The Godfather

The Godfather is a 1972 American epic gangster film directed by Francis Ford Coppola, who co-wrote the screenplay with Mario Puzo, based on Puzo's best-selling 1969 novel. The Godfather is regarded as one of the greatest and most influential films ever made, as well as a landmark of the gangster genre. The film stars an ensemble cast including 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) and 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 (Brando) and Michael (Pacino). Filming took place primarily in locations around New York City and Sicily, and it was completed ahead of schedule. The 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 acclaimed by critics and audiences, who praised its performances—particularly those of Brando and Pacino—direction, screenplay, 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. 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 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).

In 1945, the New York City Corleone family don, Vito Corleone, listens to requests during his daughter Connie's wedding to Carlo Rizzi. Vito's youngest son Michael, a Marine and World War II hero who has so 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 stud horse in his bed.

As Christmas approaches, drug baron Virgil "The Turk" Sollozzo asks Vito to invest in his narcotics business to provide 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 clear out Vito's guards. Michael stops 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. The Corleones agree to the meeting and devise a plan to plant a handgun in the bathroom of the Bronx restaurant where the meeting will be held. Michael speaks with Sollozzo for several minutes then excuses himself, retrieves the gun, and 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 Vito's second son Fredo is sheltered by Jewish mobster Moe Greene in Las Vegas. In Sicily, Michael meets and marries a local woman, Apollonia. 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. Apollonia is killed shortly thereafter by a car bomb intended for Michael.

Devastated by Sonny's death and tired of war, Vito sets up 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. They have 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 tells Michael that he now knows that their true adversary had been Don Barzini all along. He 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 Moe Greene's stake in the family's casinos and reprimands Fredo for defending Greene, who Barzini had turned against the 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. Michael deduces the plot and Tessio is led off to be murdered. While Michael stands at the baptismal font as the child's godfather, Corleone hitmen murder the dons of the four other families as well as Greene for not selling his hotel. Michael extracts Carlo's confession that he had conspired with Barzini on Sonny's assassination. He assures Carlo that he is being exiled, not murdered. However, Clemenza strangles Carlo in a car shortly afterwards. Connie confronts Michael about his involvement in Carlo's death while Kay is in the room. Kay asks Michael if he ordered Carlo's death and is relieved when he denies responsibility. As she leaves, capos enter the office and pay reverence to Michael as "Don Corleone".

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.

The film is based on Mario Puzo's The Godfather, which remained on The New York Times Best Seller list for 67 weeks and sold over nine million copies in two years. Published in 1969, it became the best selling published work in history for several years. Burt Lancaster and Danny Thomas both expressed interest adapting the book. Paramount Pictures originally found out about Puzo's novel in 1967 when a literary scout for the company contacted then Paramount Vice President of Production Peter Bart about Puzo's unfinished sixty-page manuscript titled Mafia. Bart believed the work was "much beyond a Mafia story" and offered Puzo a $12,500 option for the work, with an option for $80,000 if the finished work were to be made into a film. Despite Puzo's agent telling him to turn down the offer, Puzo was desperate for money and accepted the deal. Paramount's Robert Evans relates that, when they met in early 1968, he offered Puzo the deal after the author confided in him that he urgently needed $10,000 to pay off gambling debts.

In March 1967, Paramount announced that they backed Puzo's upcoming work in the hopes of making a film. In 1969, Paramount confirmed their intentions to make a film out of the novel for the price of $80,000, with aims to have the film released on Christmas Day in 1971. On March 23, 1970, Albert S. Ruddy was officially announced as the film's producer, in part because studio executives were impressed with his interview and because he was known for bringing his films in under budget.

Evans wanted the picture to be directed by an Italian American to make the film "ethnic to the core". Paramount's latest gangster film, The Brotherhood, had done very poorly at the box office; Evans believed that the reason for its failure was its almost complete lack of cast members or creative personnel of Italian descent (the director Martin Ritt and star Kirk Douglas were not Italian). Sergio Leone was Paramount's first choice to direct the film. Leone turned down the option, in order to work on his own gangster film Once Upon a Time in America. Peter Bogdanovich was then approached but he also declined the offer because he was not interested in the mafia. In addition, Peter Yates, Richard Brooks, Arthur Penn, Franklin J. Schaffner, Costa-Gavras, and Otto Preminger were all offered the position and declined. Evans' chief assistant Peter Bart suggested Francis Ford Coppola, as a director of Italian ancestry who would work for a low sum and budget after the poor performance of his latest film The Rain People. Coppola initially turned down the job because he found Puzo's novel sleazy and sensationalist, describing it as "pretty cheap stuff". At the time Coppola's studio, American Zoetrope, owed over $400,000 to Warner Bros. for budget overruns with the film THX 1138 and when coupled with his poor financial standing, along with advice from friends and family, Coppola reversed his initial decision and took the job. Coppola was officially announced as director of the film on September 28, 1970. Coppola agreed to receive $125,000 and six percent of the gross rentals. Coppola later found a deeper theme for the material and decided that the film should not be about organized crime but a family chronicle, a metaphor for capitalism in America.