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Michael is a college boy and war hero, the apple of his papa's eye he hopes great things for Michael, who brings a pretty WASP named Kay Adams (Diane Keaton) to the wedding. There is the consigliere and adopted son, Tom Hagen (Robert Duvall), the charismatic hot-head Sonny (James Caan), the likable but disconnected Fredo (John Cazale), and the baby boy, Michael (Al Pacino). Slowly, we meet his family-not so much with proper introductions, but more as they cross into our field of vision, fellow guests at this magnificent affair. No Sicilian can refuse a request on his daughter's wedding day. The wedding, a joyous affair of song, wine, and food, is an all-day affair in the summer sun, but in the darkness of the Don's office, he receives visitors. It is 1945, the day of the wedding of his daughter Connie (Talia Shire) to Carlo (Gianni Russo). We are introduced to Don Vito Corleone (Marlon Brando), the "godfather" of the Corleone crime family. It begins with one of the great opening sequences in all of film. It draws us in from its opening words ("I believe in America"), and for 175 minutes, it does not take a wrong step. The characters are fascinatingly personal, the actors playing them brilliant. It is classical narrative filmmaking at its absolute finest.
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It is, for lack of a better word, perfect. But it's so much more than that.Īnd for those who treasure it, there's just something intangible about The Godfather. Yes, The Godfather is a gangster picture.
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In the years to come, the exciting and invigorating pictures wouldn't be those of the experimental (and frequently unwatchable) cinema of Warhol or Brakhage it was the work of the film brats who injected traditional genres with new energy and psychological intricacy, so that a detective picture (like Chinatown) or a cop film (like The French Connection) or a romantic comedy (like Annie Hall) or a caper movie (like Dog Day Afternoon) were no longer just those things.
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When it was released in 1972, The Godfather was part of the first flood of what became a golden age of American film, and it was one of the films that pointed the way for that movement with every frame, it seems to shout, "Look what we're capable of." It took the new freedoms and complexities of its recent contemporaries ( Bonnie and Clyde, Who's Afraid of Virginia Woolf, The Graduate, Midnight Cowboy, The Last Picture Show) and-as some of those films had-put them to work in a classic American story, one that was set in our past but spoke to our present, and our future. More than dollars and cents, however, it stands as one of the bellwether films as with The Birth of A Nation and Citizen Kane before it, it was as a culmination of what cinema was at that moment-where it had come from, and what it could be. We can explain it away with logic and comparison it is, for example, one of the few times in motion picture history where an honest-to-God work of art was a certified box office smash (as were Gone with the Wind and E.T. There are few things I can imagine to be more daunting than trying, with any degree of success, to explain why The Godfather is a masterpiece-indeed, for my money, the single greatest of all motion pictures.