Starting point of the trilogy
It is the first film in Coppola’s trilogy; the sequel is The Godfather Part II (1974), followed by The Godfather Part III (1990).
References:wikipedia.org
Film record
The Godfather
The Godfather (1972), directed by Francis Ford Coppola, is a crime drama about the Corleones, a New York Mafia family, and the place Michael, Vito’s youngest son, occupies within it.
- Production countries
- United States · Italy
- Languages
- English · Italian
- Genres
- drama film · thriller film · crime film · historical film · gangster film · epic film · crime drama film · historical drama film · suspense film · crime thriller film · police procedural film
The starting point
Spoiler-free synopsis
In New York, in 1945, the wedding of Connie Corleone brings the family and their guests together around Vito, the patriarch and Mafia boss. Michael, his youngest son, attends apart from the family business; the initial conflict is framed by the distance between him and the weight of the family to which he belongs.
Before you press play
What to know before watching
Adaptation of a novel
The film adapts Mario Puzo’s novel of the same name, which he co-wrote with Coppola.
References:wikipedia.org
Understanding the reception
What people think
A synthesis of the referenced review and comment excerpts. It represents the consulted sources, not a consensus of all critics or viewers.
What critics highlight
Appreciated aspects
Performances by Brando and Pacino
Pauline Kael’s review highlights how Pacino’s restrained presence complements Brando’s work, and praises the breadth of both actors’ performances (The New Yorker).
References:newyorker.com
Could this be for you?
Crime and violence
The story revolves around a Mafia family and organized crime; it is worth keeping this criminal context in mind when choosing the film.
Sources for this guide
Prepared with AI assistance and automated evidence and spoiler checks. This is not a first-hand viewing review or a numerical rating. Internal quotations are not reproduced; references provide the original context.
- wikipedia.orgDocumentary excerpt
- youtube.comSearch excerpt
- sensacine.comSearch excerpt
- newyorker.comSearch excerpt
Credits
Music
Nino Rota — Music composition
Direction
Francis Ford Coppola — Directing
Cinematography
Gordon Willis — Cinematography
Art department
Dean Tavoularis — Production design
Costume
Anna Hill Johnstone — Costume design
Writing
Mario Puzo — Screenwriting
Francis Ford Coppola — Screenwriting
Cast
Marlon Brando — Acting (Vito Corleone)
Al Pacino — Acting (Michael)
James Caan — Acting (Sonny)
Richard S. Castellano — Acting (Clemenza)
Robert Duvall — Acting (Tom Hagen)
Sterling Hayden — Acting (Capt. McCluskey)
John Cazale — Acting (Fredo)
Diane Keaton — Acting (Kay Adams)
Talia Shire — Acting (Connie)
Abe Vigoda — Acting (Tessio)
Al Lettieri — Acting (Sollozzo)
Gianni Russo — Acting (Carlo)
Corrado Gaipa — Acting (Don Tommasino)
Al Martino — Acting (Johnny Fontane)
John Marley — Acting (Jack Woltz)
Johnny Martino — Acting (Paulie Gatto)
Lenny Montana — Acting (Luca Brasi)
Richard Conte — Acting (Barzini)
Alex Rocco — Acting (Moe Greene)
Julie Gregg — Acting (Sandra Corleone)
Simonetta Stefanelli — Acting (Apollonia Vitelli-Corleone)
Saro Urzì — Acting (Vitelli)
Angelo Infanti — Acting (Fabrizio)
Franco Citti — Acting (Calò)
Joe Spinell — Acting (Willi Cicci)
Morgana King — Acting (Mama Corleone)
Richard Bright — Acting (Neri)
Rudy Bond — Acting (Cuneo)
Vito Scotti — Acting (Nazorine)
Carmine Coppola — Acting (Piano Player)
Roman Coppola — Acting (Boy on Street)
Sofia Coppola — Acting (Michael Francis Rizzi)
Ron Gilbert — Acting (Usher)
Tony King — Acting (Tony)
Raymond Martino — Acting (Corleone Family Member)
Nick Vallelonga — Acting (Wedding Party Guest)
Tony Giorgio — Acting (Bruno Tattaglia)
Victor Rendina — Acting (Philip Tattaglia)
Salvatore Corsitto — Acting (Bonasera)
Tere Livrano — Acting (Theresa Hagen)
Editing
William H. Reynolds — Editing
Peter Zinner — Editing
Production
Albert S. Ruddy — Production
Robert Evans — Executive production
Versions and cuts
No versions have been documented yet.
Releases by territory
United States · Original release
Related reading
Cinema in the 1970s: works, context and the limits of the evidence
A decade organizes a period, not a single aesthetic. Films, industries and exhibition circuits can change at different rates; one case cannot alone represent all the cinema of those years.
Film connections
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Non-personalised suggestions built from visible relationships, not popularity.
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