Amazon.com Essentials:
Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce Reid
Amazon.com video review:
Jumping on to the end-of-the-century bandwagon a little early,
Paramount Pictures released 10 of their top films in one 10-pack, the
Millennium Collection, in 1998. All the films are presented in their
widescreen editions; one, Breakfast at
Tiffany's, is offered in this format for the first time. The
set includes 5 Best Picture Oscar winners and films that took home an
additional 33 Academy Awards. All the tapes are available to buy
individually. The pack, with a handsome mosaic of faces from the
movies, also features collector gift cards (a movie version of
baseball cards) and a commemorative booklet detailing the productions
of all 10 films. The collection is oddly weighted toward the last 25
years, offering only one film from the 1950s and one from the
1960s. Your taste in current cinema will define the value of the
set. Besides Tiffany's, one of Audrey Hepburn's finest films,
the collection contains: The Ten Commandments
with Charlton Heston, Grease with John
Travolta, Francis Ford Coppola's Apocalypse Now and
The Godfather,
the funny, whale-saving Star Trek IV--The Voyage
Home, Tom Cruise's hit Top Gun, the smash
hit Ghost with
Demi Moore, Mel Gibson's Celt fest Braveheart, and Forrest Gump with
Tom Hanks. --Doug Thomas
Amazon.com Essentials:
Generally acknowledged as a bona fide classic, this Francis
Ford Coppola film is one of those rare experiences that feels
perfectly right from beginning to end--almost as if everyone involved
had been born to participate in it. Based on Mario Puzo's bestselling
novel about a
Mafia dynasty, Coppola's Godfather extracted and enhanced the
most universal themes of immigrant experience in America: the
plotting-out of hopes and dreams for one's successors, the raising of
children to carry on the good work, etc. In the midst of generational
strife during the Vietnam years, the film somehow struck a chord with
a nation fascinated by the metamorphosis of a rebellious son (Al
Pacino) into the keeper of his father's dream. Marlon Brando played
against Puzo's own conception of patriarch Vito Corleone, and time has
certainly proven the actor correct. The rest of the cast, particularly
James Caan, John Cazale, and Robert Duvall as the rest of Vito's male
brood--all coping with how to take the mantle of responsibility from
their father--is seamless and wonderful. --Tom Keogh
