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Purchase The Godfather (1972) Movie Online and Download - Francis Ford Coppola 🎥
Crime, Drama, Thriller
IMDB rating:
Francis Ford Coppola
Marlon Brando as Vito Corleone
Al Pacino as Don Michael Corleone
James Caan as Santino 'Sonny' Corleone
Richard S. Castellano as Young Peter Clemenza
Robert Duvall as Tom Hagen
Sterling Hayden as Capt. McCluskey
John Marley as Jack Woltz
Richard Conte as Don Emilio Barzini
Al Lettieri as Virgil 'The Turk' Sollozzo
Diane Keaton as Kay Adams Michelson
Abe Vigoda as Sal Tessio
Talia Shire as Connie Corleone Rizzi
Gianni Russo as Carlo Rizzi
John Cazale as Fredo Corleone
Storyline: When the aging head of a famous crime family decides to transfer his position to one of his subalterns, a series of unfortunate events start happening to the family, and a war begins between all the well-known families leading to insolence, deportation, murder and revenge, and ends with the favorable successor being finally chosen.
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Cinema at its best
What's to say about this movie that hasn't been said already. Pure cinema magic. The casting is superb, the character development is superb, the acting is first class, coupled with the legendary soundtrack a true masterpiece.

From the script to the whole dialogue and interactions between the characters the attention to detail is stunning and I wish more modern movie makers would take the time to build and develop the characters like this movie does.

From the opening scene, when Bonasera is looking for revenge for the beating of his daughter, to the closing scene when Kay sees Michael crowned as the Don and Neri closes the door, the movie just flows seamlessly from act to act. Coupled with the legendary soundtrack

The scene where Sonny, Michael, Tessio, Hagen and Clemenza are discussing hitting Solozzo is pure gold. As they all sit around nonchalantly discussing murder, before Michael pipes up and tells them how if they arrange a meeting he will kill them both is so just so well acted, that you actually believe these guys are gangsters.

A real example of great story telling transferred to film.
The Best Of The Set: By A Mile
Spoilers Ahead;

I am not a big fan of the sequels even the second is a big step down from this one. What a cast? Like an earlier reviewer said; REWATCHABLE!! Yes, I am Italian, not a Sicilian, and I have seen it hundreds of times. What a cast: Brando, Pacino, Caan, Duvall. Even the supporting cast is excellent with the film noir legend Richard Conte as Barzini. Puzo wrote such a rich, deep script. The characters suck you in and are so lifelike. Each brother is radically different from the other. Fredo, the mama's boy, the useless one who Michael kills off in the second one. Sonny, the human volcano, with a temper that has to be seen to be believed. Michael, the quiet and deadly one most like Vito but colder more ruthless. Michael was always outside the family looking in; he was held in contempt by the rest as the soft college boy who didn't want to get his hands dirty. This is the answer to the riddle of how he could kill Fredo, his own brother, later in the second one. Notice where he sits at the wedding, as far away from the family as he can get.

Events suck Michael into their world but he never is really in the family. We see his cruelty by the end of the movie as he slaughters the heads of the five families and his own sister's husband Carlo who fingered Sonny. The key scene for understanding Michael is the baby's baptism; watch the juxtaposition of the images with the words the priest is saying. As he renounces Satan he performs the very actions he is renouncing. Coppola was so good at using images to contradict words; it is really his signature. Pacino becomes the very image of Satan as he murders all those people while standing reciting the holy words of baptism renouncing the very deeds as he is performing them. What a work of art!! Only Francis Coppola could do this.

The film, to be fair to its critics, does gloss over the mafia a bit. We do not see old store owners shaken down with blow torches waved in front of their faces. I do think Puzo and Coppola do show the awful cost of the evil. Even here, Michael slowly transforms from a diffident outcast at the back of the family to a ruthless Don. It appears here that he is like Vito but that illusion is dispelled by his ruthlessness far exceeding Vito's. Michael because he was an outcast simply does not feel the bonds of family as Vito did. There is a coldness about him; he is like an iceberg. The movie is three hours long but it moves very quickly. The only parts that drag are the scenes of michael's exile in Sicily. It really is the story of the brothers and how radically different their fates are; Fredo is sent to Vegas where he becomes a weakling fop beaten up by Moe Greene, Sonny's temper ends up killing him like you always knew it would. Michael gets sucked in; there is always great resentment in Michael for the destiny he never wanted.

