If you need a plot summary for The Godfather, I pity you. Nevertheless, here it is: Don Vito is
the head of the Corleone crime family in New York. His youngest son Michael
returns from the war to attend his sister Connie’s wedding but vows never to be
a part of his family’s criminal organization. When Vito refuses to be a part of
drug trafficking, he is nearly killed and Michael steps in to fulfill and seal
his fate as the doomed heir to the Corleone family legacy.
I still have a photographic memory of watching a preview of The Godfather trilogy on my Dad’s VHS of
Star Trek: First Contact and being
completely fascinated by it. So I asked for the trilogy on VHS and received it
on my birthday during a family reunion in Minnesota when I was about 13 or 14.
While everyone was off doing other things, I started the first film and was
awestruck not only at the film but how my family member seemed to congregate
one by one until almost all of us were watching it after the first hour. It’s
been said many times before, but everything seems to perfectly fit in this film
that crosses all demographics and would become the golden standard of crime
dramas for all time. The Godfather has
become so embroiled in American pop culture that you likely know several lines
and plot points even if you’ve never seen it, and if you haven’t, it’s in your
best interests not to admit it for the verbal badgering you will likely
receive. The flawless writing, structure and performances combine to make a
film that even bests its own source material; the screenplay wisely eschews
some irrelevant material about Sonny’s mistress and her doctor from the book,
some of which would be cleverly worked into Part III. There’s not really
anything more to say about this incredibly rich and beautiful film without
forcing in a tired quote, so I’ll just leave it at this: It’s The
Godfather. See the damn thing already.
Everybody loves big romantic gestures, like Lloyd Dobbler in "Say Anything" holding the speaker up outside Ione Skye's window or when Harry runs to Sally during the New Year's Eve party in "When Harry met Sally" to tell her how much he loves her. Well, all I had to do was watch all three Godfather films in one day and my fate was sealed. How better to woo a man than to watch his three favorite movies? For Tim Pipinich, there really isn't. I really liked the Godfather. Before Tim, I didn't see myself watching it after hearing that a real horses head ends up in an enemy's bed in the movie (sure, it's a spoiler but you should know aHEAD of time!! Get it... a HEAD??) It's an amazing movie with outstanding performances. There is this really interesting theory about how oranges are present whenever something bad is about to happen in the trilogy. I do love me some symbolism, intentional or not. Interested? Check out this link! http://www.jgeoff.com/godfather/oranges.html
For the scene where Clemenza is cooking, Francis Ford Coppola originally wrote in the script, "Clemenza browns some sausage". Upon seeing this, Mario Puzo crossed out "browns" and replaced it with "fries", writing in the margin, "Gangsters don't brown."
Everybody loves big romantic gestures, like Lloyd Dobbler in "Say Anything" holding the speaker up outside Ione Skye's window or when Harry runs to Sally during the New Year's Eve party in "When Harry met Sally" to tell her how much he loves her. Well, all I had to do was watch all three Godfather films in one day and my fate was sealed. How better to woo a man than to watch his three favorite movies? For Tim Pipinich, there really isn't. I really liked the Godfather. Before Tim, I didn't see myself watching it after hearing that a real horses head ends up in an enemy's bed in the movie (sure, it's a spoiler but you should know aHEAD of time!! Get it... a HEAD??) It's an amazing movie with outstanding performances. There is this really interesting theory about how oranges are present whenever something bad is about to happen in the trilogy. I do love me some symbolism, intentional or not. Interested? Check out this link! http://www.jgeoff.com/godfather/oranges.html
For the scene where Clemenza is cooking, Francis Ford Coppola originally wrote in the script, "Clemenza browns some sausage". Upon seeing this, Mario Puzo crossed out "browns" and replaced it with "fries", writing in the margin, "Gangsters don't brown."
Peter Clemenza: Leave the gun. Take the cannoli.
