教父 (1972) (TV36)

If you wanna define this movie in a word, it would simply be 'Masterpiece', ridiculously flawless and extraordinary. The Godfather isn't a movie, but a piece of art, which make you feel the characters and their emotions, everytime they appear on screen. The screenplay and direction, both are simply flawless, intriguing, charismatic and definitive. The characters are very well written and potrayed in the most delicate way. The Original Score for the movie is gorgeous and bridges between characters and their emotions. It is simply the best score I have ever heard till date in a motion picture. In a movie with deep characters along with a great story, the performances by actors are marvelous. Al Pacino, Brando everyone is awesome giving life to the story. For a movie, about 3 hrs long, The Godfather provides edge of seat experience.

First, I've read and heard about this movie for a looong time before I watched it, and I heard alot of people talking about how they are crazy about this film, I couldn't know why all these people are talking about this movie as it is an invention that changed the history of cinema??all of these questions in my head had stopped suddenly when I watched it , I can't think of better performance for the whole line of actors like this one, what shocked me to the depth of my heart actually is that you are confused about who is the best actor in this masterpiece?? The Don,Micheal,santino, clemenza or even Bonasera in the very iconic intro scene. The characters, the cinematography, the sound track looks fabulous . I can't really imagine how Francis Coppola managed to gather all this cast together most of them were unknown to us. This movie is really a masterpiece and it is a reference for acting, directing, writing and everything else in the cinema business.

The first words in Francis Coppola's organized crime saga ("I believe in America") are spoken by a wronged father seeking justice from Mafia Don Vito Corleone, and with an immigrant's passion invoke the spirit of his adapted homeland. It's an ironic gesture in a film which embraces the American Dream with a vengeance, beginning with a joyful celebration of marriage, ending with a solemn Catholic Church baptism, and continuing in between with murder after bloody murder: for vengeance; for punishment; or (with a severed horse head under the bed sheets) simply for leverage. The film gained notoriety for such epic displays of gangland violence, but its real power lies in nuance: a shading of phrase; a deceptive fall of lamplight; the sound of footsteps on a hospital stairway. Credit goes to co-writers Coppola and Mario Puzo for the leisurely paced but tightly plotted screenplay, by itself a remarkable study in contrasts, showing the thin line dividing patriotism and graft; honor and brutality; family affections and ritual violence. Seeing Part One independent from its companion/sequel is like reading only the middle chapters of a long and complex historical novel, rich in detail and drama, about an immigrant family coping with changing times in the New World. The result is one of the few truly effective adaptations of a popular novel, and together with Part Two perhaps the last word in gangster film dramas.