The Godfather is a 1972 American epic crime film

The Godfather is a 1972 American epic crime film directed by Francis Ford Coppola, who co-wrote the screenplay with Mario Puzo, based on Puzo's best-selling 1969 novel of the same title.

The film stars Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte, and Diane Keaton. It is the first installment in The Godfather trilogy, chronicling the Corleone family under patriarch Vito Corleone (Brando) from 1945 to 1955. It focuses on the transformation of his youngest son, Michael Corleone (Pacino), from reluctant family outsider to ruthless mafia boss.

Paramount Pictures obtained the rights to the novel for $80,000, before it gained popularity. Studio executives had trouble finding a director; the first few candidates turned down the position before Coppola signed on to direct the film but disagreement followed over casting several characters, in particular, Vito (Marlon Brando) and Michael (Al Pacino). Filming took place primarily on location around New York City and in Sicily, and was completed ahead of schedule. The musical score was composed principally by Nino Rota, with additional pieces by Carmine Coppola.

The Godfather premiered at the Loew's State Theatre on March 14, 1972, and was widely released in the United States on March 24, 1972. It was the highest-grossing film of 1972, and was for a time the highest-grossing film ever made, earning between $250 and $291 million at the box office. The film was well received by critics and audiences, who praised its performances—particularly those of Brando and Pacino—direction, screenplay, writing, story, cinematography, editing, score, and portrayal of the mafia. The Godfather launched the successful careers of Coppola, Pacino, and other relative newcomers in the cast and crew. The film also revitalized Brando's career, which had declined in the 1960s, and he went on to star in successful films in later years such as Last Tango in Paris, Superman, and Apocalypse Now. At the 45th Academy Awards, the film won Best Picture, Best Actor (Brando), and Best Adapted Screenplay (for Puzo and Coppola). In addition, the seven other Oscar nominations included Pacino, Caan, and Duvall all for Best Supporting Actor, and Coppola for Best Director.

The Godfather is regarded as one of the greatest and most influential films ever made, as well as a landmark of the gangster genre. It was selected for preservation in the U.S. National Film Registry of the Library of Congress in 1990, being deemed "culturally, historically, or aesthetically significant" and is ranked the second-greatest film in American cinema (behind Citizen Kane) by the American Film Institute. It was followed by sequels The Godfather Part II (1974) and The Godfather Part III (1990).

Plot

In 1945 New York City, Corleone crime family don Vito Corleone listens to requests during his daughter Connie's wedding to Carlo. Vito's youngest son Michael, a former Marine who has thus far stayed out of the family business, introduces his girlfriend, Kay Adams, to his family at the reception. Johnny Fontane, a popular singer and Vito's godson, seeks Vito's help in securing a movie role. Vito sends his consigliere, Tom Hagen, to persuade studio president Jack Woltz to offer Johnny the part. Woltz refuses Hagen's request at first, but soon complies after finding the severed head of his prized racing horse in his bed.

As Christmas approaches, drug baron Sollozzo asks Vito to invest in his narcotics business and for police protection. Vito declines, citing that involvement in narcotics would alienate his political connections. Suspicious of Sollozzo's partnership with the Tattaglia crime family, Vito sends his enforcer Luca Brasi to the Tattaglias on an espionage mission. Brasi is garroted to death during the initial meeting. Later, enforcers gun down Vito and coerce Hagen into a meeting. With Vito's first-born Sonny now in command, Sollozzo pressures Hagen to persuade Sonny to accept the narcotics deal. Vito survives the shooting and is visited in the hospital by Michael, who finds him unprotected after NYPD officers on Sollozzo's payroll cleared out Vito's guards. Michael thwarts the attempt on his father's life but is beaten by corrupt police captain Mark McCluskey. After the attempted hit at the hospital, Sonny retaliates with a hit on Bruno Tattaglia. Sollozzo and McCluskey request to meet with Michael and settle the dispute. Michael feigns interest and agrees to meet, but hatches a plan with Sonny and Corleone capo Clemenza to kill them and go into hiding. Michael meets Sollozzo and McCluskey at a Bronx restaurant; after retrieving a handgun planted in the bathroom by Clemenza, he shoots both men dead.

