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TVTranscript
00:00:00I want to make him an offer he can't refuse.
00:00:06It's a metaphor for capitalism in its purest form.
00:00:12There would be no way you could ever forgive me.
00:00:16Not with this Sicilian thing that's been going on for 2,000 years.
00:00:23It's not glorifying bad guys,
00:00:26but you're glorifying what people would do for their family.
00:00:30Do you have any interests or control over gambling and narcotics?
00:00:36I challenge this committee to produce any witness or evidence against me.
00:00:42What do you think this is, the army where you shoot them a mile away?
00:00:45You got to get up close like this, bada-bing,
00:00:47you blow their brains all over your nice cyber league suit.
00:00:51Sure I met mob guys.
00:00:56I'm lucky they liked it, that's what I say.
00:01:01It was a book that caused a sensation.
00:01:05And a film that is considered one of the greatest ever made.
00:01:10After more than four decades,
00:01:12The Godfather and its sequels
00:01:14still manage to entertain,
00:01:17engage,
00:01:19frighten,
00:01:21and involve.
00:01:23Just when I thought I was out,
00:01:24they pull me back in.
00:01:27It is the saga of an American family.
00:01:29It is the story of America.
00:01:32It is the story of America.
00:01:35I believe in America.
00:01:49America has made my fortune.
00:01:51And I raised my daughter in American fashion.
00:01:56I gave her freedom, but I taught her and Eva to dishonor her family.
00:02:02A few months ago, for the first time I watched The Godfather,
00:02:04and there is this beautifully shot scene where the guy comes to The Godfather and asks him to help him.
00:02:15And starts relating the story of how his daughter was abused.
00:02:19Do what I beg you to do.
00:02:22What is that?
00:02:24I thought, this is what made the movie.
00:02:27Everyone can relate to that.
00:02:29The universe can relate to that.
00:02:31Here is a guy, got really tragic problems.
00:02:34His daughter being raped and beaten.
00:02:37He goes to The Godfather because nobody else will help him.
00:02:41We've known each other many years, but this is the first time you ever came to me for counsel or for help.
00:02:48Now you come to me and you say,
00:02:50Don Corleone will give me justice.
00:02:54But you don't ask with respect.
00:02:57You don't offer friendship.
00:02:59You don't even think to call me Godfather.
00:03:02Everybody feels that thing of I've only had some place I can go to get justice,
00:03:07to get taken care of, to be helped.
00:03:09Be my friend.
00:03:14Godfather.
00:03:17It's everybody's dream to have the father, the Godfather.
00:03:21Call it a Godfather, who comes and helps you with your issues.
00:03:29I was sitting in my office one day and got a most astounding phone call
00:03:34from Stanley Jaffe, who was the president of Paramount Pictures, saying, would I be interested in producing The Godfather?
00:03:44Because at that point I hadn't read the book.
00:03:47So, of course, I said, it's my favorite book.
00:03:50I then went right out. I got a copy of The Godfather.
00:03:55And, of course, like everyone else in America, I couldn't stop reading it. I read it in one sitting.
00:03:59Originally published in 1969, The Godfather was author Mario Puzo's fifth novel.
00:04:06And, unlike his previous efforts, it became a huge bestseller.
00:04:11The story of a New York-based crime family, The Godfather was attracting interest even before its publication.
00:04:18Puzo's editor called me and said he has written 60 pages of a new book, which he feels and I feel has real commercial potential,
00:04:30could find an audience, unlike his other books.
00:04:33I said, what is it about? And he said, the mafia. And I thought, oh, no.
00:04:36Paramount had done a movie two years prior to that called The Brotherhood, which was a financial disaster.
00:04:42They were totally convinced nobody wanted to see a mob movie anymore.
00:04:49In early Hollywood, there were a series of popular gangster movies like Little Caesar and Public Enemy, the original Scarface.
00:04:58Gangster films were thought of as B-movies in a lot of cases, not very important, not very significant.
00:05:06Crime breeds crime, and one gang of outlaws is linked to another.
00:05:09And gangsters were seen as a social problem, as a societal menace.
00:05:16FBI, Dillinger.
00:05:24But clearly, Mario Puzo had a book that was beyond the standard mafia sort of tale.
00:05:30In the Godfather novel, Don Corleone is painted not as a disease, rather, he's painted as God.
00:05:41He's a father to his family, to something entirely new.
00:05:45And this is the great ideological innovation that Puzo introduced into the whole conversation.
00:05:53In a surprising move, Paramount Pictures' production chief, 38-year-old actor-turned-mogul Robert Evans, hired a relatively unknown director with a short list of credits and an audaciously long name, Francis Ford Coppola.
00:06:09Although he had made a handful of Hollywood films, including the big screen musical Finian's Rainbow, starring Fred Astaire, Coppola considered himself an outsider, a maverick with a strong independent spirit.
00:06:23He preferred to operate from Northern, not Southern California, where he was running his own production company, American Zoetrope.
00:06:32And for him, filmmaking was a family affair.
00:06:36In those days, I was about 27, I was determined to be what we called up there in San Francisco, a personal filmmaker.
00:06:45I wanted to be involved in the cinema rather than to be a big Hollywood director.
00:06:51And Francis was interesting because the idea of doing a mafia story from the point of view of a director who was really interested in making independent pictures, that's what struck us as fascinating.
00:07:03And typically, Francis Coppola, when confronted with the material, didn't want to do it.
00:07:06Much of the original book was a pot boiler, so it was not a film I particularly wanted to do, but I had no money.
00:07:15And my then young assistant, George Lucas, said, Francis, you got to get a job because the sheriff's going to come and put a chain on the door of American Zoetrope because we haven't paid our bills.
00:07:26Do this movie. And so I ultimately took the job and wrote the screenplay.
00:07:30I just took the novel and went through it and underlined everything that I thought that I could use.
00:07:37Francis was up against it.
00:07:39You could have gone either way with that book.
00:07:42You could have made it into a great gangster piece.
00:07:45However, he wanted more. He wanted the subtext. He wanted the inner life.
00:07:50But that takes a lot of courage on the part of a director, you know, a lot of courage to pull that off.
00:07:56Coppola's outsider's approach to filmmaking quickly made itself evident as he began to cast the film.
00:08:04For the leading roles, he preferred actors who were either unknown, unlikely, or in the case of Marlon Brando, unpopular with the Hollywood studios.
00:08:15But in an effort to prove that he could convincingly play an Italian mobster, the 47-year-old actor submitted to a makeup and wardrobe test.
00:08:23Marlon Brando was not the sort of person that you would go to if you worked for a studio.
00:08:30Brando was self-destructive and was pretty well burned out.
00:08:35But we finally agreed over the objections of other people. Coppola's going to direct this movie.
00:08:41So let him decide that he wants Marlon Brando.
00:08:44But there was one actor who was universally favored by both Coppola and the studio.
00:08:54James Kahn.
00:08:5668.
00:08:59Action.
00:09:00Michael, why are all those people bothering your father on a day like this?
00:09:05Well, that's because they know no Sicilian can refuse a request on his daughter's wedding day.
00:09:10He was up for Michael, but I always imagined him as Sonny.
00:09:15He's not Italian, but Jimmy knows about Italians, because he was raised in Sunnyside, right a few blocks next to my grandmother.
00:09:21I don't think it mattered if I was Italian or not Italian.
00:09:25You know, Italians are guys from Sicily or Naples or wherever.
00:09:29We were plain Americans.
00:09:31Who happened to be Italian?
00:09:34But of all director Francis Ford Coppola's casting choices,
00:09:38perhaps the most controversial and difficult for the studio to accept
00:09:42was his choice of newcomer Al Pacino for the role of Vito Corleone's youngest son, Michael.
00:09:47Evans had a concern about Pacino because he was very young.
00:09:54209.
00:09:56His screen tests weren't terrific.
00:09:59Action.
00:10:00Michael, why are all these people bothering your father on a day like this?
00:10:04Why are you bothering my father?
00:10:07Do you want to be like him?
00:10:10All the favors he does for people and all the respect they have for him?
00:10:13Is he like you?
00:10:19Nobody's like me.
00:10:21Got it?
00:10:23Bob Evans wanted someone like Ryan O'Neal or even Redford for Michael.
00:10:28Wanted a good-looking guy and stuff.
