural influence 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.[196] Coppola took it further with The Godfather Part II, and the success of those two films, critically, artistically and financially, opened the doors for numerous other depictions of Italian Americans as mobsters, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos. A comprehensive study of Italian American culture on film, conducted from 1996 to 2001 by the Italic Institute of America,[197] showed that close to 300 movies featuring Italian Americans as mobsters (mostly fictitious) have been produced since The Godfather, an average of nine per year.[198] The Godfather epic, encompassing the original trilogy and the additional footage Coppola incorporated later, is by now thoroughly integrated into American life and, together with a succession of mob-theme imitators, has led to a highly stereotyped concept of Italian American culture. The first film had the largest impact and, unlike any film before it, its depiction of Italians who immigrated to the United States in the early decades of the 20th century is perhaps attributable to the Italian American director, presenting his own understanding of their experience. The films explain through their action the integration of fictional Italian American criminals into American society. Though the story is set in the period of mass immigration to the U.S., it is rooted in the specific circumstances of the Corleones, a family that lives outside of the law. Although some critics have refashioned the Corleone story into one of universality of immigration, other critics have posited that it leads the viewer to identify organized crime with Italian American culture. Released in a period of intense national cynicism and self-criticism, the American film struck a chord about the dual identities inherent in a nation of immigrants.[199] The Godfather increased Hollywood's negative portrayals of immigrant Italians in the aftermath of the film and was a recruiting tool for organized crime.[200] The concept of a mafia "Godfather" was an invention of Mario Puzo's and the film's effect was to add the fictional nomenclature to the language. Similarly, Don Vito Corleone's unforgettable "I'm gonna make him an offer he can't refuse"—voted the second-most memorable line in cinema history in AFI's 100 Years... 100 Movie Quotes by the American Film Institute—was adopted by actual gangsters.[201] In the French novel Le Père Goriot, Honoré de Balzac wrote of Vautrin telling Eugene: "In that case I will make you an offer that no one would decline."[202] Real-life gangsters responded enthusiastically to the film, with many of them feeling it was a portrayal of how they were supposed to act.[203] Salvatore "Sammy the Bull" Gravano, the former underboss in the Gambino crime family,[204] stated: "I left the movie stunned ... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way." According to Anthony Fiato after seeing the film, Patriarca crime family members Paulie Intiso and Nicky Giso altered their speech patterns closer to that of Vito Corleone's.[205] Intiso would frequently swear and use poor grammar; but after the movie came out, he started to articulate and philosophize more.[205] Television John Belushi, appearing in a Saturday Night Live sketch as Vito Corleone in a therapy session expressing his inner feelings towards the Tattaglia Family, says, "Also, they shot my son Santino 56 times".[206] In the television show The Sopranos, Tony Soprano's topless bar is named Bada Bing, echoing the line in The Godfather when Sonny Corleone says, "You've gotta get up close like this and bada-bing! You blow their brains all over your nice Ivy League suit."[207] The film has been parodied several times on the animated television series The Simpsons. In the season three episode "Lisa's Pony" Lisa wakes up to find a horse in her bed and starts screaming. The music and the scene itself resemble the famous "horse's head" scene in The Godfather. In the season four episode "Mr. Plow", the scene in which Sonny Corleone is shot at the tollbooth is mimicked when Bart Simpson is pelted with snowballs.[208][209] The scene is again parodied in the season sixteen episode "All's Fair in Oven War", which includes James Caan as himself in a guest voice role. In the season eighteen episode "The Mook, the Chef, the Wife and Her Homer", the film's final scene is mimicked with a door being closed on Lisa Simpson.[210]