Despite a clampdown by the authorities for the killing of a police captain, the Five Families erupt in open warfare. Michael takes refuge in Sicily and Fredo, Vito's second son, is sheltered by Moe Greene in Las Vegas. Sonny publicly attacks and threatens Carlo for physically abusing Connie. When he abuses her again, Sonny speeds to their home but is ambushed and murdered by gangsters at a highway toll booth. In Sicily, Michael meets and marries a local woman, Apollonia, but she is killed shortly thereafter by a car bomb intended for him.

Devastated by Sonny's death and tired of war, Vito sets a meeting with the Five Families. He assures them that he will withdraw his opposition to their narcotics business and forgo avenging Sonny's murder. His safety guaranteed, Michael returns home to enter the family business and marry Kay. Kay gives birth to two children in the early 1950s. With his father nearing the end of his life and Fredo not suited to lead, Michael assumes the position of head of the Corleone family. Vito reveals to Michael that it was Don Barzini who ordered the hit on Sonny and warns him that Barzini would try to kill him at a meeting organized by a traitorous Corleone capo. With Vito's support, Michael relegates Hagen to managing operations in Las Vegas as he is not a "wartime consigliere". Michael travels to Las Vegas to buy out Greene's stake in the family's casinos and is dismayed to see that Fredo is more loyal to Greene than to his own family.

In 1955, Vito dies of a heart attack while playing with Michael's son Anthony. At Vito's funeral, Tessio asks Michael to meet with Barzini, signaling his betrayal. The meeting is set for the same day as the baptism of Connie's baby. While Michael stands at the altar as the child's godfather, Corleone hitmen murder the dons of the Five Families, plus Greene, and Tessio is executed for his treachery. Michael extracts Carlo's confession to playing a part in Sonny's murder. He assures Carlo that he is being exiled, not murdered. Clemenza garrotes Carlo. Connie confronts Michael about Carlo's death while Kay is in the room. When Kay asks Michael if Connie is telling the truth, she is relieved when he denies it. As she leaves, capos enter the office and pay reverence to Michael as "Don Corleone". The film's final image is to show Kay looking at the closing door.

Cast

• Marlon Brando as Vito Corleone: crime boss and patriarch of the Corleone family
• Al Pacino as Michael Corleone: Vito's youngest son
• James Caan as Sonny Corleone: Vito's eldest son
• Richard Castellano as Peter Clemenza: a caporegime in the Corleone crime family, Sonny's godfather
• Robert Duvall as Tom Hagen: Corleone consigliere, lawyer, and unofficial adopted member of the Corleone family
• Sterling Hayden as Captain McCluskey: a corrupt police captain on Sollozzo's payroll
• John Marley as Jack Woltz: Hollywood film producer who is intimidated by the Corleones
• Richard Conte as Emilio Barzini: a crime boss of a rival family
• Al Lettieri as Virgil Sollozzo: an adversary who attempts to pressure Vito to get into the drug business, backed by the Tattaglia family
• Diane Keaton as Kay Adams-Corleone: Michael's girlfriend and, later, second wife
• Abe Vigoda as Salvatore Tessio: a caporegime in the Corleone crime family
• Talia Shire as Connie Corleone: Vito's only daughter
• Gianni Russo as Carlo Rizzi: Connie's abusive husband
• John Cazale as Fredo Corleone: Vito's middle son
• Rudy Bond as Cuneo: a crime boss of a rival family
• Al Martino as Johnny Fontane: a singer and Vito's godson
• Morgana King as Mama Corleone: Vito's wife
• Lenny Montana as Luca Brasi: Vito's enforcer
• Johnny Martino as Paulie Gatto: a soldier in the Corleone crime family
• Salvatore Corsitto as Amerigo Bonasera: the undertaker who asks for a favor at Connie's wedding
• Richard Bright as Neri: the soldier in the Corleone crime family who becomes Michael's enforcer
• Alex Rocco as Moe Greene: a Jewish mobster and Las Vegas casino proprietor
• Tony Giorgio as Bruno Tattaglia
• Vito Scotti as Nazorine
• Tere Livrano as Theresa Hagen: Tom's wife
• Victor Rendina as Philip Tattaglia: head of the Tattaglia crime family and prostitution crime boss
• Jeannie Linero as Lucy Mancini: Connie's friend and Sonny's mistress
• Julie Gregg as Sandra Corleone: Sonny's wife
• Ardell Sheridan as Mrs. Clemenza