00:10:30I realized at one point, Bob Evans wanted a guy who sort of looked like him
00:10:34and I wanted a guy who sort of looked like me, you know?
00:10:37But I had Al Pacino's face burnt into my mind.
00:10:41Well, this is a slow wedding.
00:10:44This isn't a wedding.
00:10:46And I was thinking, why would Francis want me to play that part?
00:10:51I much prefer Sonny, the one that's more robust, more, there's more to play there.
00:10:56There's more fun there.
00:10:57How do you play Michael?
00:10:58I thought, but he sees me as Michael.
00:11:01I thought, gee, he's seeing something I don't see.
00:11:03Production on The Godfather began on March 23, 1971.
00:11:10The principal location, the Corleone's family compound, was on Staten Island, New York,
00:11:18at the family home of Edward and Mary Norton.
00:11:21Seen here for the first time are home movies taken during the film's preparation and shooting.
00:11:26My mother documented the entire process.
00:11:28My mother is a fanatic for details.
00:11:30She actually wrote a diary, too, of when they showed up, what they did every day.
00:11:34They actually built an addition onto the back of the house that would be the Godfather's den for that famous scene where the people came in and asked for favors.
00:11:40They put up an eight-foot plywood wall and then put plastic sheen in front of it to simulate stone.
00:11:53The wall closed off the house.
00:11:56There was a gate, so that formed the compound.
00:12:00Despite the intensity of the film's dramatic storyline, the atmosphere on the set was often disrupted by the outrageous antics of the actors,
00:12:08particularly those of Marlon Brando.
00:12:14I remember the day they'd bring him home in the stretcher.
00:12:17So me and Bobby, we both picked it up and started taking him on stairs.
00:12:20And my gonads near hit my ankles.
00:12:21I mean, I said, holy jeez.
00:12:23Well, what he did, he put about 500 pounds of plates underneath the mattress.
00:12:28He started to laugh after about three steps.
00:12:31He just thought I was hysterical.
00:12:33But for Francis Ford Coppola, writing, producing, and directing The Godfather was no laughing matter.
00:12:42Cost overruns, production delays, and constant interference from the studio made the experience of making the film a nightmare.
00:12:50I was in deep trouble throughout the whole making of The Godfather, as far as the studio was concerned.
00:12:59During the shooting, Francis was almost fired.
00:13:02For example, he didn't warn us that he was shooting the film very dark, and they were trying to experiment.
00:13:09Paramount said, what are you guys doing?
00:13:12I'm making an art house movie here.
00:13:14And who's Al Pacino? He's a midget.
00:13:17There was a plot afoot to name a successor to Francis.
00:13:22I didn't know about it, and neither did Evans, which really pissed me off.
00:13:27We're all on the edge of being shown the door.
00:13:30Okay. That's how it was.
00:13:32It was on such a track to be a failure. Everyone hated it.
00:13:37I remember we were all in the editing room, and everyone was talking about this sensational movie, which was called The French Connection.
00:13:45And one of the assistant editors says, it's really exciting, electric, a real movie.
00:13:50Then I said, sort of fishing, I said, well, I guess by comparison, they'll think The Godfather is just a long, boring, dark movie.
00:13:57And he said, well, yeah, I guess you're right.
00:14:01People at Paramount saw it and unanimously felt it was too slow and too talky.
00:14:06And at two hours and 20 minutes would not really be a success commercially.
00:14:13The Godfather had its worldwide premiere at Lowe's State Theatre in New York on March 15th, 1972.
00:14:20After years of negotiations and bitterness on all sides of the production, the fate of the film now rested in the hands of the public.
00:14:30The Godfather as a motion picture was completed.
00:14:34But The Godfather legacy was only just beginning.
00:14:38I am honored and grateful that you have invited me to your home on the wedding day of your daughter.
00:14:51That man over there is talking to himself.
00:14:54See that scary guy over there?
00:14:57He's a very scary guy.
00:14:59Well, who is he? What's his name?
00:15:01His name is Luca Brasi.
00:15:03He helps my father out sometimes.
00:15:05The Godfather tells the story of an Italian-American crime family.
00:15:17Set in the 1940s, the plot was loosely inspired by real-life mobsters who operated out of New York City.
00:15:24The book The Godfather didn't reference anything real.
00:15:28It was filled with innuendi about who was the Godfather.
00:15:33Was he Profaci?
00:15:35Was he Genovese?
00:15:37So I went to the local library and I took out four books on the New York Mafia and I read them all.
00:15:43And I began to know about the so-called five families.
00:15:47And I started to know about the real story.
00:15:50Well, I had several conversations with Mario Puzo and basically he told me he used three different Godfathers.
00:16:00Obviously, Carlo Gambino was the image of Brando and all of that in the garden.
00:16:06And then the line about you have all these politicians in your pocket.
00:16:10That was Frank Costello.
00:16:13And Joe Profaci was Genovese oil.
00:16:18Because he was the olive oil king of the world.
00:16:21So using those three characters is how he came up with Rio Cordelone.
00:16:25Unlike other mob films, Coppola and author turned screenwriter Mario Puzo chose to show the characters more vulnerable human side.
00:16:38Being an Italian American, I knew my own family who were a family of musicians and tool and die makers but living in New York.
00:16:46And so I knew what the family life was like.
00:16:48I was very much anxious to draw upon my own family in terms of how we lived and what it was like in the house and what we ate and what the day-to-day feel of an Italian family was.
00:17:02I used as much of my own memory of my family to give it a kind of authenticity and that was my approach.
00:17:09The Godfather presented this image of a familial culture that was rooted in centuries of history.
00:17:25And it gave this image of this stability and continuity.
00:17:30Hey, Chloe, let me have some wine.
00:17:33That opening sequence of the wedding reminded me of Italian American weddings I'd attended as a child.
00:17:39Everything that the people did, the way they talked, the way they pronounced certain foods, the envelope with the money given to the brides.
00:17:48One eight thirty grand. In small bills, cash.
00:17:52They were the most Italian Italians I'd ever seen in a movie before.
00:17:55Marron, if this was somebody else's wedding, sfortunato.
00:17:59It really gave it the flavor, the oil and garlic, as we call, of the movie.
00:18:04For movie-going audiences in the 1970s, the world they were living in was being threatened by drastic social change.
00:18:13Move it!
00:18:15One, two, three, four, three, eight, four, four.
00:18:18Institutions like marriage and family were targets of the counterculture.
00:18:23And the Godfather's focus on the strong, tight-knit bond between Don Vito Corleone and his mobster family was by contrast both traditional and reassuring.
00:18:32And reassuring.
00:18:35You spend time with your family?
00:18:37Sure I do.
00:18:38Good.
00:18:40Because a man who doesn't spend time with his family can never be a real man.
00:18:45The Godfather is this perfect reflection of its time period in a lot of ways.
00:18:49Perhaps for members of the audience, they were comforted by the fact that here you have very traditional, very clearly defined male roles and female roles.
00:19:01It is during the wedding scene that the audience is introduced to the Godfather's rich tapestry of characters.
00:19:07There's Connie, the daughter, whose marriage to Carlo Rizzi becomes the catalyst for the drama that follows.
00:19:15Sonny, the quick-tempered oldest son.
00:19:19Fredo, the dim-witted but sensitive middle child.
00:19:25This is my brother Mike.
00:19:27Tom Hagen, the adopted son, who serves as the Corleone family's consigliere.
00:19:34Salud.
00:19:36Clemenza and Tessio, the trusted lieutenants.
00:19:41Luca Brasi, the enforcer.
00:19:44And Michael, Don Vito's youngest son.
00:19:48The war hero who has, so far, managed to remain uncorrupted by the family business.
00:19:54Michael, you never told me you knew Johnny Fontaine.
00:19:57Well, when Johnny was first starting out, he was signed to this personal service contract with a big band leader.
00:20:05And as his career got better and better, he wanted to get out of it.
00:20:09And my father went to see this band leader.
00:20:12And within an hour, he signed a release.
00:20:15Well, how'd he do that?
00:20:17My father made him an offer he couldn't refuse.
00:20:21What was that?
00:20:23Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract.
00:20:30That's my family, Kay. It's not me.
00:20:35I don't think Michael ever felt really comfortable in himself.
00:20:39And I think he had to acclimate to the new America and its values.
00:20:44To the point where he actually enlists into the army and becomes a war hero.
