Phillips, Gene D. .Godfather : the intimate Francis Ford Coppola / Gene D. Phillips ; with a foreword by Walter Murch. [0813123046 (alk. paper) ] Lexington, Ky. : University Press of Kentucky, c2004.
Call#: Van Pelt Library PN1998.3.C67 P48 2004

 

    In chapter 4 (In a savage land: The Godfather) of the book Godfather: The intimate Francis Ford Coppola, Gene D. Phillips helps recount the process that Francis Ford Coppola went through in order to make the movie, The Godfather.  Through this chapter we learn of the trials and tribulations that he faced before, during and after the making of the movie. 

    Phillips reports that the screenplay was first met with skepticism from Paramount as previous mobster films failed in the box office.  However, based on current events such as Senator Etes Kefauver’s Committee on Organized Crime and the publicity of Mafiosi Frank Costello, Paramount decided to take a chance on its production.  

    Francis Ford Coppola was chosen to direct The Godfather due to his Italian ancestry.  Paramount wanted an Italian American director because they wanted to make the film as realistic as possible, and only an Italian American could convey the subtleties of the culture.  Although initially opposed to producing the screenplay, Coppola became enamored with the storyline that was based on the unity and strength of the family.

    Throughout the production Coppola battled with others in order for his vision to be expressed.  First, money was an issue with Paramount as Coppola’s budget was small.  During the filming his ideas would conflict with others in regards to the cinematography and editing of the film.  After the film was finished, he received criticism for glorifying organized crime and celebrating violence.    

     Despite all of these problems, Coppola’s persistence helped create a film that became highly acclaimed.  Through his passion and attention to detail, he was able to create a magnificent movie, which went on to become one of the most successful films of all time.  Based the time period and current events surrounding the film, The Godfather was able to capture the imagination of everyone.

 

"The Corleone CHRONICLES." The Journal of popular film and television [0195-6051] 33.4 (2006). 187-.

This article, written by Phoebe Poon, looks back at the overall success of The Godfather trilogy. The purpose of this article is to analyze the films as a whole as well as the way in which The Godfather established itself from other gangster films of the era.

Poon argues that although the movie is often characterized as a gangster film, it holds very key differences which set it apart from others. In the initial part of the article, she analyzes the trilogy and breaks each individual film into four sections. This pattern is repeated in all three movies and provides continuity throughout the trilogy, which in itself helps to differentiate it from other gangster films.

Poon goes on to address the issue of “family” that is found throughout the trilogy. This aspect of family helps to distinguish The Godfather from other crime films, as in most of these films; the protagonist is surrounded by hired mercenaries. However, the men working with Don Vito are trusted family members, creating a deeper and more meaningful bond between them. She goes on to state that, “the term gangster to the don would insult his style of leadership, which is vastly superior” to other gangsters.

Other important characteristics of the film helped differentiate this trilogy from other films. Poon mentions the attention to the culture of the Italians as important. Coppola does not portray the Corleones with stereotypical characteristics of Italians. Rather, he adds a degree of authenticity by accurately portraying Sicilian culture.

The differences that this essay highlights help to explain the reasons why The Godfather is critically acclaimed. The detail and depth that this film shows helps to separate it from other gangster genre films, and puts it in its own class.