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Purchase The Godfather (1972) Movie Online and Download - Francis Ford Coppola 🎥
Year:
1972
Country:
USA
Genre:
Crime, Drama, Thriller
IMDB rating:
9.2
Director:
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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iPhone 320x176 px 374 Mb 298 Kbps mp4 Purchase
Reviews
Top 5
One of the great movies of its time. Before, and even now is admire as one of the most classic and greatest films of all time. And I agree. I remember when I first watched it I never thought that Sonny would be the one killed, and Michael being the one taking over the family, and ruling with an iron fist. I have to watch at least one or two times a year.
2017-10-10
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.
2015-12-22
The Greatest Cast For A Movie Ever.
SPOILERS for the film lie ahead! Read at your own risk.

Regarded as one of the greatest movies of all time. "The Godfather" is a beloved classic about organised crime, and the Sicilian lifestyles in America. Of course the movie is about the building of a dynasty, a business built on death, murder and betrayal that goes on to run itself on favours and illegal pleasures. However, in this story we see the life of Don Vito Corleone (Played to a tee by the magnificent Marlon Brando), giving favours on his daughter's Wedding day. Here we see a loving, caring man who is both equally loved and feared. So far in the movie, it has had fair tension and introduced us to the family. Then all of a sudden a film-maker awakens to find his prized race horse's head under his bed sheets, and suddenly the tensions of this movie rises considerably.

After many hits later, as well as an attempted assassination on Don Corleone. We cut to Michael Corleone (Played superbly by Al Pacino), the youngest son in the Corleone family, who resents the family business. Until a bloody act of revenge, unwittingly consumes him mentally beyond the return of normality. We then cut to Michael's new life as well as Vito recuperating. Vito expresses great upset that this fate has befallen Michael, as he never wanted him to get involved with the family business. Michael has now become a shell of his former joyful self, yet he has built a "happy" life for himself whilst in hiding.

In the meantime. A montage of hits is carried out by all of the five families, which ultimately ends up bringing more tragedy to the Corleone family. Eventually it finally leads to a cause of action, in which Vito ensures the protection of every family within the Mafioso (An interesting note that the word "Mafia", is never uttered in the movie). At the same time, Michael has returned and is now the "Don" of the Corleone family, and is allowing the five families to run the Corleone's resources dry. After Vito sadly passes away, Michael then begins his plan as he has all other heads of the five families brutally murdered (While attending a Christening no less). Ensuring his place as the strongest "Don" to the remaining families, as a door swings closed to his now realising wife.

Something of a Masterpiece when the film came out back in 1972. "The Godfather". has only gotten better of age. There are so many iconic quotes and moments in the movie, and the cast is just seriously one of the best ever put to film. James Caan I hardly recognised, and Robert Duvall was just as brilliant as always. But obviously the biggest argument is, was this movie Brando's or Pachino's? Personally, I thought Brando was just incredible as always, and totally deserved the Oscar he turned down. Both nevertheless are unforgettable on screen.

The pacing was impeccable, as well as the locations that are all shot beautifully. Some part of me does feel that the film is a bit too long, however a lot does happen and instantly captivates you enough to check out the sequels. The music was fantastic, helping bring the era and authenticity out of the picture and into the deepest parts of my brain. I could listen to the "Love theme" all day. As said earlier, the movie is about the dynasty of the family, the business of the family and the vengeance of the family. So many themes are present and so much more are explored. Every gangster film ever made owes something to Francis Ford Coppola's efforts.

Final Verdict: Probably the first modern gangster epic ever made. As director Stanley Kubrick said: "Probably the finest cast ever assembled". 10/10.
2014-08-30
Sets the standard for the gangster art film.
The 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.
2008-09-26
Respect
Spoilers herein.

Building a life in film is not so much a matter of discovering the worthwhile films, but choosing which of those have the stuff worth building with. I have a clear understanding of what Scorsese is about, which I attribute to the Latin convention for storytelling. This convention is totally invested in characters, not situation or place or God help us, ideas. Scorsese's camera is attached to people, never place. His curiosity is always about people. This is a form of visual gossip that I eschew.

So it is with Coppola. But his two projects (the Godfather and Apocalypse journeys) have another merit in how they work with what came before. Apocalypse is far more interesting in this respect. But `Godfather' is very clever in how it places itself. Gangster pictures began as a matter of a pretend world, and became ever more so as the genre matured. Mobsters lived in a world not unlike that of the Roadrunner, always at a distance from reality, often winking at the audience.

Coppola took his focus on the human to this genre. The film itself is no masterpiece without this placement, but is great with it. We inherit all the machinery and momentum of the genre to place behind the characters. Brando understood this, and alone is able to effect the transferral. Pacino would go on to sledgehammer his roles, but is appropriately subdued here.

Ted's Evaluation -- 3 of 4: Worth watching.
2003-02-19
Short and clear
This movie is strong, good script, great casting, excellent acting, and over the top directing. It is hard to fine a movie done this well, it is 29 years old and has aged well. Even if the viewer does not like mafia type of movies, he or she will watch the entire film, the audiences is glued to what will happen next as the film progresses. Its about, family, loyalty, greed, relationships, and real life. This is a great mix, and the artistic style make the film memorable.
2017-07-22
This Movie is an Offer you Can't Refuse
Incredible!! With the epic soundtrack, characters, plot, casting, and directing this movie has to be considered THE best of all time. Although it is one of many Francis Ford Coppola masterpieces, this movie stands apart from the others. By telling the Corleone story from the inside of the family and mafia, viewers easily identify with and care about the characters. The cinematography is amazing too, and some of the shots and scenes from this movie can be considered the best of any movie throughout time. You can see IMDb's 9.2 rating of The Godfather and hear about the movie as often as you want, but until you experience the power of this film yourself, it will be impossible to grasp the importance of the movie to cinema. Although this movie is from the early 70s, it is by no means dated. Michael Corleone is my personal favorite character of all time, and the chance to see James Caan, Robert Duvall, Marlon Brando, Al Pacino, and John Cazale work together is unforgettable. Nobody could've known that Marlon Brando, with two cotton balls, would create the most famous voice in cinematic history.
2015-04-02
Truly the Godfather of movies
Don Vito Corleone (Marlon Brando) is the head of a Mafia family. Sonny (James Caan) is his eldest and heir apparent. Michael (Al Pacino) is a return WWII hero and wants to keep out of the family business. The Don refuses to go into the drug business which precipitate a mob war.

There is no doubt that this is one of the greatest movie of all times. Director Francis Ford Coppola has crafted a masterpiece from Mario Puzo's novel. It is not just a great story, but great characters and great actors playing them. Forty years later, it's still as compelling as ever. The pacing is slower than today's standard, but it packs a punch more potent than anything recent. The acting power alone is incredible. When you consider that Al Pacino is the new unknown kid, the cast is unquestionable the best that Hollywood has to offer in that era. Every 10 minutes, there is an iconic scene. There is no way I can list them all.

I rarely give a 10. Rarer still do I give it with no reservation. A perfect movie is not enough. It has to have cultural significance and some originality. That is 'The Godfather'. It is still being referenced today. May all the haters sleep with the fishes.
2013-11-28
amazing master piece
this is a masterpiece this is incredible and amazing watch this movie you won't regret it this is cool i love it people call it amazing and wonderful and outstanding it is cool and it has moments that other movies probably don't have enjoy this movie it is incredible and it has incredible action scenes and incredible special effects and directing
2017-08-01
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.
2008-06-29
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