Other actors playing smaller roles in the Sicilian sequence are Simonetta Stefanelli as Apollonia Vitelli-Corleone, Angelo Infanti as Fabrizio, Corrado Gaipa as Don Tommasino, Franco Citti as Calò and Saro Urzì as Vitelli.

Casting

Puzo was first to show interest in having Marlon Brando portray Don Vito Corleone by sending a letter to Brando in which he stated Brando was the "only actor who can play the Godfather". Despite Puzo's wishes, the executives at Paramount were against having Brando, partly because of the poor performance of his recent films and also his short temper. Coppola favored Brando or Laurence Olivier for the role, but Olivier's agent refused the role claiming Olivier was sick; however, Olivier went on to star in Sleuth later that year. The studio mainly pushed for Ernest Borgnine to receive the part. Others considered were George C. Scott, Richard Conte, Anthony Quinn and Orson Welles. Welles was Paramount's preferred choice for the role.

After months of debate between Coppola and Paramount over Brando, the two finalists for the role were Borgnine and Brando, the latter of whom Paramount president Stanley Jaffe required to perform a screen test. Coppola did not want to offend Brando and stated that he needed to test equipment in order to set up the screen test at Brando's California residence. For make-up, Brando stuck cotton balls in his cheeks, put shoe polish in his hair to darken it, and rolled his collar. Coppola placed Brando's audition tape in the middle of the videos of the audition tapes as the Paramount executives watched them. The executives were impressed with Brando's efforts and allowed Coppola to cast Brando for the role if Brando accepted a lower salary and put up a bond to ensure he would not cause any delays in production. Brando earned $1.6 million from a net participation deal.

From the start of production, Coppola wanted Robert Duvall to play the part of Tom Hagen. After screen testing several other actors, Coppola eventually got his wish and Duvall was awarded the part. Al Martino, a then famed singer in nightclubs, was notified of the character Johnny Fontane by a friend who read the novel and felt Martino represented the character of Johnny Fontane. Martino then contacted producer Albert S. Ruddy, who gave him the part. However, Martino was stripped of the part after Coppola became director and then awarded the role to singer Vic Damone. According to Martino, after being stripped of the role, he went to Russell Bufalino, his godfather and a crime boss, who then orchestrated the publication of various news articles that claimed Coppola was unaware of Ruddy giving Martino the part. Damone eventually dropped the role because he did not want to provoke the mob, in addition to being paid too little. Ultimately, the part of Johnny Fontane was given to Martino.

Coppola cast Diane Keaton for the role of Kay Adams owing to her reputation for being eccentric. John Cazale was given the part of Fredo Corleone after Coppola saw him perform in an Off Broadway production. Gianni Russo was given the role of Carlo Rizzi after he was asked to perform a screen test in which he acted out the fight between Rizzi and Connie.

Nearing the start of filming on March 29, Michael Corleone had yet to be cast. Paramount executives wanted a popular actor, either Warren Beatty or Robert Redford. Producer Robert Evans wanted Ryan O'Neal to receive the role, owing in part to his recent success in Love Story. Pacino was Coppola's favorite for the role as he could picture him roaming the Sicilian countryside, and wanted an unknown actor who looked like an Italian-American. However, Paramount executives found Pacino to be too short to play Michael. Dustin Hoffman, Martin Sheen, and James Caan also auditioned. Burt Reynolds was offered the role of Michael, but Marlon Brando threatened to quit if Reynolds was hired, so Reynolds turned down the role. Jack Nicholson was also offered the role, but turned it down as he felt that an Italian-American actor should play the role. Caan was well received by the Paramount executives and was given the part of Michael initially, while the role of Sonny Corleone was awarded to Carmine Caridi. Coppola still pushed for Pacino to play Michael after the fact and Evans eventually conceded, allowing Pacino to have the role of Michael as long as Caan played Sonny. Evans preferred Caan over Caridi because Caan was seven inches shorter than Caridi, which was much closer to Pacino's height. Despite agreeing to play Michael Corleone, Pacino was contracted to star in MGM's The Gang That Couldn't Shoot Straight, but the two studios agreed on a settlement and Pacino was signed by Paramount three weeks before shooting began.

