|Rating: The Good – 97.4
Duration: 175 mins
Director: Francis Ford Coppola
Stars: Al Pacino, Marlon Brando, James Caan, Robert Duvall
“It’s not personal. It’s strictly business.” Francis Ford Coppola’s epic tale of the Corleone crime family’s battle to maintain their position at top of the mob underworld gives us two of the finest acting performances in history and is the peak of cinematic story-telling. The story opens with a lavish wedding which in addition to setting a contrasting tone to the latter half of the film outlines the dynamic of the Corleone family as well as the various political allegiances both of which will define the tensions to follow. This scene also counts as one of the most awesomely written, staged, edited, and shot openings in cinema history and has become a revered masterclass in film-making
With the main players and their relationships established, writers Mario Puzo and Coppola allow both to develop throughout the rest of the film in resonating style resulting in a tragedy of moral corruption as profoundly perceptive as anything we have seen before or since on film. Within the broader battles and strategies of the Corleone organisation’s fight to remain dominant lie the more interesting and richly drawn personal battles as hopes and ambitions are turned on their heads and Michael Corleone is drawn into the world from which his father fought to save him. There are no caricatures here as father and son, brother and brother, husband and wife, and enemy and enemy are turned and twisted against each other which intermittently boil over into one sublime and daring set piece after another. As Vito Corleone Marlon Brando is at his improvisational best and commands every bit of our attention when the camera is on him. It’s one of those rare performances that is so rich and intuitive that every aspect to the character’s personality and demeanor feels real and substantial. On the other hand, Al Pacino gives us the most complete and contemplative performance imaginable. He is nothing short of mesmerising as he transforms before our eyes from the young and innocent war hero to the cold and calculating puppet-master.
Rather than embracing the counter-culture of many of his contemporaries, Coppola tells the story in the classic style of old Hollywood and the result is a Shakespearian masterpiece of pacing and intrigue informed by Nino Rota’s seminal and mesmerising score. Philip Smith’s set decoration, Dean Tavoularis’ overall production design, and Gordon Willis’ cinematography are sumptuous to behold but seductive and engaging enough to comfortably contain a story as broad as the one told here. Coppola’s use of the visual feasts they serve up is truly inspired as he frames the slow and blisteringly fast drama and action with precision and controls their momentum with his trademark ultra-disciplined innovation. And in the scene where Michael meets Sollozzo and McClusky, he gives us perhaps the best example of tension building the medium has ever offered. Sublime indeed.© Copyright 2013 Derek D, All rights Reserved. Written For: movieshrink.com