00:20:49He is the quintessential outsider, it would appear.
00:20:54In fact, to some extent, it almost seems like he's mocking his family.
00:20:58This is what they do. This is not who I am.
00:21:02Michael is a war hero.
00:21:04Michael is a person who is so far removed from the family business and by design.
00:21:09In the Godfather films, members of the Corleone family are depicted not as one-dimensional criminals, but as multi-layered family men whose chosen business is crime.
00:21:23What made it hold up was the values that Don Corleone, played by Marlon Brando, held for his children and his family.
00:21:31As twisted as they were in his mind, everything he did was for them.
00:21:38We see ourselves in their family rituals.
00:21:42You're invited to their weddings, you're invited to their baptisms.
00:21:46You eat spaghetti in their kitchens.
00:21:48You start out with a little bit of oil and you fry some garlic.
00:21:51Then you throw in some tomatoes, some tomato paste, you fry it, you make sure it doesn't stick.
00:21:55Imagine a film that had these gangsters feeding children and cooking.
00:22:01This was unheard of.
00:22:03They put you right in the kitchen, right in the living room.
00:22:07These people were us.
00:22:10In the film, a turning point for the entire family comes when Don Vito Corleone stifles attempts by a rival gang to add the sale of narcotics to the mob's list of illegal operations.
00:22:22I need Don Corleone, those politicians that you carry in your pocket, like so many nickels and dimes.
00:22:30Don Corleone doesn't want to sell drugs.
00:22:33This turns out to be a mistake.
00:22:35It turns out to be the wrong decision from a business standpoint, but morally, he's uncomfortable with it.
00:22:41There's almost no area that the mob didn't earn its money in.
00:22:45Construction, extorting money from people who were building buildings.
00:22:48Gambling, loan sharking.
00:22:51But they tended to stay away from narcotics.
00:22:53It's true, I have a lot of friends in politics.
00:22:57But they wouldn't be friendly very long if they knew my business was drugs instead of gambling, which they regard as a harmless vice, but drugs is a dirty business.
00:23:07The point is, in capitalism, morals are often changing and evolving to fit the needs of the situation.
00:23:14And I think that's what you see in The Godfather, so one is not uncomfortable because morals and the construction of morals are constantly being questioned.
00:23:25The tensions between the Corleone family and their rivals escalate, resulting in Don Vito being gunned down in the street.
00:23:33We should never lose sight of the fact these are criminals, crooks, thieves, murderers, dispensing, you know, drugs and heinous activities through our society.
00:23:54And yet, after you watch The Godfather, you begin to feel for the Marlon Brando figure.
00:24:03I want you to take care of that son of a bitch right away.
00:24:07Paul, you sold out the old man.
00:24:09I don't want to see him again, make that first thing on your list, understand?
00:24:11What time are you going to be home tonight?
00:24:13I don't know, probably late.
00:24:17Don't forget the cannoli.
00:24:19Yeah, yeah, yeah, yeah.
00:24:21You catch yourself saying, my gosh, they've got me rooting that someone murdered somebody else.
00:24:25That kind of thing, I think, is possible.
00:24:28You can be sort of seduced into this and you find out, what am I doing?
00:24:31You know, this is bad.
00:24:32But the moral ambiguity of The Godfather challenges the audience's notions of good and evil.
00:24:44Leave the gun.
00:24:46Take the cannoli.
00:24:48You almost liked them, you humanized them, you rationalized them, you justified what they were doing.
00:24:54You could see what motivated them and you could understand that they were loyal to their own family, to their own ideal of ethics.
00:25:03Compartmentalization is a phenomenon that the brain uses to separate out feelings.
00:25:09Good feelings, bad feelings, and it's a phenomenon that makes people like Vito and Sonny and Michael compartmentalize the good, the bad, and the ugly.
00:25:19It was all for the sake of family, and I think that came from Francis.
00:25:23And Francis' handling of a subject that could otherwise be extremely coarse.
00:25:27But you don't really so much remember the violence as much as you do the relationships.
00:25:33Everything was sort of condoned because it was everything was done for the family. Everything.
00:25:38What are you doing here? You're not supposed to be here now.
00:25:47I'm Michael Corleone. This is my father.
00:25:50There's nobody here. What happened to the guards?
00:25:52Your father just had too many visitors. The police made them leave about ten minutes ago.
00:25:59I'm sorry, but you will have to leave.
00:26:02Uh, you and I are gonna move my father to another room. Now, can you disconnect those tubes so we can move the bed out?
00:26:09That's out of the question.
00:26:11You know, my father, the men are coming here to kill him. You understand? Now, help me, please.
00:26:18After the assassination attempt on his father, Michael Corleone is compelled to join his brothers in protecting and avenging him.
00:26:34I'm with you now.
00:26:37A decorated war hero, Michael will now fight to defend something even more important than his country.
00:26:43I'm with you.
00:26:44His family.
00:26:46But in guarding Don Vito, Michael Corleone is drawn into the very world of crime and corruption from which his father struggled to shield him.
00:26:55I thought I got all you guinea hoods locked up.
00:27:02What happened to the men who were guarding my father, Captain?
00:27:05Why, you little punk. Make a hold of him. Stand him up. Stand him up straight.
00:27:10There's a great turning point. The horror is worse than we imagined life would serve up. And because of these tragedies, we heard change. And that is what happens to Michael.
00:27:25Let's set the meeting. Get our informers to find out where it's going to be held. But if Clemenza can figure a way to have a weapon planted there for me.
00:27:37Then I'll kill them both.
00:27:43Nice college boy, huh? Didn't want to get mixed up in a family business? Now you want to gun down a police captain? Why, because he slapped you in the face a little bit? Huh?
00:28:01What do you think this is? The army where you shoot them a mile away? You got to get up close like this. Bada-bing! You blow their brains all over your nice cyber league suit. Come in.
00:28:09Mwah! You're taking this very person.
00:28:11I think Michael was always thinking on his feet. I think he was a pragmatist. That's what made him a good leader. He was practical.
00:28:20And I think he knew that things happen. And you deal with them. So, in a way, you could say he's a survivor.
00:28:27Michael's choice to go shoot Saloso and McCluskey was something that every gangster could relate to. He had his father's honor on the line. So he's doing what he's doing for an honorable reason.
00:28:41Every mob guy on his way up makes his bones somehow. And that was the day that Michael made his bones.
00:28:48Reminiscent of the hero's great exploit, described in many ancient myths and legends, Michael's act of revenge will forever change his destiny.
00:28:58Myth is derived from basic human principles. Myth originates to try to illuminate human behavior, human life. And so it's in us. It's in our souls.
00:29:10At some point, the hero will face a challenge. If he can rise to that, then he can show he is the extraordinary leader that is blessed and can take power.
00:29:23The moment Michael takes up the family business, he changes himself forever.
00:29:46He has redefined his life story. He has departed from one world and entered another.
00:29:56While Michael Corleone escapes to Sicily, his brother Sonny begins fighting a bloody mob war.
00:30:03You break the law, you pay the price. But what you see with the gangsters, if you break their rules, you will pay. There will be no two ways about it. There's something about that sense of vengeance that's utterly affirming.
00:30:20Affirming. And if that means someone has to die, then unfortunately someone has to die.
00:30:26People always love the anti-hero because deep down everyone feels they're an outsider or that they're not enfranchised.
00:30:33They love the bad guys in the westerns. They love to leave the kid. You tend to like the criminal.
00:30:39It's sort of this love of the people outside the norms in whatever way who stand up and fight back even if they go down in a fusillade of bullets.
00:30:48There's something that we've romanticized in our culture about that.
00:30:52Dillinger was put in the custody of Sheriff Lillian Holley. She boasted that she could keep him and he boasted she couldn't.
00:30:59This didn't prevent the amazing happy family picture in which the sheriff posed with Dillinger in apparently affectionate intimacy.
00:31:09It's the glamour. It's the money. It's the power. It's the I want that girl. She's mine. I want that business. I'm taking it.
00:31:15I drive in the best car. You better respect me. People are turned on by that. They really are.
00:31:21They key in on the glamour and I think that's prominent throughout all of society in general.