Home media The theatrical version of The Godfather debuted on American network television on November 16, 1974, on NBC, and again two days later, with only minor edits.[211] The television airings attracted a large audience and helped generate anticipation for the upcoming sequel.[211] The next year, Coppola created The Godfather Saga expressly for American television in a release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that toned down the violent, sexual, and profane material for its NBC debut on November 18, 1977.[212] In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities.[212] The Godfather Trilogy was released in 1992, in which the films are fundamentally in a chronological order.[213] The Godfather Family: A Look Inside was a 73-minute documentary released in 1991.[214] Directed by Jeff Warner, the film featured some behind the scenes content from all three films, interviews with the actors, and screen tests.[214] The Godfather DVD Collection was released on October 9, 2001, in a package that contained all three films—each with a commentary track by Coppola—and a bonus disc containing The Godfather Family: A Look Inside.[215] The DVD also held a Corleone family tree, a "Godfather" timeline, and footage of the Academy Award acceptance speeches.[215] The Godfather: The Coppola Restoration During the film's original theatrical release, the original negatives were worn down due to the reel being printed so much to meet demand.[216][217] In addition, the duplicate negative was lost in Paramount archives.[217] In 2006 Coppola contacted Steven Spielberg—whose studio DreamWorks had recently been bought out by Paramount—about restoring The Godfather.[216][217] Robert A. Harris was hired to oversee the restoration of The Godfather and its two sequels, with the film's cinematographer Willis participating in the restoration.[218][219] Work began in November 2006 by repairing the negatives so they could go through a digital scanner to produce high resolution 4K files.[216][217] If a negative were damaged and discolored, work was done digitally to restore it to its original look.[216][217] After a year and a half of working on the restoration, the project was complete.[217] Paramount called the finished product The Godfather: The Coppola Restoration and released it to the public on September 23, 2008, on both DVD and Blu-ray Disc.[218][219] Dave Kehr of The New York Times believed the restoration brought back the "golden glow of their original theatrical screenings".[218] As a whole, the restoration of the film was well received by critics and Coppola.[216][217][218][219][220] The Godfather: The Coppola Restoration contains several new special features that play in high definition, along with additional scenes.[220] Video game Main article: The Godfather (2006 video game) The game is based upon this film and tells the story of an original character, Aldo Trapani, whose rise through the ranks of the Corleone family intersects with the plot of the film on numerous occasions.[221][222] Duvall, Caan, and Brando supplied voiceovers and their likenesses,[223] but Pacino did not.[223] Francis Ford Coppola openly voiced his disapproval of the game.[224]


See also List of American films of 1972