The second film shows Michael's estrangement from the family deepening. It culminates in him killing Fredo for putting him at risk. I always think it is important to see Michael as Puzo and Coppola paint him: a loner who protects himself ruthlessly. He really could care less about the family; he is all about power and control. Vito, for all his evil, cared and loved his family very deeply. Look, Fredo almost got him killed when Sollozo's men attacked, he fumbled and dropped his gun. Vito did not kill him; Michael was not so forgiving. It is a true masterpiece. I LOVE IT
A film of great power and a milestone in the history of the cinema
Before 'The Godfather' came out in 1972, the gangster genre, chiefly associated with Jimmy Cagney and the film noir style of the forties and fifties, had been in something of a decline. It was, therefore, a brave move for Francis Ford Coppola to attempt a three-hour epic based upon the family life of a Mafia don.

The film opens in the immediate post-war period with the wedding of the daughter of Don Vito Corleone. Scenes of the wedding are intercut with scenes showing Don Vito himself in his study, granting favours and dispensing a crude form of justice as though he were an absolute monarch. We soon learn, however, that times are changing, even in the world of organised crime. Don Vito's empire has been based upon gambling, illicit liquor sales and prostitution. Other Mafia families, however, are eager for the profits to be made from drugs, and Corleone receives a proposal from a drug dealer named Sollozzo that the Corleone clan should join him in exploiting the narcotics market. Corleone refuses, ostensibly for business reasons, but it is made clear that his real objections to narcotics derive from his personal code of honour. Sollozzo, offended, orders an attempt to be made on Corleone's life. This fails, but Corleone is left seriously injured.

The focus now shifts to the younger generation. Don Vito has three sons, Santino ('Sonny'), Fredo and Michael, and an adopted son, Tom Hagen. These four have contrasting characters. Sonny is hot-headed and impetuous, Fredo weak, Tom cautious and moderate. Michael, the youngest, loves his family, but initially wants to play no part in their criminal enterprises. Recently returned from the war, his ambitions are to qualify as a lawyer and to settle down in a respectable life with his Anglo-Saxon wife-to-be, Kay. The attempt on his father's life, however, persuades Michael that his first loyalty is to the family, and he agrees to be part of a revenge attack on Sollozzo and Captain McCluskey the corrupt policeman who is on his payroll. There follows a brutal cycle of revenge, as each killing is avenged by another murder.

The film's emphasis on family ties, honour and vengeance recall the revengers' tragedies of the Shakespearean and Jacobean theatre. Coppola does seem to be aiming for a Shakespearean grandeur. Don Vito, the ageing monarch whose powers slip away is reminiscent of King Lear, Michael, a good man corrupted by power, of Macbeth (a comparison which will become even more apt in the later episodes of the trilogy). There is also something of Hamlet in Michael and Sonny's resolve to avenge their father. Such an ambitious film requires acting of a very high order if it is to seem credible, but Coppola was able to draw upon some of the best performances of the seventies. To my mind, this was Marlon Brando's last great role (I have never cared much for 'Apocalypse Now' and loathed 'Last Tango in Paris'), but it was one that he made the most of. His Don Vito is both terrifying and pitiable, part dictator and part lonely old man. His rasping voice (the result of an earlier bullet wound in the throat) conveys both menace and physical weakness. Don Vito may be a bad man, but he is also in a way a magnificent one, and his passing marks the end of an era.

If the film was notable for the last of the great Brando, it also saw the birth of a new star. Except perhaps for 'The Godfather Part II', I have never seen Al Pacino give a better performance than he did here, as he portrayed Michael's passage from a 'civilian' (as his brother calls him) to a warlord, from an innocent young idealist to a ruthless killer. Given the length of time that Pacino is on screen, I am surprised that he was only nominated for Best Supporting Actor rather than Best Actor. It would be interesting to speculate who might have won if he and Brando had been in competition for the award. I am even more surprised that Pacino did not win as Best Supporting Actor; Joel Grey's role in 'Cabaret' (which did win) is more showy and a technical tour de force, but it lacks the emotional depth of Pacino's performance. I also greatly admired James Caan's role as the hot-headed Sonny.

This is not a perfect film; it has flaws, both artistic and ethical. Artistically, there are places where it tends to drag, particularly after the killings of Sollozzo and McCluskey, and even more so after the killing of Sonny, although it recovers at the ending, which is a highly effective piece of cinema.

