The Godfather

The Godfather 1972

An offer you can't refuse.

The story spans the years from 1945 to 1955 and chronicles the fictional Italian-American Corleone crime family. When organized crime family patriarch Vito Corleone barely survives an attempt on his life, his youngest son, Michael, steps in to take care of the would-be killers, launching a campaign of bloody revenge.

If you like this movie you'll probably like these:

The Godfather: Part II
The Godfather: Part III
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14 users call this movie movie a favorite, including Marie-ChristineTremorin-veillet, GiselichiAguilichi, LaurentMoreau, BrandonKessler and jorritbeukers (show all)
Jon wrote:

I was expecting a masterpiece. It was better than that.

ronprice9 wrote:

And Our Ordinary Ordinariness

By some time in the late 1990s I had seen all three of the Godfather films. After I retired from FT(1999), PT(2003) and volunteer/casual teaching (2005), I wrote two prose-poems on each of the first two films in this trilogy. This prose-poem offers another personal perspective on these films, on the mafia and on the religion, the system of thought, I have been associated with now for some six decades, juxtaposed in a strange and bewildering synchronicity which surprised me as I investigated their parallel developments. It was impossible to fully understand either of these movements, except in part and through a glass-darkly, unless one was prepared to subject either of them to some degree of serious study. In our bewildering and complex world, at this climacteric of history, most people did not have the time or, more importantly, the interest.

The script for The Godfather Part III begins in 1979, the year I returned to Tasmania in the midst of yet another episode of bipolar disorder and more than fifteen years into my pioneering life for the Canadian Baha’i community. This last film in the trilogy began with a brief flashback on the life and family of the chief godfather in the film, Michael Corleone, a life going back to before WW2 in the entre deux guerres years with Corleone’s Sicilian connections; the film ends with the death of Michael Corleone who dies alone, an old man who has paid a high price for his sins. Some time not specified, but in the late 1990s, just before I retired from my work as a full-time teacher, the trilogy comes to a close. The story, the history, of the Sicilian mafia and its American, its international connections, of course, goes on1 but, for the time being, no more godfather films are planned. -Ron Price with thanks to Wikipedia, The Free Encyclopedia, 7 April 2008; and 1 “The Modern Mafia In Italy,” Wikipedia, 7 April 2008.

As I watched these three godfather films
again in this new millennium and read
about the mafia which had always been
on the periphery, the far edges, of the
knowledge that I held in my personal
data-bank of memory for recall, I realized
that I belonged to an organization that had
a history more bloody than the one I had
just witnessed and viewed for my sensory
pleasure on a cool Tasmanian evening.
One whose mystic fane that went back to
a routinization of charisma and origins in
another blood-stained story that was as
obscure and tragic, as intensely dramatic,
as secretive, with poems inadequate to
the murder of so many, as full of dire
convulsions and very real terror and of
debauchery and shame, extremes of a
commitment that fell into history’s chaos
with an anguish as incomprehensible as
Auschwitz, so often nameless and blood-
soaked bodies, only their image left to
streak across our vision in this cinematic
trilogy and tumble endlessly before history
that cocky jaywalker which succumbs to
bullets, knives and fists on our screen with
a careless technicolour ease as our own lives
pass by always emerging in their unscripted,
flawed, plausible celluloid safety and their
immensely ordinary, humanly, ordinariness.

Ron Price
7 April 2008

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