Notes ^ Sources disagree on the date where Paramount confirmed their intentions to make Mario Puzo's novel The Godfather into a feature-length film. Harlan Lebo's work states that the announcement came in January 1969,[9] while Jenny Jones' book puts the date of the announcement three months after the novel's publication, in June 1969.[11] ^ Sources disagree on both the amount of the original budget and the final budget. The starting budget has been recorded as $1 million,[16] $2 million,[14][36][37][9] and $2.5 million,[18][38] while the final budget has been named at $5 million,[26] $6 million,[18][39] and $6.5 million.[36][40]


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Bibliography Block, Alex Ben; Wilson, Lucy Autrey (2010). George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success. New York, New York: HarperCollins. ISBN 978-0-06-177889-6.  Cowie, Peter (1997). The Godfather Book. London, England: Faber and Faber Limited. ISBN 0-571-19011-1.  De Stefano, George (2006). "Chapter 4: Don Corleone Was My Godfather". An Offer We Can't Refuse: The Mafia in the Mind of America. New York: Faber and Faber. pp. 94–135. ISBN 978-0-571-21157-9. OCLC 60420173. Retrieved January 26, 2013.  Gelmis, Joseph (August 23, 1971). "Merciful Heavens, Is This The End of Don Corleone?". New York Magazine. New York Media, LLC. 4 (34). ISSN 0028-7369. Retrieved July 16, 2014.  Jones, Jenny M. (2007). The Annotated Godfather: The Complete Screenplay. New York, New York: Black Dog & Leventhal. ISBN 978-1-5791-2739-8. Retrieved July 15, 2014.  Lebo, Harlan (1997). The Godfather Legacy: The Untold Story of the Making of the Classic Godfather Trilogy. London, England: Simon & Schuster. ISBN 9780684836478. Retrieved September 26, 2016.  Lebo, Harlan (2005). The Godfather Legacy: The Untold Story of the Making of the Classic Godfather Trilogy Featuring Never-Before-Published Production Stills. London, England: Simon & Schuster. ISBN 978-0-7432-8777-7. Retrieved July 15, 2014.  Phillips, Gene D. (2004). Godfather: The Intimate Francis Ford Coppola. Lexington, Kentucky: University Press of Kentucky. ISBN 978-0-8131-4671-3. Retrieved July 15, 2014.  Santopietro, Tom (2012). The Godfather Effect: Changing Hollywood, America, and Me. New York, New York: Thomas Dunne Books. ISBN 978-1-2500-0513-7. Retrieved July 15, 2014.  Stanley, Timothy (2014). Citizen Hollywood: How the Collaboration Between LA and DC Revolutionized American Politics. New York, New York: Thomas Dunne Books. ISBN 978-1-2500-3249-2. Retrieved July 15, 2014.  Williams, Joe (2012). Hollywood Myths: The Shocking Truths Behind Film's Most Incredible Secrets and Scandals. Minneapolis, Minnesota: MBI Pub. Co. and Voyageur Press. ISBN 978-1-2500-3249-2. Retrieved July 15, 2014.  Welsh, James M.; Phillips, Gene D.; Hill, Rodney F. (2010). The Francis Ford Coppola Encyclopedia. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-7651-4. Retrieved July 15, 2014.  Von Gunden, Kenneth (1991). Postmodern Auteurs: Coppola, Lucas, De Palma, Spielberg and Scorsese. McFarland & Company. ISBN 978-0-8995-0618-0. 


External links Wikiquote has quotations related to: The Godfather Official website The Godfather on IMDb The Godfather at the American Film Institute Catalog The Godfather at Box Office Mojo The Godfather at Rotten Tomatoes The Godfather at Metacritic v t e The Godfather Novels The Godfather The Sicilian The Godfather Returns The Godfather's Revenge The Family Corleone Films The Godfather The Godfather Part II The Godfather Part III Video games The Godfather (1991) The Godfather (2006) The Godfather II (2009) Corleone family Vito Corleone Michael Corleone Tom Hagen Sonny Corleone Fredo Corleone Carmela Corleone Kay Adams-Corleone Connie Corleone Anthony Corleone Mary Corleone Vincent Corleone Sandra Corleone Family allies Genco Abbandando Luca Brasi Peter Clemenza Al Neri Frank Pentangeli Salvatore Tessio Family