For anyone who thinks the Godfather is overrated

Rating: 10/10 (28 April 2005)

This post is probably gonna tick you off. But I don't want to flame on your tastes. I'm not gonna trash what anyone thinks is the best movie. This is just a very long-winded argument about why The Godfathers stand as milestones in cinema. Spoilers throughout.
I've read a number of posts who think the characters are hollow. There are long scenes when the characters seems to be doing nothing, or just *thinking*. That's one of the great parts of the film. There are deep threads of loyalty and family and duty throughout the trilogy, and the original Godfather (and ptII) is one of the few films that does these moments justice. The cast assembled does what few ever have: you can "see" them thinking. Brando, Pacino, DeNiro, Strasberg (of course), Duvall - all masters of what is probably the most difficult talent to achieve on film. Pacino is especially great at this in GpartII when you watch him agonize over what to do with (if you've seen it) *you-know-who*. There is a subdued intensity to each character, living a life where death is always around the corner of one bad mistake. They're thoughtful, intelligent, and conflicted. The gift of these movies is they don't telegraph these undercurrents or make it painfully obvious. If you let yourself, the characters draw you in to these processes.
Much of our current standards for cinema are based on flair and fast-action-packed-editing. Not to sound cheesy, but the Godfathers unfold like a rare flower, slow and with purpose. Keep in mind, there are no accidents in movies. That is to say, what you see in the frame is completely planned (as much as can be in cinema). Watch the scene where Brando is advising Pacino on the particulars of the business. There is real heartbreak between them, two men doing the family's business. Vito Corleone never wanted it to be Michael, and neither did Michael want it for himself, but both esteem the family more than themselves, and so they discuss this ugly business. If this movie were made today, the scene would only be a few snappy lines, some quick wit dialogue, and cut to the big explosion. This is a gem of a scene because you watch the actors put these emotions away to do what's brutal and necessary, and in a sense, say goodbye.
Watch Brando in the car after the meeting with the Five Families. He comes to a chilling realization about who is behind the war, but how? Watch this scene and then re-watch the meeting with the Five Families for the moment this realization hits him. It happens and is gone in a second, but in that second you see him decide what to do. He tucks away his anger and waits. He waits until Michael takes over, and passes this knowledge on to him without ever telling him what to do. This is where the art of direction makes this possible. Without a word ever being spoken about what's coming, Michael takes over the family business and sets the table to take control over all the families. Of course, when the hits are actually being done, and splicing them into the scene where Michael's niece is being christened, is the best form of ironic cinematic poetry. What makes the GpartI and GpartII connection is you see the same process in DeNiro/Young Vito. After he's shaken down for the last time by Don Fanucci, he decides what and how to do it in a second - and DeNiro shows that, without a word ever being spoken.
Of course, there are the iconic moments of the movie. The horsehead in the bed, (in the restaurant with Solozzo and McCluskey) Pacino coming to a boil as the train gets louder in the background, the opening scene with the undertaker (a great homily to Italian-Americans), Brando moving around the room and brushing his cheek, Fredo on the lake reciting the Hail Mary, Pacino kissing Fredo in Cuba, Sonny on the causeway, etc...
These are just a few of examples of what make these movies great. I've read where people can't identify to the characters. How many of us really can identify with the people we see on film? The Godfathers paint a portrait of a life unknown to just about everybody. The real gangsters liked it so much, they emulated the fictional parts (like the hand-kissing). The films are poetry, but there's nothing poetic about the events in it. The characters are sublime, but there's nothing sublime about their character. The movies don't give anything away (who saw the Fredo thing coming?), but are transparent at the same time. I know this is high minded and stuffy, but hopefully, even if you're not a fan, you can understand why the films are so highly regarded.
But, for the haters, I'll give you GpartIII - what in the h*ll was he thinking letting Sofia Coppola act? Part III is by far a weak addition to the trilogy...unless you're a die hard fan...not worth seeing. Now rub your eyes if you read the whole thing....