Robert De Niro originally was given the part of Paulie Gatto. A spot in The Gang That Couldn't Shoot Straight opened up after Al Pacino quit the project in favor of The Godfather, which led De Niro to audition for the role and leave The Godfather after receiving the part. After De Niro quit, Johnny Martino was given the role of Gatto.

Coppola gave several roles in the film to family members. He gave his sister, Talia Shire, the role of Connie Corleone. His daughter Sofia, then an infant, appeared as Michael Francis Rizzi, Connie's and Carlo's newborn son. Carmine Coppola, his father, appeared in the film as an extra playing a piano during a scene. Coppola's wife, mother, and two sons all appeared as extras in the picture.

Several smaller roles, like Luca Brasi, were cast after the filming had started.

Filming

Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration. Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts. The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; snow did not materialize and a snow machine was used. Principal filming in New York continued until July 2, 1971. Coppola asked for a three-week break before heading overseas to film in Sicily. Following the crew's departure for Sicily, Paramount announced that the release date would be moved to early 1972.

Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him. After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses. Willis and Coppola chose to use a "tableau format" of filming to make it seem as if it was viewed like a painting. He made use of shadows and low light levels throughout the film to showcase psychological developments. Willis and Coppola agreed to interplay light and dark scenes throughout the film. Willis underexposed the film in order to create a "yellow tone". The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes.

One of the film's most shocking moments involved an actual severed horse's head. The filming location for this scene is contested, as some sources indicate it was filmed at the Beverly Estate, while others indicate it was filmed at Sands Point Preserve on Long Island. Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film. On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Uniondale, where three tollbooths were built, along with guard rails, and billboards to set the scene. Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes. The scene took three days to film and cost over $100,000.

Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs, using over 120 distinct locations. Several scenes were filmed at Filmways in East Harlem. The remaining portions were filmed in California, or on-site in Sicily. The scenes set in Las Vegas were not shot on location because there were insufficient funds. Savoca and Forza d'Agrò were the Sicilian towns featured in the film. The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras. The house used as the Corleone household and the wedding location was at 110 Longfellow Avenue in the Todt Hill neighborhood of Staten Island. The wall around the Corleone compound was made from styrofoam. Scenes set in and around the Corleone olive oil business were filmed on Mott Street.

After filming had ended on August 7, post-production efforts were focused on trimming the film to a manageable length. In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences. In September, the first rough cut of the film was viewed. Many of the scenes removed from the film were centered around Sonny, which did not advance the plot. By November, Coppola and Ruddy finished the semi-final cut. Debates over personnel involved with the final editing remained even 25 years after the release of the film. The film was shown to Paramount staff and exhibitors in late December 1971 and January 1972.

Cultural influence and legacy

Although many films about gangsters preceded The Godfather, Coppola steeped his film in Italian immigrant culture, and his portrayal of mobsters as persons of considerable psychological depth and complexity was unprecedented. Coppola took it further with The Godfather Part II, and the success of those two films, critically, artistically and financially, was a catalyst for the production of numerous other depictions of Italian Americans as mobsters, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos.

A comprehensive study of Italian-American culture in film from 1914 to 2014 was conducted by the Italic Institute of America showing the influence of The Godfather. Over 81 percent of films, 430 films, featuring Italian Americans as mobsters (87 percent of which were fictional) had been produced since The Godfather, an average of 10 per year, while only 98 films were produced preceding The Godfather.