enemies Don Altobello Emilio Barzini Don Fanucci Moe Greene Johnny Ola Hyman Roth Louie Russo Joey Zasa Others Amerigo Bonasera Cardinal Lamberto Lucy Mancini Danny Shea Mickey Shea Billy Van Arsdale Aldo Trapani Albert Volpe Music The Godfather (soundtrack) The Godfather Part II (soundtrack) The Godfather Part III (soundtrack) "Speak Softly, Love" "Promise Me You'll Remember" Miscellaneous List of minor characters in The Godfather series Mario Puzo Mark Winegardner Edward Falco Five Families Corleone The Godfather Effect The Godfather Papers and Other Confessions The Godfather Saga The Last Don Omertà The Sicilian Book Category v t e Francis Ford Coppola Films directed The Bellboy and the Playgirls (1962) Tonight for Sure (1962) Battle Beyond the Sun (1962) Dementia 13 (1963) You're a Big Boy Now (1966) Finian's Rainbow (1968) The Rain People (1969) The Godfather (1972) The Conversation (1974) The Godfather Part II (1974) Apocalypse Now (1979; Redux, 2001) One from the Heart (1982) The Outsiders (1983) Rumble Fish (1983) The Cotton Club (1984) Captain EO (1986) Peggy Sue Got Married (1986) Gardens of Stone (1987) Tucker: The Man and His Dream (1988) New York Stories (segment "Life Without Zoë", 1989) The Godfather Part III (1990) Bram Stoker's Dracula (1992) Jack (1996) The Rainmaker (1997) Youth Without Youth (2007) Tetro (2009) Twixt (2011) Written only Is Paris Burning? (1966) This Property Is Condemned (1966) Patton (1970) The Great Gatsby (1974) Produced only American Graffiti (1973) The Junky's Christmas (1993) Mary Shelley's Frankenstein (1994) Don Juan DeMarco (1995) Lani Loa – The Passage (1998) The Florentine (1999) The Virgin Suicides (1999) Enterprises American Zoetrope Zoetrope: All-Story Rubicon Estate Winery Francis Ford Coppola Presents v t e Works by Mario Puzo Novels The Dark Arena (1955) The Fortunate Pilgrim (1965) The Runaway Summer of Davie Shaw (1966) Six Graves to Munich (1967, as Mario Cleri) The Godfather (1969) Fools Die (1978) The Sicilian (1984) The Fourth K (1991) The Last Don (1996) Omertà (2000) The Family (2001, with Carol Gino) Screenplays The Godfather (1972) Earthquake (1974) The Godfather Part II (1974) Superman (1978) Superman II (1980) The Godfather Part III (1990) Christopher Columbus: The Discovery (1992) Superman II: The Richard Donner Cut (2006) Non-fiction The Godfather Papers and Other Confessions (1972) Inside Las Vegas (1977) v t e Academy Award for Best Picture 1920s Wings (1927/1928) The Broadway Melody (1928/1929) 1930s All Quiet on the Western Front (1929/1930) Cimarron (1930/1931) Grand Hotel (1931/1932) Cavalcade (1932/1933) It Happened One Night (1934) Mutiny on the Bounty (1935) The Great Ziegfeld (1936) The Life of Emile Zola (1937) You Can't Take It with You (1938) Gone with the Wind (1939) 1940s Rebecca (1940) How Green Was My Valley (1941) Mrs. Miniver (1942) Casablanca (1943) Going My Way (1944) The Lost Weekend (1945) The Best Years of Our Lives (1946) Gentleman's Agreement (1947) Hamlet (1948) All the King's Men (1949) 1950s All About Eve (1950) An American in Paris (1951) The Greatest Show on Earth (1952) From Here to Eternity (1953) On the Waterfront (1954) Marty (1955) Around the World in 80 Days (1956) The Bridge on the River Kwai (1957) Gigi (1958) Ben-Hur (1959) 1960s The Apartment (1960) West Side Story (1961) Lawrence of Arabia (1962) Tom Jones (1963) My Fair Lady (1964) The Sound of Music (1965) A Man for All Seasons (1966) In the Heat of the Night (1967) Oliver! (1968) Midnight Cowboy (1969) 1970s Patton (1970) The French Connection (1971) The Godfather (1972) The Sting (1973) The Godfather Part II (1974) One Flew Over the Cuckoo's Nest (1975) Rocky (1976) Annie Hall (1977) The Deer Hunter (1978) Kramer vs. Kramer (1979) 1980s Ordinary People (1980) Chariots of Fire (1981) Gandhi (1982) Terms of Endearment (1983) Amadeus (1984) Out of Africa (1985) Platoon (1986) The Last Emperor (1987) Rain Man (1988) Driving Miss Daisy (1989) 1990s Dances with Wolves (1990) The Silence of the Lambs (1991) Unforgiven (1992) Schindler's List (1993) Forrest Gump (1994) Braveheart (1995) The English Patient (1996) Titanic (1997) Shakespeare in Love (1998) American Beauty (1999) 2000s Gladiator (2000) A Beautiful Mind (2001) Chicago (2002) The Lord of the Rings: The Return of the King (2003) Million Dollar Baby (2004) Crash (2005) The Departed (2006) No Country for Old Men (2007) Slumdog Millionaire (2008) The Hurt Locker (2009) 2010s The King's Speech (2010) The Artist (2011) Argo (2012) 12 Years a Slave (2013) Birdman or: (The Unexpected Virtue of Ignorance) (2014) Spotlight (2015) Moonlight (2016) v t e Golden Globe Award for Best Motion Picture – Drama 1940s The Song of Bernadette (1943) Going My Way (1944) The Lost Weekend (1945) The Best Years of Our Lives (1946) Gentleman's Agreement (1947) Johnny Belinda / The Treasure of the Sierra Madre (1948) All the King's Men (1949) 1950s Sunset Boulevard (1950) A Place in the Sun (1951) The Greatest Show on Earth (1952) On the Waterfront (1954) East of Eden (1955) Around the World in 80 Days (1956) The Bridge on the River Kwai (1957) The Defiant Ones (1958) Ben-Hur (1959) 1960s Spartacus (1960) The Guns of Navarone (1961) Lawrence of Arabia (1962) The Cardinal (1963) Becket (1964) Doctor Zhivago (1965) A Man for All Seasons (1966) In the Heat of the Night (1967) The Lion in Winter (1968) Anne of the Thousand Days (1969) 1970s Love Story (1970) The French Connection (1971) The Godfather (1972) The Exorcist (1973) Chinatown (1974) One Flew Over the Cuckoo's Nest (1975) Rocky (1976) The Turning Point (1977) Midnight Express (1978) Kramer vs. Kramer (1979) 1980s Ordinary People (1980) On Golden Pond (1981) E.T. the Extra-Terrestrial (1982) Terms of Endearment (1983) Amadeus (1984) Out of Africa (1985) Platoon (1986) The Last Emperor (1987) Rain Man (1988) Born on the Fourth of July (1989) 1990s Dances with Wolves (1990) Bugsy (1991) Scent of a Woman (1992) Schindler's List (1993) Forrest Gump (1994) Sense and Sensibility (1995) The English Patient (1996) Titanic (1997) Saving Private Ryan (1998) American Beauty (1999) 2000s Gladiator (2000) A Beautiful Mind (2001) The Hours (2002) The Lord of the Rings: The Return of the King (2003) The Aviator (2004) Brokeback Mountain (2005) Babel (2006) Atonement (2007) Slumdog Millionaire (2008) Avatar (2009) 2010s The Social Network (2010) The Descendants (2011) Argo (2012) 12 Years a Slave (2013) Boyhood (2014) The Revenant (2015) Moonlight (2016) Three Billboards Outside Ebbing, Missouri (2017) Authority control WorldCat Identities VIAF: 316753502 GND: 4133657-4 SUDOC: 098309358 BNF: cb13751570m (data) Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Godfather&oldid=827615240" Categories: 1972 filmsEnglish-language filmsAmerican filmsThe GodfatherThe Godfather films1970s crime filmsAmerican crime filmsBAFTA winners (films)Best Drama Picture Golden Globe winnersBest Picture Academy Award winnersFictional American people of Italian descentFilms based on American novelsFilms based on organized crime novelsFilms featuring a Best Actor Academy Award-winning performanceFilms featuring a Best Drama Actor Golden Globe winning performanceFilms set in the BronxFilms set in the Las Vegas ValleyFilms set in Los AngelesFilms set in New York CityFilms set in SicilyFilms set in the 1940sFilms set in the 1950sFilms shot in New York CityFilms whose director won the Best Director Golden GlobeFilms whose writer won the Best Adapted Screenplay Academy AwardFilms adapted into video gamesMafia filmsUnited States National Film Registry filmsParamount Pictures filmsFilms scored by Nino RotaFilms directed by Francis Ford CoppolaScreenplays by Francis Ford CoppolaScreenplays by Mario PuzoHidden categories: Pages using citations with accessdate and no URLWikipedia semi-protected pagesUse mdy dates from July 2015Pages using div col with deprecated parametersArticles with hAudio microformatsWikipedia articles with VIAF identifiersWikipedia articles with GND identifiersWikipedia articles with BNF identifiers