00:31:28For many people, it's the fantasy of outlawhood, the idea of a lone individual who makes his own destiny,
00:31:35who isn't subject to the rules of conventional society,
00:31:39the man with a plan who puts it into play and is not a nine-to-fiver
00:31:44and isn't subject to a lot of the constraints that us regular folks have to deal with in our daily lives.
00:31:50Flash bulbs almost obliterate the figure of Al Capone, who had himself obliterated so many others.
00:31:57This is one of his many trips to Cook College Police Station.
00:32:01And rid of habeas corpus barely dry, he is free again.
00:32:06I don't know if we're all fascinated by gangsters as much as we're fascinated by men of action.
00:32:11These were deliberate, ruthless men. They are unsavory, horrible people and murderers.
00:32:17Yet there's something attractive or compelling about them that really fascinates everyone.
00:32:22It's part of American culture.
00:32:25In pop culture, the way that they've co-opted the gangster, the godfather,
00:32:31I still see the romanticization.
00:32:34But when my father was arrested in front of me when I was five, I had an idea he was a criminal.
00:32:41But it wasn't until I confronted my mother when I was 17, I realized he was in the mafia.
00:32:47My mother said that taking life was part of my father's business.
00:32:53It was an unintentional byproduct of what he did.
00:32:57And she made it sound like it was a spontaneous thing that happened.
00:33:00But five times, six times, you know, somehow he got it in his head that violence could be a solution to a problem.
00:33:13But while Sonny and Don Vito struggle to maintain their power in New York,
00:33:19their rivals are about to exploit another weakness, the women of the Corleone clan.
00:33:25And even Michael, exiled in Sicily, will discover his greatest vulnerability.
00:33:32Since McCluskey's killing, the police have been cracking down on most of our operations.
00:33:41And also the other families.
00:33:43There's been a lot of bad blood.
00:33:45They hit us, so we hit them back.
00:33:49Because Michael...
00:33:51It was Michael who killed Salazar.
00:34:12While his family wages a bloody mob war in New York City,
00:34:15Michael Corleone is sent to hide out with friends in Sicily.
00:34:27There, in his father's ancestral home of Corleone,
00:34:31he meets a beautiful local girl named Apollonia.
00:34:37Michael is sent off to Sicily to hide from American law.
00:34:50It's not America, it's not New York, it's not the cosmopolitan world.
00:34:55It is Eden.
00:34:57It is innocence itself.
00:34:59Or so it appears.
00:35:02While hiding out in Sicily, Michael treats Apollonia with respect.
00:35:09In sharp contrast to how his brother Sonny behaves back home.
00:35:15I think sex has an interesting role in the Godfather films.
00:35:22Clearly, in many instances, there is the dichotomy between what people do in their families.
00:35:30They have a wife, they have a family, but they have a guma.
00:35:34And it is an acceptable part of the culture.
00:35:41The release of the Godfather in 1972 came during a time when gender roles were being challenged.
00:35:48The Godfather films appeared at a time after the women's movement had revived in the late 1960s.
00:35:55Masculinity in general was being denigrated by the very inflammatory rhetoric of the early women's movement.
00:36:02Men were losing a sense of what they should be, who they should be.
00:36:08In contrast, the Godfather reflected the traditional role of men as the head of the family.
00:36:14Well, Papa never talked business at the table in front of the police.
00:36:18Hey, shut up, Carmen.
00:36:19Hey, don't you ever tell her to shut up.
00:36:21You got that?
00:36:23Women, however, were powerless.
00:36:26And nowhere was this more apparent than when Sonny notices that his sister has been brutally beaten by her husband.
00:36:32What's the matter?
00:36:33Huh?
00:36:34What's the matter?
00:36:35It was my fault!
00:36:36What reason?
00:36:37Sonny, please!
00:36:38It was my fault!
00:36:39Sonny, it was my fault!
00:36:40Sonny, it was my fault!
00:36:41Sonny, it was my fault!
00:36:42I hit him!
00:36:43I started to fight with him!
00:36:44Please, Sonny!
00:36:45I hit him so he hit me!
00:36:46I hit him so he hit me!
00:36:47The way Francis handled it and Mario handled it, there was no choice.
00:36:53The guy had it coming.
00:36:56If you didn't do it, there was something wrong with his honor.
00:36:59Come here, come here, come here, come here!
00:37:02When Sonny threw the broomstick at Carlo, I mean, that was funny.
00:37:06First of all, when we were beating somebody up, anything that wasn't tied down, we hit the guy with.
00:37:11I mean, that's just the way it was.
00:37:12You know, if your shoe fell off, you hit the guy with the shoe.
00:37:18I mean, there was no rules that said it's okay to go break somebody's head open.
00:37:23But they were living in a world that was full of that.
00:37:27You get into that world, it's just automatic, right?
00:37:34My sister again, I'll kill you.
00:37:35The Godfather is a deeply male dream of patriarchy and order.
00:37:42And within that dream, the Corleones demand absolute respect for their family and their family's welfare.
00:37:49But they have no respect for anyone else's family and for the larger American family, which they treat with contempt.
00:37:58That is seemingly the major contradiction in the Corleone version of respect and honor.
00:38:03Back in Sicily, Michael Corleone's shy courtship of Apollonia is more than a romance.
00:38:12He seems to be seeking redemption from his act of murder and from the crimes that have contaminated his family.
00:38:19Apollonia in mythic terms is called the temptress.
00:38:24She is very attractive and alluring.
00:38:26Michael is in lust and in love.
00:38:28As a psychologist, I would speculate that he has a projection of some quality that he cannot get at home.
00:38:37A quality of otherworldliness, I would call it innocence.
00:38:43The death of his innocent bride convinces Michael that there can be no redemption for him.
00:39:11No chance for future happiness or atonement.
00:39:16No turning back.
00:39:18But perhaps of greater consequence to the fate of Michael Corleone are the events involving his sister Connie back in America.
00:39:27I hate you!
00:39:29Now go ahead, now I'll kill you!
00:39:31You guinea brat, you.
00:39:33Get out of here!
00:39:34Get out of here!
00:39:41Beating up a pregnant woman is such a horrific thing.
00:39:45Even though we know that Sonny's being set up.
00:39:49You just wait there.
00:39:51But that's Sonny's role in the piece.
00:39:54He's the older brother.
00:39:55You know, he's got to do this.
00:39:57I'm a bitch!
00:39:58He beat up my sister.
00:40:00And he knew that I was passionate about my sister.
00:40:02And he did it again.
00:40:03And he trapped me.
00:40:04Sonny!
00:40:05Come on!
00:40:06Get out of here!
00:40:07The Greeks said character is destiny.
00:40:09The Godfather movies said character is destiny without saying it.
00:40:13Sonny's character was his destiny.
00:40:15His hot temper came back to get him.
00:40:18You know, they knew if they cause a problem for Sonny, he's gonna leave now to come there.
00:40:23When his sister cried on the phone.
00:40:42The biggest thing was the shooting of me.
00:40:44I mean, that was...
00:40:45But that was...
00:40:46When you look at it, that was a ballet.
00:40:48I say, Francis, you're putting like 147 squibs on me and they just blew up.
00:40:52That was pretty violent.
00:40:54But I don't think the picture was about violence.
00:40:56It was about people who could be violent because they were screwing with their family.
00:41:04The brutal, ritualistic death of Sonny reminds the audience that the Corleones live and operate in a violent world.
00:41:11It also catapults the story into an unexpected direction.
00:41:18I want you to use all your powers and all your skills.
00:41:23I don't want his mother to see in this life.
00:41:29With Sonny dead, no one in the Corleone family is safe.
00:41:36Don Vito has lost his oldest son and the Corleones are now more vulnerable than ever.
00:41:44Look on the mask of my boy.
00:41:47My younger son was forced to leave this country because of this Salazar business.
00:41:57All right, I have to make arrangements to bring him back here safely.
00:42:03Let me say that I swear on the souls of my grandchildren that I will not be the one to break the peace we've made here today.
00:42:13In what is widely considered to be the Godfather's third and perhaps most dramatic act,
00:42:38Michael Corleone returns home to America following his exile in Sicily.
00:42:43How long have you been back?
00:42:45I've been back a year.
00:42:48Longer than that, I think.
00:42:51But Michael is no longer the wide-eyed American war hero.
00:42:54It's good to see you, Kate.
00:42:56He is now cold, cynical, and remote.
00:43:01You find things in all characters you play to like.
00:43:05Well, you like his struggle.