The Godfather epic, encompassing the original trilogy and the additional footage that Coppola incorporated later, has been thoroughly integrated into American life. Together with a succession of mob-theme imitators, it has resulted in a stereotyped concept of Italian-American culture biased toward the criminal networks. The first film had the largest effect. Unlike any film before it, its portrayal of the many poor Italians who immigrated to the United States in the early decades of the 20th century is perhaps attributable to Coppola and expresses his understanding of their experience. The films explore the integration of fictional Italian-American criminals into American society. Though set in the period of mass Italian immigration to America, the film explores the specific family of the Corleones, who live outside the law. Although some critics have considered the Corleone story to portray some universal elements of immigration, other critics have suggested that it resulted in viewers overly associating organized crime with Italian-American culture. Produced in a period of intense national cynicism and self-criticism, the film struck a chord about the dual identities felt by many descendants of immigrants. The Godfather has been cited as an influence in an increase in Hollywood's negative portrayals of immigrant Italians, and was a recruiting tool for organized crime.

The concept of a mafia "Godfather" was a creation of Mario Puzo, and the film resulted in this term being added to the common language. Don Vito Corleone's line, "I'm gonna make him an offer he can't refuse", was voted the second-most memorable line in cinema history in AFI's 100 Years...100 Movie Quotes by the American Film Institute, in 2014. The concept was not unique to the film. French writer Honoré de Balzac, in his novel Le Père Goriot (1835), wrote that Vautrin told Eugène: "In that case I will make you an offer that no one would decline." An almost identical line was used in the John Wayne Western, Riders of Destiny (1933), where Forrest Taylor states, "I've made Denton an offer he can't refuse." In 2014, the film also was selected as the greatest film by 2,120 industry professionals in a Hollywood survey undertaken by The Hollywood Reporter.

Gangsters reportedly responded enthusiastically to the film. Salvatore "Sammy the Bull" Gravano, the former underboss in the Gambino crime family, said: "I left the movie stunned ... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way." According to Anthony Fiato, after seeing the film, Patriarca crime family members Paulie Intiso and Nicky Giso altered their speech patterns to imitate that of Vito Corleone. Intiso was known to swear frequently and use poor grammar; but after seeing the movie, he began to improve his speech and philosophize more.

Representation in other media

The film has been referenced and parodied in various kinds of media.

• John Belushi appeared in a Saturday Night Live sketch as Vito Corleone in a therapy session; he said of the Tattaglia Family, "Also, they shot my son Santino 56 times".
• In the television show The Sopranos, Silvio Dante's topless bar is named Bada Bing!, a phrase popularized by James Caan's character Sonny Corleone in The Godfather.
• In the animated television series The Simpsons, there have been many references to the film. For instance, in the season 3 episode "Lisa's Pony", Lisa wakes up to find a horse in her bed and starts screaming, a reference to Jack finding his prize racehorse's head in his bed. In the season 4 episode "Mr. Plow", Bart Simpson is pelted with snowballs in mimicry of Sonny's killing.
• The film's baptism sequence was parodied in "Fulgencio", the 13th episode of season 4 of the comedy series Modern Family, with Phil Dunphy standing in for Michael. The sequence also references the horse head scene when Phil's son Luke places a severed zebra head in the bed of a boy who had been making fun of him and had a fear of zebras. Phil also references Godfather lines when he tells his wife Claire, "Don't ask me about my business," and mentions an offer he can't refuse.
• The 2006 video game The Godfather is based upon this film and tells the story of an original character, Aldo Trapani, whose rise through the ranks of the Corleone family intersects with the plot of the film on numerous occasions. Duvall, Caan, and Brando supplied voiceovers and their likenesses, but Pacino did not. Francis Ford Coppola openly voiced his disapproval of the game.
• On April 28, 2022, a 10-episode drama series The Offer premiered on Paramount+, about the production told from the perspective of producer Ruddy.
• The 2023 film Barbie, directed by Greta Gerwig, features a scene in which the characters watch The Godfather, with Ken, portrayed by Kingsley Ben-Adir, praising the film as a collective effort of Francis Ford Coppola and Robert Evans. A clip from The Godfather is also shown, showing Marlon Brando in the opening scene of the film.