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This Article Is Semi-protected Until March 6, 2018.The Godfather (novel)Godfather (disambiguation)The Godfather Written On A Black Background In Stylized White Lettering, Above It A Hand Holds Puppet StringsFrancis Ford CoppolaAlbert S. RuddyMario PuzoThe Godfather (novel)Marlon BrandoAl PacinoJames CaanRichard CastellanoRobert DuvallSterling HaydenJohn MarleyRichard ConteDiane KeatonNino RotaGordon WillisWilliam H. ReynoldsPeter ZinnerParamount PicturesLoew's State Theatre (New York City)Crime FilmFrancis Ford CoppolaAlbert S. RuddyMario PuzoThe Godfather (novel)Marlon BrandoAl PacinoCorleone FamilyVito CorleoneMichael CorleoneAmerican MafiaBoss (crime)Paramount PicturesNino RotaCarmine Coppola1972 In FilmList Of Highest-grossing FilmsAcademy AwardsAcademy Award For Best PictureAcademy Award For Best ActorAcademy Award For Best Writing (Adapted Screenplay)James CaanRobert DuvallAcademy Award For Best Supporting ActorAcademy Award For Best DirectorList Of Films Considered The BestGangster FilmNational Film RegistryLibrary Of CongressAFI's 100 Years...100 Movies (10th Anniversary Edition)Citizen KaneAmerican Film InstituteThe Godfather Part IIThe Godfather Part IIIDon (honorific)Michael CorleoneUnited States Marine CorpsWorld War IIKay Adams-CorleoneGodparentConsigliereTom HagenStud (animal)Luca BrasiGarroteSonny CorleoneNYPDContract KillingThe BronxFive Families (The Godfather)SicilyFredo CorleoneMoe GreeneLas Vegas Metropolitan AreaEmilio BarziniMyocardial InfarctionSalvatore TessioCaporegimePeter ClemenzaEnlargeMarlon BrandoVito CorleoneAl PacinoMichael CorleoneJames CaanSonny CorleoneRobert DuvallTom HagenDiane KeatonKay Adams-CorleoneJohn CazaleFredo CorleoneTalia ShireConnie CorleoneGianni RussoRichard S. CastellanoPeter ClemenzaAbe VigodaSalvatore TessioAl LettieriSterling HaydenCaptain McCluskey (The Godfather)Lenny MontanaLuca BrasiRichard ConteEmilio BarziniAl MartinoJohn MarleyAlex RoccoMorgana KingCarmela CorleoneCorrado GaipaFranco CittiAngelo InfantiJohnny MartinoVictor RendinaTony GiorgioSimonetta StefanelliApollonia Vitelli-CorleoneRichard Bright (actor)Al NeriMario PuzoThe Godfather (novel)The New York Times Best Seller ListParamount PicturesPeter BartRobert EvansAlbert S. RuddyEnlargeFrancis Ford CoppolaItalian AmericanItalian AmericanThe Brotherhood (1968 Film)Martin RittKirk DouglasSergio LeoneOnce Upon A Time In AmericaPeter BogdanovichPeter YatesRichard BrooksArthur PennCosta-GavrasOtto PremingerFrancis Ford CoppolaThe Rain PeopleAmerican ZoetropeWarner Bros.THX 1138Darling LiliPaint Your Wagon (film)Waterloo (1970 Film)Kansas CityCharles BluhdornElia KazanAram AvakianTablewareSan FranciscoRobert TowneEnlargeAl PacinoThe Basic Training Of Pavlo HummelMichael CorleoneMarlon BrandoLaurence OlivierSleuth (1972 Film)Ernest BorgnineGeorge C. 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Scott43rd Academy AwardsSacheen Littlefeather26th British Academy Film AwardsBAFTA Award For Best NewcomerAnthony Asquith Award For Film MusicBAFTA Award For Best Actor In A Supporting RoleBAFTA Award For Best Actor In A Leading RoleBAFTA Award For Best Costume Design45th Academy AwardsAcademy Award For Best PictureAlbert S. RuddyAcademy Award For Best DirectorFrancis Ford CoppolaAcademy Award For Best ActorMarlon BrandoAcademy Award For Best Supporting ActorJames CaanRobert DuvallAl PacinoAcademy Award For Best Adapted ScreenplayMario PuzoAcademy Award For Best Costume DesignAcademy Award For Best Film EditingWilliam H. 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