Al Pacino
Countries: USA
score: 1556676 Vote
9,2 / 10
writed by: Mario Puzo
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. The godfather movierulz. The godfather: part ii. The godfather 2. The godfather movie download 480p. The Godfather 1 (1972) FULL MOVIE - YouTube. The godfather part 1. See what's new with book lending at the Internet Archive Movies Preview Flag this item for Graphic Violence Graphic Sexual Content movies by CABARET Full DvD Topics Addeddate 2012-05-01 19:23:30 Closed captioning no Color color Identifier CabaretFullDvd Sound sound plus-circle Add Review comment Reviews There are no reviews yet. Be the first one to write a review. 6, 752 Views 1 Favorite DOWNLOAD OPTIONS download 19 files H. 264 Uplevel BACK 54. 1K 4 download 3. 0M 111. 2M 111. 0M 110. 1M 110. 5M 64. 3M 6. 9M 1. 4M 54. 2K 8. 8M 20. 3M 112. 6M 9. 7M download 1 file ITEM TILE download MPEG2 154. 0K download 123. 5M 1, 023. 8M 590. 0M 57. 8M 10. 2M 66. 2M 183. 2M 88. 0M OGG VIDEO 10. 0K 2. 3M 80. 3M 81. 0M 83. 5M 84. 5M 49. 2M 5. 1M 1. 0M 6. 7M 15. 6M 82. 3M 7. 2M TORRENT download download 288 Files download 37 Original SHOW ALL IN COLLECTIONS Community Video Uploaded by merapop on May 1, 2012 SIMILAR ITEMS (based on metadata) Terms of Service (last updated 12/31/2014).

Top Rated Movies #2 | Won 3 Oscars. Another 26 wins & 30 nominations. See more awards » Edit Storyline The Godfather "Don" Vito Corleone is the head of the Corleone mafia family in New York. He is at the event of his daughter's wedding. Michael, Vito's youngest son and a decorated WW II Marine is also present at the wedding. Michael seems to be uninterested in being a part of the family business. Vito is a powerful man, and is kind to all those who give him respect but is ruthless against those who do not. But when a powerful and treacherous rival wants to sell drugs and needs the Don's influence for the same, Vito refuses to do it. What follows is a clash between Vito's fading old values and the new ways which may cause Michael to do the thing he was most reluctant in doing and wage a mob war against all the other mafia families which could tear the Corleone family apart. Written by srijanarora-152-448595 Plot Summary Plot Synopsis Taglines: An offer you can't refuse. Did You Know? Trivia At Easter further confusion was created when one night Radio City music Hall was advertising 'Ingrid Bergman and Bing Crosby in 'Bells of St Mary's' along with old cars on the street while ushers were walking up and down reassuring the crowd that 'A New Leaf' was actually being screened. See more » Goofs While Michael is talking to Apollonia's father after he has given her the necklace. The same two people pass by twice - once in a close-up of Apollonia and the other in a wider shot. See more » Quotes [ first lines] Bonasera: I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom but I taught her never to dishonor her family. She found a "boy friend, " not an Italian. She went to the movies with him. She stayed out late. I didn't protest. Two months ago he took her for a drive, with another boy friend. They made her drink whiskey and then they tried to take advantage of her. She resisted. She kept her honor. So they beat her. Like an animal... [... ] See more » Crazy Credits Other than Mario Puzo's name there are no opening credits. See more » Alternate Versions The Godfather Saga, besides the added scenes, toning down the violence and language and deleting the nude scene, other changes were made to the original version: The scene of the photographers waiting outside the hospital for Don Vito's release and following his ambulance is deleted. Tom's phone call to Bonasera is deleted. See more » Connections Referenced in Baadasssss Cinema (2002) Soundtracks Mall Wedding Sequence (1972) Music by Carmine Coppola See more » Frequently Asked Questions See more » Details Release Date: 24 March 1972 (USA) Also Known As: Mario Puzo's The Godfather Box Office Budget: $6, 000, 000 (estimated) Opening Weekend USA: $302, 393, 19 March 1972 Cumulative Worldwide Gross: $246, 120, 974 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show.

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There was a time in Hollywood, mostly during the 1960s, where the great motion picture factory lost its way a bit. We saw the rise of the pretentious independent production, and what studio output there was might be eye-catching but lacking in the old magic. Above all they had lost touch with the professionalism that characterised the industry back in its heyday. At last, in the early 70s, the younger generation of filmmakers began to grow up and Hollywood started to get its act together again. The Godfather is one of its great comeback pictures.
Why has The Godfather become such a giant of cinema? Its story has no great emotional weight, no laugh-out-loud comedy, no rip-roaring action, no thrilling suspense. But it is, quite simply, a perfectly written drama. The screenplay adapted by Mario Puzo and Francis Ford Coppola from Puzo's novel is a great study of power because it takes a bunch of ruthless mob bosses going about their business, but shows their humanity through their reverence for the family, without ever once losing sight of their amoral coldness. It hooks us instantly with the power of that thought, so much so that it can afford to devote a major portion of its length (a full forty minutes of screen time, from the opening wedding to the notorious horse's head incident) merely introducing us to the way the Corleone world works, before even getting onto the real storyline. The fact that it can do this and still hold our interest shows the solidity of its ideas and characterisation.
The Godfather also sees director Coppola at his very best. Coppola has a lot in common with an ace director of the previous generation, the consistently brilliant William Wyler, especially in his approach to actors. Like Wyler, Coppola fully understands that an acting performance is comprised of many facets – voice, facial expression, body language, distance from the audience – and a director can choose which to show and which not to show, to varying effect. Take that masterful opening shot – we are introduced to the eponymous Godfather in a slow zoom out, gradually revealing his bulky figure dominating the foreground, his back to the audience. This establishes the character as an intimidating presence – no face to be seen as yet. When we do see his face the dimness of the interior makes his stern expression all the more formidable for how hard it is to read. Even when we see him in brighter surroundings with the other wedding guests it is from an objectively distant crane shot. It is only later in the picture that he becomes human to us, and we get to see a little true emotion and softness in his face.
Which of course brings us round to the sterling work of Marlon Brando. True to the gradual revelation of his character, he presents the Don as some kind of monster, with a face like a bulldog and a voice like an alcoholic with throat cancer. But, as over time we see the man showing tenderness for his offspring or torn up with grief, he manages to twist that ugly face into very real expressions. The effect is almost a little like the emoting of Boris Karloff as the Monster in Frankenstein. There is all-round good stuff from the rest of the cast as well. Al Pacino in particular has this brilliantly passive, steely air about him, and the dispassionate way he does everything is a sublime bit of understatement.
When it came to the Oscars, The Godfather of course scooped Best Picture, but it lost most of the awards to one of the other amazing pictures of the early 70s, Cabaret, for which Bob Fosse won the Best Director prize. It seems odd to me, as I feel had the two pictures (or their equivalents) been around twenty years earlier Cabaret, which gives the greatest all-out entertainment, would have been Best Picture, while Coppola would have got Best Director for his intelligent helming of The Godfather. I guess a lot of this has to do with the auteur theory effect, and a general forgetting of just what it is a director does. Thus Fosse's colourful choreographing of cast and camera won over Coppola's subtle thoughtfulness in framing and staging. Still, regardless of what awards it did and didn't get, The Godfather was a real prize for the industry, proving at last that Hollywood was back on top.

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