Ethically, I felt that the film tended to take the characters' world view too much at face value. Don Vito may be a dictator, but he is in his own eyes a benevolent dictator, a man of honour who lives by his own moral code. As others such as Roger Ebert have pointed out, this is a film which views a closed society from the inside; the only outsider is Kay, and her role is a relatively minor one. As a result, we do not get to see the damage that organised crime does to the fabric of society, and the Mafia's own view of itself is never openly challenged. That is not to say, however, that the film is totally amoral. We do see that an ethos of taking revenge can spiral out of control and lead to unforeseen consequences, to the innocent as well as the guilty. This is particularly true of the scenes where Michael takes refuge in Sicily after killing Sollozzo. The dead man's associates track him down, and a bomb meant for him instead kills his innocent young Italian wife Apollonia.

Although there may be no overt condemnation of the moral position of the Mafia, there is implied criticism of its bloodier deeds. All the characters, whatever the crimes of which they may be guilty, are careful to pay lip-service to the Catholic Church and its rituals. Throughout the film (indeed, throughout the trilogy as a whole) the traditional ceremonies of the Church form a backdrop to various criminal activities. ('The Godfather' begins with a wedding and ends with a baptism). It seemed to me that Coppola was using these scenes to make an ironic contrast between the values of organised crime and those of Christianity, especially at the end of the film. Michael, already a 'godfather' in the metaphorical sense of a Mafia boss, becomes one in the literal sense of a baptismal sponsor. Shots of him taking vows on behalf of his godchild to reject the works of the devil are intercut with shots of his enemies being gunned down on his orders.

Despite my reservations about this film, and although I personally would not have ranked it as my all-time favourite, there can be no denying that it is a film of great power and a milestone in the history of the cinema. 8/10
An Epic, Masterful Look into the Underground World
"The Godfather" simply put, is one of the greatest films of all time. The script is thee best I've ever read. The direction is flawless. The acting may very well have the best ensemble cast in any movie I've ever seen or will ever see. It's also one of the most precise and intricate films I've ever come across as writer, Mario Puzo brings out some of the most hidden and guarded secrets of the underground world ever captured on film. Watching "The Godfather," is like watching cinematic art. Francis Ford Coppola's direction is what brings this film, that's so ambitious and so grand, down to earth with precision direction as he handles each and every scene with such care. The film starts with a black screen and an opening monologue from an undertaker. As the man starts talking about honor, family, respect, and justice we are pulled right in on his luminous eyes as he stands in near darkness. He begs for justice since the American system has failed him. He goes to Don Corleone (Marlon Brando) for justice. Don Vito is the man of power. He's the one who pulls all the strings and watches his puppets dance from behind the stage and out of sight; untouchable, or so we think. Some of the greatest moments in the film- and very intentional to show the distinguishable difference between Michael and Vito- are of Vito crying over his son, Sonny's (James Caan), death. When Michael learns of the news, he has little reaction. Two of the most emotionally powerful scenes in the film are from the cause of a loved one that has died long before he should have, and they come from Brando. As Vito stands over the body of his son he nearly breaks down. There is clash of feelings between the two men that are never conflicting, but compared.

The film opens during the wedding of Don Vito' daughter, Connie (Talia Shire), and we see just how strong the bond of family really is. You have the family dancing with each other, drinking, laughing, and sitting next to each other to show how close they are, then we see some of the outsiders such as the Barzini family, and surprisingly Michael (Al Pacino) along with his girlfriend Kay (Diane Keaton) on the outskirts without much interaction. Michael seems almost out of place as if he is the adopted son and Tom Hagen (Robert Duvall) is more apart of the family than he is. His opening words are to Kay, and they include, "That's my family, Kay. That's not me."

We get the feeling that Michael's nearly ashamed of the stigma that goes along with his last name: This is what makes Al Pacino' role- significantly- the hardest performance in the entire film to portray. He's the one doing all the heavy lifting as he has to go from outsider and completely against the family's actions and businesses to, by films end, head of the family. Brando has the teary eyed moments that actors live for, but Michael is too cold for that. Never for a second as he gradually comes to power do we think this turn is ridiculous or laughable, and in lesser hands it very easily could have been.