00:43:07You know, when you think of it, having to deal with the things he's dealing with.
00:43:10I'm working for my father now, Kate.
00:43:12You like his conflicts, what he goes through, and how he tries to manage this world that he has inherited.
00:43:20But you're not like him, Michael.
00:43:22I thought you weren't going to become a man like your father.
00:43:25My father's no different than any other powerful man.
00:43:30Any man who's responsible for other people.
00:43:34Like a senator or a president.
00:43:37You know how naive you sound.
00:43:39Why?
00:43:40Senators and presidents don't have men killed.
00:43:43Oh.
00:43:44Who's being naive, Kate?
00:43:46When you think about, for instance, the conversation Michael has with Kate upon his return from Sicily.
00:43:54Kay, my father's way of doing things is over.
00:43:56It's finished.
00:43:57Even he knows that.
00:43:59I mean, in five years, the Corleone family is going to be completely legitimate.
00:44:04The transition is amazing.
00:44:06He goes from being this guy in this military uniform with this girlfriend
00:44:11to someone who sees himself as a powerful man conducting business.
00:44:16It just so happens that in his line of business, things take place that maybe don't take place in other lines of business.
00:44:23Michael's transformation is vividly portrayed as he rekindles his relationship with Kay.
00:44:33Unlike his awkward, boyish courtship of Apollonia, Michael now behaves less like a lover and more like a negotiator conducting a business transaction.
00:44:45I want you to marry me.
00:44:48It's too late. It's too late.
00:44:50Kay, I need you. And I love you.
00:44:56Michael sees the relationship with Kay as business.
00:45:03You know, it's business, never personal.
00:45:06He needs someone to raise his offspring who will eventually become the matriarch of the family.
00:45:15The change in Michael Corleone's character is contrasted with that of his father, Don Vito.
00:45:22I want you to raise your hand for telephone, man. Check all the calls and go.
00:45:27I did it already, Pop.
00:45:29You know, good man.
00:45:30I took care of that.
00:45:31Oh, that's right. I forgot.
00:45:34The aging crime boss now appears tired and weak.
00:45:37What's the matter?
00:45:39And finally willing to transfer his power to his youngest son.
00:45:44It was the story of a family and it was kind of Shakespearean and that there was a great king and he had three sons.
00:45:50And each of the sons had a part of the talent of the old man, but none really, all of it.
00:45:57The youngest had the cunning and the second had the sweetness.
00:46:02And the older had the rage and the violence.
00:46:06I knew that Santana was gonna have to go through all this.
00:46:10I'm afraid of, well, afraid of us.
00:46:15I never, I never wanted this for you.
00:46:21I heard a mafia leader once being quoted saying,
00:46:25most of us do not want this for our children.
00:46:28I don't apologize, that's my life, but I thought that,
00:46:32but when it was your time that, that you would be the one to hold the strings.
00:46:39Senator Corleone, Governor Corleone or something.
00:46:46There is always a drama when power is passed, whether it's presidents, kings or gods.
00:46:56This goes back as far as recorded history and before.
00:46:59A great deal of power is amassed.
00:47:02The godfather gets older and others are waiting to try to push him aside.
00:47:07Will his son be able to rise to the occasion and preserve the family privilege?
00:47:12That is the story.
00:47:14Come on.
00:47:16Come on.
00:47:17Come on.
00:47:18Come on.
00:47:19It was Marlon Brando who cut the rind and made a monster of himself,
00:47:36which is an extraordinary piece of acting, a genius,
00:47:42because he's dying with his grandchild, but as a monster.
00:47:46I never knew, for example, the famous symbolism of the orange that I put into the godfather.
00:47:53I just did it.
00:47:55After a while, there were enough oranges that it began to be a metaphor for some impending doom.
00:48:01But, you know, you don't always know.
00:48:17With the death of his father, Michael Corleone's dark transformation is complete.
00:48:22The old saying, the sins of the father are visited upon the children.
00:48:26The hero's task often begins taking on the unfinished business of the father.
00:48:31During the funeral, Michael plans a crime wave of murders and executions.
00:48:36After the baptism.
00:48:38All of his father's enemies will be destroyed.
00:48:41And then I'll meet the Don Bazzini and Tattaglia.
00:48:44All the heads of the five families.
00:48:46Or, as he puts it, all of the family business will be settled.
00:48:51Michael, Francis, Rizzi, do you renounce Satan?
00:48:56The birth of drama comes out of ritual so that it seemed obvious to me to tell all the stories through the various rituals.
00:49:12Combine them all during the baptism ceremony.
00:49:16And all his works.
00:49:17So that, again, there is this ability to compartmentalize, to observe very sacred and solemn traditions in the Catholic Church.
00:49:27And in with that are the killings of the people who stand in his way.
00:49:32I do renounce them.
00:49:33It was fascinating cinema, but if you took each one of those things individually, they're horrific.
00:49:39It kind of desensitized the idea of murder.
00:49:44And all his pumps.
00:49:46I do renounce them.
00:49:48When I see people being shot, people being whacked, like the famous baptism scene, I just think, you know, this isn't real.
00:49:59It's not real.
00:50:01You know, the truth is so much more horrific.
00:50:04Will you be baptized?
00:50:06I will.
00:50:07My father couldn't live with it, according to my mother.
00:50:25He would have nightmares.
00:50:27In real life, it takes a psychic toll that you don't see in the movies.
00:50:32In The Godfather, the wave of killings continues as Michael eliminates anyone who might threaten his family or his power.
00:50:43You have to answer for Santino, Carlo.
00:50:45Carlo was a thread through the movie, obviously, because with Carlo undermining the family and marrying into the family and getting Sonny shot.
00:50:54You do something wrong.
00:50:55You're gone.
00:50:56Hello, Carlo.
00:50:57I mean, yes, it was violent, but if you join the club, you should know the rules.
00:51:12In the film's chilling final scene, Michael Corleone has formally assumed his father's role as the Godfather.
00:51:21He's pulled into the game, and over time, he has to become something he didn't necessarily want to become.
00:51:29Michael, you lousy bastard.
00:51:30You killed my husband.
00:51:31He has to become a gangster and eventually transform himself into the Godfather.
00:51:42She's hysterical.
00:51:43Michael, is it true?
00:51:44Don't ask me about my business.
00:51:45No!
00:51:46He also commits what is perhaps the ultimate act of betrayal.
00:51:55This one time.
00:52:01This one time I'll let you ask me about my affairs.
00:52:05Is it true?
00:52:06No.
00:52:11I think most of the guys with the old-time thinking kept everything away from their wives.
00:52:19You know, their girlfriends might have known something, but the wives didn't know anything.
00:52:22And that was certainly by design.
00:52:24You tried to protect your family.
00:52:26I think, actually, mobsters tend to treat women less well than in the movie.
00:52:31There's the scene at the end when you see Diane Keaton, who plays his wife, looking into another room, a kind of a darkened room,
00:52:39and they see people coming up and basically bowing and kissing Michael Corleone's hand.
00:52:46And then the door shuts and you realize that she's now going to be shut out of his new life.
00:52:53That's a great metaphor for what the Mafia is.
00:52:57Although Michael Corleone's transformation from innocence to evil may have been where the Godfather ended,
00:53:04it was by no means the end of the story.
00:53:08The Godfather legacy would continue.
00:53:15The morning after its New York premiere in 1972, critics and audiences began praising The Godfather as gripping, explosive, and brilliantly dramatic.
00:53:29By the end of the week, it was obvious the film that director Francis Ford Coppola feared might be a failure would become a global phenomenon.
00:53:38I remember driving to the office Wednesday morning when we opened.
00:53:458.30 in the morning, it was raining outside.
00:53:48And at the Astor Theater, there were lines around the block.
00:53:53Something bizarre happens occasionally in a movie where it becomes more than just a movie, it becomes an event.
00:54:00The whole success of it totally shocked me.
00:54:04All I can imagine is the devil must have popped out behind a hedge and says,
00:54:08Hey, if you sell me your soul, I'll make The Godfather the most successful movie ever made.
00:54:13And something like that must have happened that I don't remember.
00:54:17Because maybe when you make deals with the devil, part of it is you don't remember.
00:54:22Please have your tickets out and ready and please keep the line moving.
00:54:26The Godfather at its peak was making about a million dollars a day.
