Monday, March 28, 2022

‘The Godfather’ Turns 50



Last Thursday marked the 50th anniversary of The Godfather. Based on and adapted from the 1969 novel by Mario Puzo, directed by Francis Ford Coppola (who, with Puzo, co-wrote the screenplay), it debuted in movie theaters nationwide on Friday, March 24, 1972.

The Godfather, about the Corleone mafia crime family, stars Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, John Cazale, Talia Shire and, one of my favorite actresses, Diane Keaton.

The Godfather won the 1972 Oscar for Best Picture. Marlon Brando won his second statue for Best Actor (he previously won that category for 1954 Best Picture winner On the Waterfront). Mario Puzo and Francis Ford Coppola won Best Adapted Screenplay. The Godfather was basically in a two-picture Oscar race with Cabaret. (That film musical hit its 50th anniversary last month.) Its director, Bob Fosse, prevailed over Coppola, who would return the favor two years later with topping Fosse’s Lenny with Coppola’s The Godfather, Part II, the Best Picture winner of 1974. (For the three times Fosse was nominated for Best Director, he met up every time with Coppola. Their last together was in 1979 with Fosse nominated for All That Jazz, Coppola for Apocalypse Now, and both having lost to Robert Benton for Best Picture winner Kramer vs. Kramer. Fosse died in 1987, before Coppola would garner his fourth, and to date last, nomination for 1990’s The Godfather, Part III.) Best Supporting Actor nominations went to Al Pacino, James Caan, and Robert Duvall who each lost to Cabaret’s Joel Grey as that film’s leading lady, Liza Minnelli, prevailed for Best Actress

I will refer readers to the some writings on this 50th anniversary. But, before doing so, I want to note that I will also include my favorite scene from The Godfather. It is “The Hospital” scene—with Al Pacino’s Michael, who senses his father (after surviving an assassination attempt) is again being targeted, shows his savvy, creativity, and resourcefulness. It is the moment in which it becomes obvious Michael is the one who should succeed his father.

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