The final act of the film is loaded with plot points as decisions are made left and right as the film becomes visually and emotionally captivating. As the film draws to an end, Michael has gained half of the power of the family and makes most of the decisions. He's treated, not with respect, but as an outsider, too high ranking for his experience. The Corleone family is on the brink of disaster and losing everything, yet we never get that feeling. We see the two leader's confidence and we keep our confidence in them, even if the other family members doubt their decisions. Michael goes to Las Vegas and makes Moe Greene an offer he can't refuse. Then he refuses. This is Pacino' shinning moment in the film. There's no screaming or the hoopla that goes along with his name. After he treats Moe Greene like utter garbage, Fredo (John Cazale) get's upset and starts barking at him. Coppola is perfectly on his game here, too, as we watch from Fredo's height, looking down on Michael who sits in a chair as he coldly looks up with his radiating eyes, that have so much going on behind them, and simply says, "Fredo, don't ever take sides with anyone against family again. Ever."

That's some serious foreshadowing for the second film, and only after watching the second film can you go back and appreciate what Pacino and Coppola pulled off in this scene; Cazale too. We have no idea how serious Michael is. These are some of the stepping stones that make Michael's change believable. He's not quite his father- Vito has a soft spot for his children (admittedly so)- as he's capable of turning on anyone and using the line, "It's strictly business" when it comes to family issues. Michael's sister, Connie, calls him a "cold hearted bastard" at the end of the film. It's hard to find better superlatives than that, yet we still love him. The interesting thing about Pacino' performance is that he doesn't sugarcoat it. He doesn't try to make the audience love him. He plays the character as the character should be played. That's the sign of great writing; great acting; and great directing since we could have very easily seen someone try to make him likable. This crew just presents the character with all his flaws and let's us decide if we love him or hate him. Its films like "The Godfather," that made me wish I had amnesia, so I could feel the same heart pounding moments over and over again.
Simply amazing
This has to be a masterpiece for me and for my understanding and knowledge. I adore mob films like this one and TV series about the mob as the great TV series I've ever watched: The Sopranos. The shooting of the whole film is sublime, and the shots of the two sequels as well. Coppola got to manage this as a master of film composing. The plot and the development in general is majestic too. The scene of the head horse in the film director's bed is very shocking; I never saw something like that. Now I can only say that this has become one of my favorites films ever (for me and for most of you who are reading this). This is the sort of films that I would watch for many times.
Legend İn The World
he Godfather (1972) did for gangster movies what 2001: A Space Odyssey did for science fiction. Like Stanley Kubrick, Francis Ford Coppola re-energized and, to a degree, reinvented a basic Hollywood pulp fiction action-entertainment genre, using it as a vehicle for the high artistic ambitions of a post-New Wave film "auteur."

Within his narrower focus on 20th century American civilization (as opposed to Kubrick's philosophical speculations on human evolution), Coppola shapes the story of the Corleone Mafia family into an epic/satiric vision of American business, government, justice, and moral decline. The Godfather's brilliantly constructed opening sequence, the wedding of Don Corleone's daughter, not only establishes the Don's character, the nature of his organization, the role of family and Sicilian tradition in his world, and the character of his sons (three natural and one adopted), but also establishes the relationship between the Don's world and "legitimate" society. For instance, the film's opening words are those of Bonasera, a petitioner for a wedding "favor," whose voice over a dark screen first asserts the American Dream, "I believe in America. America has made my fortune," and then turns to disillusioned contradiction: "for justice, we must go to Don Corleone."

Numerous subsequent lines of dialog establish literal or metaphorical connections between the criminal underworld and social institutions. Some of the most memorable ones include: "My father is no different than any powerful man, any man with power, like a president or senator.""Now we have the unions, we have the gambling; and they're the best things to have. But narcotics is a thing of the future. And if we don't get a piece of that action, we risk everything we have. I mean not now, but ten years from now." "It's not personal, Sonny. It's strictly business." And most famously of all: "I'm gonna make him an offer he can't refuse."

The film's title refers to two godfathers, the original Don Corleone and his youngest son - and ultimate successor - Michael. Marlon Brando's performance as Don Corleone, for which he was awarded a Best Actor Academy Award, balances the Don's subtly counter-pointed functions as beloved, grandfatherly patriarch and fearsome, brutal crime boss. Yet Michael, as the character most centrally and significantly affected by the film's plot and played with a brilliance equaling Brando's by a then unknown Al Pacino, is the principal protagonist.