00:54:29Which doesn't sound like a lot today, but in 1972, it was incredible.
00:54:33That was a gigantic hit beyond anything that Paramount could have imagined.
00:54:37Almost overnight, The Godfather became a pop culture phenomenon.
00:54:41Movie memorabilia such as posters of Marlon Brando as Don Vito Corleone sold in the millions.
00:54:4840's style mob chic became something of a fashion craze.
00:54:53And memorable lines from the film became part of the national dialogue.
00:54:56I'm gonna make him an offer he can't refuse.
00:54:59That means look up, he sleeps with the fishes.
00:55:02You gotta get up close like this, bitter-bing, you blow their brains all over your nice cyber-league suit.
00:55:06Jimmy should be getting royalty on things like bitter-bing because he picked that all up from the guys he was hanging out with.
00:55:15It was like, you know, having fun.
00:55:17There was a lot of improvisational stuff that, I mean, the whole bada-bing thing, none of that stuff was written.
00:55:25Another unintended consequence of The Godfather was its immense popularity with real-life mobsters.
00:55:31The Godfather was absolutely, hands down, the mafia's best recruiting tool.
00:55:36It kind of put a veneer on criminal life. It made it okay to be a crook.
00:55:41Instead of being ostracized by being a criminal, you were kind of put on a pedestal.
00:55:47Because everybody in your neighborhood saw The Godfather.
00:55:50My parents forget about it.
00:55:52They would go around quoting The Godfather to each other all the time.
00:55:57And that mythology actually became part of our language with each other, part of our running inside joke.
00:56:07They actually absorbed some of the customs, like the kissing of the ring, into their real lives.
00:56:14They became the myth.
00:56:17The Godfather went on to earn a total of ten Academy Award nominations, winning three, including Best Adapted Screenplay, Best Actor for Marlon Brando, and Best Picture of the Year.
00:56:32For Paramount Pictures, the enormous box office success of The Godfather made the idea of a sequel irresistible.
00:56:40But for Francis Ford Coppola, the director who had been plagued with the studio's frequent threats to replace him during production,
00:56:48the invitation to return to the world of the Corleones was not so appealing.
00:56:53It would literally take an offer the 34-year-old filmmaker couldn't refuse.
00:56:59I had no desire to do a second film.
00:57:04I only made it because I was given carte blanche to make the second Godfather totally on my own.
00:57:10And I had always had an idea about doing a film about a son and a father in the same story.
00:57:16The Godfather Part II was set in the late 1950s.
00:57:21The story featured many of the same characters from the original film.
00:57:26I thought you was never coming out west, you big bum.
00:57:30But now with a darker and deliberately more political tone.
00:57:34This is my lawyer, Tom Hagen, Senator Deering.
00:57:37I intend to squeeze you.
00:57:40I don't like your kind of people.
00:57:43I don't like to see you come out to this clean country and your oily hair.
00:57:47Most particularly changed is Michael, the ruthless new Don.
00:57:52Try to pass yourselves off as decent Americans.
00:57:55The dishonest way you pose yourself, yourself and your whole family.
00:58:00He is now a far cry from the reluctant crime boss depicted in the first film.
00:58:05Senator, we're both part of the same hypocrisy.
00:58:13But never think it applies to my family.
00:58:16I can only speak from the character's point of view.
00:58:18I can tell you about the character, the struggle he was having, which made him a depressed person.
00:58:25So let's just say that you'll pay me because it's in your interest to pay me.
00:58:29But I want your answer in the money by noon tomorrow.
00:58:32There's no doubt when you see Part II, the melancholia just starts to come in.
00:58:37Senator, you can have my answer now if you like.
00:58:41My offer is this.
00:58:46Nothing.
00:58:50Not even the fee for the gaming license, which I would appreciate if you would put up personally.
00:58:54In the film, Michael Corleone must face what is perhaps his deadliest threat.
00:59:06Because unlike his mob opponents in the past, this time his enemy is someone within his own ranks.
00:59:13Michael, why are the drapes open?
00:59:15Certainly in the second Godfather film, that night the assassination attempts on Michael Corleone and his family, they shoot right in the bedroom windows.
00:59:40And therefore the idea that the gang is safe within their own compound is wrong, and that's how the second movie really begins.
00:59:53Determined to uncover the traitor, Michael suspects that Hyman Roth, a lifelong business partner of his father's, is behind the attack.
01:00:03Enlisting the help of his capo, Frankie Pentangeli, Michael deviously plots his revenge against crime boss Roth.
01:00:12My father taught me many things here.
01:00:14He taught me in this room.
01:00:17He taught me, keep your friends close, but your enemies closer.
01:00:27I want him completely relaxed and confident in our friendship.
01:00:32Then I'll be able to find out who the traitor in my family was.
01:00:36The betrayal of one family member against another.
01:00:40It would be a horrific event if anyone perpetrated this act, but it's perpetrated by friends or family members.
01:00:48Evil is always more dangerous when it takes the cloak of familiarity.
01:00:53But The Godfather Part II is much more than a sequel.
01:00:59Using an elaborate series of flashbacks, the film weaves together contrasting characters and events.
01:01:06Juxtaposed against the modern story of Michael Corleone is the more nostalgic tale of his immigrant father, Vito Andolini, the orphan casualty of a bloody Sicilian vendetta.
01:01:18Vito!
01:01:21Vito!
01:01:22Vito!
01:01:23Vito!
01:01:24Vito!
01:01:25Vito!
01:01:26Vito!
01:01:27Vito!
01:01:28Vito!
01:01:29Vito!
01:01:30Vito!
01:01:31Vito!
01:01:32Vito!
01:01:33Vito!
01:01:34Vito!
01:01:35Vito!
01:01:36Vito!
01:01:37After escaping to the United States, young Vito, now renamed Corleone, follows the path of
01:01:44many Italians who fled poverty in an effort to seek freedom and fortune in a new land.
01:01:52Anyone who knows anything about U.S. immigration history will recognize these images.
01:01:57The Godfather was the first big epic tale about European immigration.
01:02:02There's a desperation there.
01:02:04He comes as a young boy.
01:02:06He has nothing on his back, no resources, very few connections as far as we can tell.
01:02:13He's clearly living a pretty poor existence in lower Manhattan.
01:02:18That's his life.
01:02:20In the role of Vito as a young man, Coppola casts 30-year-old Robert De Niro, fresh from
01:02:27his success in Mean Streets, Martin Scorsese's gritty portrayal of modern gangster life in
01:02:32New York.
01:02:35Young Vito, like many American immigrants, works menial jobs to feed his growing family.
01:02:43He witnesses local gang boss Don Fanucci terrorizing his Italian neighborhood.
01:02:58The corruption reminds Vito of the injustices he had hoped to leave behind in Sicily.
01:03:04Vito, come here, come on.
01:03:06People had left the old world because of the aristocracy and traditions and advantages
01:03:13that certain families had because of their connections and their name, and America was
01:03:19supposed to be where all that was gone, and there was really a government that was going
01:03:24to look out for you, and to some extent that was true, but very often to the lowly immigrant
01:03:30it wasn't true.
01:03:31If you didn't think the system in America worked for you, the mafia was an option around
01:03:36the system.
01:03:37Now the young Vito must make a choice.
01:03:41Either live as a coward, or as a criminal, there would be no turning back.
01:03:58Now, Mr. Corleone, you have been advised as to your legal rights. We have testimony from
01:04:05a witness, a previous witness, Juan Willy Chichi. He has stated that you are head of the
01:04:11most powerful mafia family in this country. Are you?
01:04:15No, I'm not.
01:04:16The witness has testified that you are personally responsible for the murder of a New York City
01:04:21police captain in 1947, and with him a man named Virgil Soloso. You deny this?
01:04:28Yes, I do.
01:04:30Is it true that in the year 1950, you devised the murder of the heads of the so-called five
01:04:36families in New York to assume and consolidate your nefarious power?
01:04:42It's a complete falsehood.
01:04:49It's rather a suspicious coincidence that the records which showed these matters were
01:04:57destroyed six days after the break-in at Watergate.
01:05:01Mr. Chairman, the adjectives that you're using, clear coincidence and suspicious coincidence...
01:05:05Well, don't you think it's rather suspicious?
01:05:07No, I don't.