At the wedding, Michael's centrality is signaled by the Don's frantic call, "Where's Michael? We are not taking the picture without Michael!" A World War II hero still in decorated uniform, Michael is meanwhile busy differentiating himself from his family to his girl friend and future second wife, Kay (Diane Keaton). "Luca Brasi held a gun to the band leader's head," he relates, "and my father assured him that either his signature or his brains would be on the release. That's my family Kay. It's not me." Michael's initial disinterest in Mafia activities is reinforced by his adoring father who envisions him as "Senator Corleone" or "Governor Corleone" not as his successor. That role is reserved for his hot-headed eldest son, Sonny (James Caan). But, of course, events conspire to suck Michael in - and to keep sucking him in right through Godfather III - the assassination attempt on his father, Michael's coolly murderous response, the car bomb meant for him that kills his first wife, the Sicilian beauty Apollonia (aptly named for the god of sun light), the riddled body of his brother Sonny. Inevitably, a morally darkened Michael emerges at the end of the film, one who outdoes his father in guile and ruthlessness and whose final brutal and deceitful acts in Godfather I seal his doom as a Macbeth-like villainous tragic hero.

Shot mainly on location in various New York City locales, The Godfather spans a ten- year post World War II period. A multitude of props, costumes, and pop culture artifacts arranged by the film's art director, Warren Clyner, and production designer, Dean Tavoularis, lend a rich sense of historical authenticity to the film's mise en scene. Moreover, the film's lighting by brilliant cinematographer Gordon ("prince of darkness") Willis, contributes greatly to both the film's realism and its thematic symbolism. Compare, for instance, the use of extremely dark, shadowy, color desaturated interior scenes – especially in the Don's home office – with the brightly lit, vivaciously colored outdoor wedding scene or the sun-drenched, romanticized Sicilian landscape.

The Godfather is edited in the classic Hollywood invisible style, subordinating technique to the needs of narrative and visual continuity. But the film is expertly edited nonetheless. In particular one might note the stunning use of multiple parallel editing that occurs in one of the film's last scenes: the assassination of the other crime family heads, elaborately planned to coincide with Michael's participation in the baptism of sister Connie's child. Likewise, The Godfather's soundtrack is a memorable combination of diegetic period music ("Have Yourself a Merry Little Christmas") and a lush, operatic original score composed by one of the greatest film music composers, Nino Rota (a frequent Fellini collaborator as in 8 1/2).

With The Godfather and its even more ambitious sequel, Coppola pushed the classic gangster film in the direction of high art and released it once and for all from the moralistic grip of the Hays Code, which arose in the 1930s in large part as a response to the romanticizing of criminals found in such early examples of the gangster genre as Scarface, Little Cesar, and Public Enemy. Not only did the code regulate the degree and nature of sexual and violent imagery in all films, but it also specifically required that criminals be portrayed as morally repulsive social deviants and that plots involving them be resolved with the implicit or explicit lesson that "crime did not pay." Fortunately for American popular culture The Godfather radically rewrote the rulebook and paved the way for a generation's-worth of gangster masterpieces ranging from the Scarface remake to Pulp Fiction to The Sopranos.
The few "perfect" films to ever been released are so perfect in every aspect that each scene almost feels like a masterpiece on its own. In the case of Coppola's revolutionary The Godfather, this statement holds especially true. Phenomenal and sheer brilliance in every aspect that cannot be matched by modern "cinema", Coppola's The Godfather is cinematic perfection in every aspect of filmmaking. From performances delivered by an astounding ensemble cast, to Nina Rota's breathtakingly soaring and epic musical score to Coppola's very direction, The Godfather should essentially be viewed as a three hour masterclass on filmmaking for any aspiring filmmakers. So perfect in every aspect and so free of flaws, no film since its time has matched even half the brilliance of The Godfather.
Let me begin with just one word.. Masterpiece.
The Godfather is not just a crime film, it's much more deeper than that. It's about loyalty, respect and more than anything, it's about family and real life. The casting in this movie is flawless. Marlon Brando as the Godfather is a perfect casting choice. He brings his unique style to his character and makes him alive. He's not just acting his role, he's living it, at least that's what it feels like. He truly deserves his Best Actor Oscar. Every scene where he is in and every line he says is emotionally touching and breathtaking, and it's not just because of his acting, but it's also because of the film's magnificent writing and directing. The storyline is outstanding. It's based on a novel written by Mario Puzo. Francis Ford Coppola did an amazing job with bringing his story to the screen. He really gave us the best film of all time. Brando wasn't the only one who did a wonderful job with his character, because even though Vito Corleone was the key element of the movie, the movie was still mostly about his son, Michael Corleone, played by Al Pacino. You can really see his character develop during the movie, and you can feel the respect that his character has toward his father. There's a real connection between those two, even though they have a small number of scenes together. Besides Marlon Brando and Al Pacino, there were other supporting roles that were amazing as well, like James Caan as Sonny Corleone, Robert Duvall as Tom Hagen and of course the beautiful Diana Keaton as Kay Adams. This movie has everything. Good acting, directing, writing, cinematography and of course memorable and recognizable music by Nino Rota. In my opinion, there is only one misstep in this film, and that is the lighting in the wedding scene in the beginning of the movie. I can honestly say that this is my favorite movie and if you haven't seen it yet, you should watch it as soon as possible! 10/10 Excellent!