01:05:08Filmed in the wake of the sensation-filled Watergate hearings in 1973, The Godfather Part
01:05:15II offers a pointed political metaphor as Michael Corleone comes face to face with the
01:05:21very senators and politicians his father Vito had hoped he would grow up to be. But as seen
01:05:27in the film, the government, like the mafia, is equally corrupt and contaminated by greed.
01:05:34It's a brilliant achievement in cinema and only goes to show how aware Coppola and Puzo were
01:05:41of how integrated business and government, politics and nations were to mob control.
01:05:49When I was in the Manhattan DA's office, you had a convergence of corrupt politicians,
01:05:54corrupt union leaders in organized crime, and that sort of intersection of three forces
01:05:59when corrupted was extraordinarily powerful.
01:06:01There was a time in the United States when the mob did have a lot of influence in political
01:06:08life in certain cities. And they had either bribed politicians or bribed judges or had influence
01:06:14through the labor unions on what was going on politically.
01:06:16We did favors. We expected them in return. You know, even political favors. I had, without mentioning his name,
01:06:23one of the most powerful democratic leaders of the Democratic Party who was in New York,
01:06:29was very tightly involved with us. We had to go to all his fundraisers. Whenever we needed a favor, we went to him.
01:06:35Sat with him many, many times. So that goes on quite a bit.
01:06:42Set against the backdrop of the mob's activities in pre-Castro Cuba, the film chronicles Michael's rising influence in politics and business.
01:06:52But at a meeting in Havana, he discovers the identity of the traitor within his family.
01:06:59I know it was you, Fredo. You broke my heart. You broke my heart.
01:07:10Throughout the film, Coppola and Puzo sharply contrast the story of Michael Corleone's struggle to retain control
01:07:17with that of his father's acquisition of power and influence during the 1920s.
01:07:22And he tries to say to his great person, Antoinette and B.
01:07:23,
01:07:28But the man on theNow city usually busy tonight.
01:07:33That's the beginning of his istat whip was a little bit.
01:07:36I mean it's the way theяла Versailles of a지는 Ok potem.
01:07:39And his wife had been votre meille name because you had a nice man for people to readัveяд appear yet.
01:07:47And the other family!
01:07:48Lots of things already Vander fullness.
01:07:51Vito is extremely committed to gathering respect.
01:08:00There is nothing more important to him.
01:08:21Vito is seeking the acknowledgement of his ability to provide protection.
01:08:40The ingratiation of a community, if you think of how he started,
01:08:44taking care of widows who were being overcharged in their rent.
01:08:51All of these sorts of things really are the coin of the realm for Vito.
01:09:06Michael is very different.
01:09:08In many respects, he runs his family like a well-oiled military operation.
01:09:14No room for error. No room for questioning authority.
01:09:19An absolute annihilation of any enemy who stands in his way.
01:09:26But Michael's determination to hold on to the power he inherited
01:09:30will ultimately cost him the very family he claims he is protecting.
01:09:34I know you blame me for losing the baby.
01:09:41I'll make it up to you, Kay.
01:09:44I swear I'll make it up to you.
01:09:46Michael, you are blind.
01:09:49It wasn't a miscarriage.
01:09:52It was an abortion.
01:09:56Just like our marriage is an abortion.
01:09:59Something that's unholy and evil.
01:10:03It's really the first time where she does contest Michael's power
01:10:06and does call him out for all the horrible things he's been doing.
01:10:10It was a son, a son, and I had it killed because this must all end.
01:10:15I know now that it's over.
01:10:19I knew it then.
01:10:21There would be no way, Michael.
01:10:25No way you could ever forgive me.
01:10:28Not with this Sicilian thing that's been going on for 2,000 years.
01:10:36Throughout Greek mythology, the hero king is undone by his own arrogance.
01:10:41You won't take my children.
01:10:43I will.
01:10:44You won't take my children.
01:10:45You're my children, too.
01:10:48Someone with great authority, wealth, the advantages of life gets full of themselves,
01:10:54takes their strength a little too far and ends up lost or alone or dead,
01:11:00and to a degree that happens to Michael.
01:11:06As if to leave audiences no doubt about his descent into corruption
01:11:10and self-loathing, Michael Corleone commits what is perhaps his ultimate crime,
01:11:16ordering the murder of his brother Fredo.
01:11:19Holy Mary, Mother of God, pray for us sinners.
01:11:23It's one thing if your enemy hurts you, but if a brother kills a brother,
01:11:30that's tragedy.
01:11:31Now you're moving in another direction,
01:11:33and you know that has to have some kind of consequence spiritually.
01:11:38It shows, Michael, the only way for him to survive was to assume this kind of person
01:11:43with these ideas and these ideals, killing his own brother, you know.
01:11:48It's like a Greek tragedy.
01:11:51Mario questioned the murder of Fredo, which was not in the book
01:11:55and was my idea as being, you know, too much.
01:11:58And then he sort of relented when I said,
01:12:00they won't kill him until after his mother dies.
01:12:02He says, okay, then it's all right.
01:12:07The Godfather Part II paints a sad portrait,
01:12:10not only of the Corleones, but of a tarnished American dream.
01:12:15A dream that began with optimism and faith,
01:12:19and became contaminated by betrayal and disillusionment.
01:12:24The very end, when Michael is sitting in his house at Lake Tahoe,
01:12:31utterly alone, utterly cold, just his eyes,
01:12:35totally conscious, totally sleepless, watching.
01:12:38He's become Roman.
01:12:39It's an amazing piece of underplaying, steely understatement.
01:12:44That is it. That captures it.
01:12:46But for Michael Corleone, his journey is not yet ended.
01:12:52His unspeakable crimes require atonement.
01:12:56But from whom does a Godfather seek redemption,
01:12:59if not from God himself?
01:13:07In December 1974, Paramount Pictures released
01:13:11The Godfather Part II to critical and commercial acclaim.
01:13:15The film went on to earn 11 Academy Award nominations,
01:13:20winning six, including Best Actor in a Supporting Role,
01:13:25Best Director, and Best Picture.
01:13:28A feat unmatched by any movie sequel.
01:13:31It's the story. It's a good story.
01:13:35It's about human beings who are going through things in a way,
01:13:40and I think that's what Francis was able to capture.
01:13:43And so you were able to follow their struggle.
01:13:47In the wake of The Godfather Part II's success,
01:13:50Paramount Pictures executives begged director Francis Ford Coppola
01:13:54to write and direct yet another sequel.
01:13:56But, exhausted by what had been a four-year process,
01:14:00the 35-year-old filmmaker refused.
01:14:03I always vowed I would never make another Godfather.
01:14:06Godfather.
01:14:07I never thought there should be more than one Godfather film.
01:14:10I never subscribed to the idea that a successful movie
01:14:14had to have more of them made,
01:14:16because I knew it was just a commercial decision.
01:14:19But during the decades that followed,
01:14:22rumors persisted that a Godfather film was in the works.
01:14:26Rumors that turned out to be true when, in 1989,
01:14:30it was announced that Francis Ford Coppola
01:14:33had agreed to helm the project.
01:14:35The third one got made 15 years later,
01:14:39when I was like absolutely in all kinds of dire financial need.
01:14:44I wanted to call it the death of Michael Corleone.
01:14:47I always thought the third movie should be more like a coda.
01:14:50It shouldn't be like a third installment.
01:14:53What you come here for?
01:14:55I came here to protect my son.
01:14:59I spent my life protecting my son.
01:15:02I spent my life protecting my family.
01:15:18Once again co-written by Francis Ford Coppola and Mario Puzo,
01:15:21The Godfather Part III concerns Michael Corleone's efforts
01:15:25to achieve legitimacy for both himself and his family.
01:15:29Smile!
01:15:32This leads him to forge a financial and political alliance
01:15:40with the Roman Catholic Church.
01:15:42And, in the process,
01:15:48he seeks spiritual forgiveness for his past sins.
01:15:52I killed men.
01:15:57And I ought it meant to be killed.
01:16:00Gone, my son.
01:16:02Gone.
01:16:03I ordered the death of my brother.
01:16:08He injured me.
01:16:10I killed my mother's son.
01:16:14Michael is letting go of this character he's become, killing his own brother.
01:16:22He wanted to be forgiven for that.
01:16:24He wanted to move on and become what he was before he started in the family.
01:16:32Michael now wants to buy off his immortal soul.
01:16:35It's a very intriguing storyline, because he wants to give a billion dollars to the Vatican,
01:16:41and then have the Vatican disperse this money through a foundation,
01:16:45and therefore somehow believe that he is not going to burn eternally.
01:16:51But Michael's almost desperate efforts to atone for his past sins are thwarted,
01:16:57when he discovers that forces within the Catholic Church are even more corrupt than the Mafia.
01:17:03I have always known that the Catholic Church, which is a story that's thousands of years old,
01:17:09its history is nothing to be proud of.
01:17:12They're masters of immorality.
01:17:14The Church owns 25% of a large corporation, immobiliari.
01:17:20That's true.
01:17:22And the Vatican vote is necessary for control.
01:17:27Corleone's have prepared to deposit $500 million in the Vatican bank
01:17:32at such time as Mr. Corleone receives majority control of immobiliari.
01:17:37$600 million.
01:17:40Michael is a very tragic figure.
01:17:43He'll never be legitimate.
01:17:45It's the classic line.
01:17:47Just when I thought I was out, they pull me back in.
01:17:52It's at that point that he realizes he will never be legitimate.
01:17:56He can't be.
01:17:57And that is his greatest frustration and the greatest cross to bear.
01:18:01Our true enemy has not yet shown his face.
01:18:11Michael!
01:18:12Michael!
01:18:14Michael!
01:18:15Michael!
01:18:16But in The Godfather Part 3, Michael Corleone is not only spiritually weakened,
01:18:21he is also physically handicapped.
01:18:25Francis puts in his battle with this disease.
01:18:28He has this diabetic kind of recurrence and you can see that's a metaphor for what's died in him.
01:18:35His battle with disease now makes the once formidable Michael vulnerable to attack by a rival mob boss.
01:18:44As for Don Corleone, well he makes it very clear to me today that he is my enemy.
01:18:53What the hell is that?
01:18:54Let's get out of here!
01:18:55Let's get out of here!
01:18:56Go away!
01:18:57Go away!
01:18:58Go away!
01:18:59Go away!
01:19:00Go away!
01:19:01Go away!
01:19:02Go away!
01:19:03Go away!
01:19:04Go away!
01:19:09Go away!
01:19:11Go away!
01:19:12Now it's breaking!
01:19:13in contrast to Michael Corleone's decline is the strength and cunning now demonstrated by his
01:19:28sister Connie battered by past events she emerges as a ruthless matriarch with an iron will if
01:19:37anything happens to Michael I want you to strike back and an appetite for revenge I'll have
01:19:43everything ready you swear Connie does embrace power but her expression of it is all dark I swear
01:19:53to you in many ways she is in her mind the concept of her father so she is taking power in this other
01:20:03way you know she is hovering over who will be the next king Talia's character the evolution of it all
01:20:13still ties to the strength of the family and that's part of strength of the film that even in times of
01:20:18the most horrific strife at the end of the day that'll lie blood's thicker than water Michael's
01:20:26hopes for redemption are shattered when an assassin's bullet intended for him takes the life of his
01:20:35daughter Mary he now has to witness the death of a daughter there's nothing glamorous about all of
01:20:48this you know yeah you have the symbols of power but not where this kind of horror is brought to your
01:20:54family and there's nothing you can do about it with his dead daughter clutched in his arms Michael
01:21:02Corleone's mouth becomes frozen in a silent scream as if he were trying to utter a prayer that even God
01:21:09refuses to hear as he watches his daughter shot to death on the steps of the Opera House in Palermo
01:21:16Sicily Michael descends into a hell of his own making but one in which he is certainly justly punished
01:21:23he becomes this kind of impure opposite of his father where his father is about keeping the
01:21:31family together he ends up you know inadvertently destroying the family
01:21:35in the Godfather part 3's final scene Michael Corleone is shown in the last moments of his life he is living in Italy without power without friends and without the family he had spent so much of his life trying to protect at the end of Godfather 3 Michael
01:22:02Corleone is very much alone and the Italians have this phrase you should die like a dog when dogs die they go off on their own and they know they're gonna die and Coppola I think does a great job of showing that at the end that this is what happens to people who betray their own families and Michael was betraying the honor of his family
01:22:32so Michael Corleone dies alone and he dies like a dog
01:22:39we can tell by that very brief scene at the end of the Godfather part 3 that this has been a tragic life that he's lived
01:22:51against everything he had ever hoped for everything he ever planned for he wound up becoming exactly what he did not want to be
01:22:58he became part of the family business and became more ruthless and more powerful than his father before him
01:23:03what is that famous quote what profits you where you gain the whole world and you lose your soul and I thought the irony of the Michael Corleone story was that in an attempt to protect his family he destroyed his family and himself
01:23:09as well although the Godfather part 3 would go on to earn a total of seven Academy Award nominations including one for Best Picture
01:23:31The film received mixed reviews from critics and disappointed many fans
01:23:37There were many things about the third Godfather that I liked but I didn't feel it was necessary
01:23:43The last book is always the weakest because you've already shown all your tricks
01:23:47You've already exposed all the themes you're you're out of stuff to do
01:23:53Godfather 3 I don't know how much the audience is related to that its motivation was different
01:24:00Redemption
01:24:02But then there are actually people out there. They like it, you know, and so yeah, I don't question any further
01:24:09What about it? Did you like you know, I didn't I don't do that. I sort of I say I'll leave well enough alone
01:24:17But in spite of the criticism the Godfather part 3 has joined its predecessors as a classic
01:24:23the Godfather saga stands as a towering achievement in filmmaking and
01:24:28And has embedded itself in the American consciousness
01:24:33Like a collective memory it reflects everything from the immigrant experience
01:24:38To the importance of family
01:24:41It also exposes the harsh realities of crime
01:24:45its relationship to society and
01:24:48The darker side of the American dream
01:24:51The Godfather is really part of American culture as much as
01:24:55Baseball or cornflakes or anything else it really is
01:24:59The testimony to the power of any popular cultural event is the way that its styles and its language
01:25:07Move into the larger culture for decades now
01:25:11Americans have been saying in the workplace
01:25:13I'll make him an offer he can't refuse
01:25:15I know people who will quote lines from the film as a mantra for their own life as though it didn't come from a movie
01:25:23But it came from a holy book people can use these films to go start a corporation and bankrupt nations if they wanted to
01:25:31My father took me in this room
01:25:34He taught me keep your friends close
01:25:37But your enemies close
01:25:41There's no accident that all of these business moguls and dictators like Saddam Hussein and Gaddafi
01:25:48That was their favorite movie because Vito Corleone and his sons are powerful people
01:25:54And the logic of the Godfather is capitalism in in its purest form
01:26:03So much of the Godfather has a resonance in it. It's this incredible reflection of an American fantasy
01:26:10But kind of a historical reality and when you fuse those two things together you end up with something which is genuinely mythic
01:26:25The life
01:26:27That was portrayed by by that family the quarterly owns
01:26:32It's been embraced by every culture there is
01:26:38I won the Italian of the year twice not once twice I try to explain to him I couldn't take it
01:26:46Not really at that, but I'm very fortunate that I was in that movie
01:26:50Of course, I'm well aware that the status I enjoy comes from the Godfather
01:26:57It was an extraordinary group of people
01:26:59I was involved with and the biggest factor of luck I think is the timing related to the audience being ready to see a film like that
01:27:10This picture I think
01:27:13Reflected the best of 70s filmmaking
01:27:15It married artistic sensibilities to a more commercial canvas
01:27:20As my friend Vinnie told me when I got Godfather 3 he said wow you're gonna be in the Italian Star Wars
01:27:29The dare is to be epic and it has those themes of power and dynasty and how a family of crime is still a family
01:27:39It's the underpin of what is the American dream and what family means
01:27:45To everybody all over the world really
01:27:50Another friend of the world
01:27:53How many families
01:27:53To make everybody
01:27:55The biggest part is the one
01:27:56Before moving
01:27:57In fascinating
01:27:59To all people
01:28:00Unfortunately
01:28:01What do you want
01:28:01To become a Christian
01:28:02What do you want
01:28:02To Elendores
01:28:03To beerdot
01:28:06The person
01:28:07To being a Christian
01:28:07J door
01:28:09In
01:28:10about
01:28:12Yay
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01:28:13Par
01:28:14The person
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