(These are just my quick thoughts about this movie)
Brando's aged make-up is incredible
Coppola's near perfect masterpiece. A first class cast including, James Caan, Al Pacino and heavy weight Marlon Brando to name a few. There is not much I can add that hasn't already been written, it frankly is the quintessential family, Mafia gangster film.

The 1950's nostalgic feel is captured, distinguished cinematography by Gordon Willis and the script honed. The costumes, locations and sets add to the overall authentic experience. Brando's aged make-up is incredible, particularly for 1972 and apart from some insignificant choppy editing and stock footage the film is near enough picture perfect.

Timeless, compulsive viewing, there is a reason why The Godfather is on a pedestal as one of the greatest movies or of all time… There is no offer to refuse, it's a must see.
An Iconic Film
Tell me a movie that is more famous than this. Tell me a movie that has had more parodies spinned off its storyline than this. Tell me one movie that has been as quoted as a much as this. The answer is you can't. No movie has had as much of an impact as The Godfather has had ever since it was released.

The acting was simply amazing, what else could you say. What could be more appealing to people(even today) than watching actors like Al Pacino, Marlon Brando, James Caan, Diane Keaton, Talia Shire and Robert Duvall. This is like heaven for someone who is a fan of movies. With this movie Brando was able to bring himself back into the limelight. His performance as the godfather alone is iconic. His character has been recreated so much in films that it has almost if it has not already become a cliché. His performance though was not a cliché. His performance was subtle and breathtaking. It was so genuine and realistic that it was not just probably but definitely more genuine than Marlon Brando himself. Al Pacino was perfect for this film as well. What a way to start up your career. His character was all about depth and he displayed it perfectly. He was able to display his own inner-battles in his mind as well as the battles he had with his family, friends and enemies. His character was more of a psychological character study than anything else to me. Robert Duvall to me was the glue to the movie. He added a different perspective to everything in just that he was not Italian yet having the respect of the mafia. His character is a man of high authority within the Corleone family who was listened to and insightful;. This was simply perfect giving the film great balance throughout. The rest of the cast was just icing on the cake.

The writing was phenomenal and breathtaking. As mentioned before there has been no movie quoted more than this. It is not even the quotes though that makes the writing in here so perfect. It is the symbolism and meaning that went into every scene. There are countless symbols, messages and lines in here that are so memorable yet it is as realistic as a movie could get.

The directing by Coppola was perfect as well. Not many movies can be 3 hours and yet maintain a good level of interest from the audience like The Godfather. Coppola deserves credit for this. The symbolism and messages that went into every scene also has to do with the directing not just the writing. The movie is so well edited and strung together that the only word that could come to my mind is perfection.

The cinematography and music were perfect. The score of this movie is one of the most memorable ever. If you were to hear it you could identify it right away. The cinematography was what actually really drove this movie. The Godfather seems to have this mystique to it, it gives you the feeling you are watching something truly remarkable.

The horse's head, the scene of Brando running with his groceries, the coffee shop scene, "I'll give him an offer he can't refuse" and countless other scenes and quotes from this movie have become a part of our culture. These scenes and lines have been recycled over and over again in comedies, commercials, etc. that it is impossible to avoid the greatness of The Godfather. The Godfather is like a disease once you see it you fall in love with it. I don't know if it is the greatest movie ever but it is definitely the most iconic film ever made.
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