Tagarchief: Mario Puzo

The Godfather: Part II (1974)

Posted on by Jeppe Kleijngeld

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (novel / screenplay)
Francis Ford Coppola (screenplay)

Cast:
Al Pacino (Don Michael Corleone), Robert Duvall (Tom Hagen), Diane Keaton (Kay Adams), Robert DeNiro (Vito Corleone), John Cazale (Fredo Corleone), Talia Shire (Connie Corleone), Lee Strasberg (Hyman Roth), Michael V. Gazzo (Frankie Pentangeli), G.D. Spradlin (Senator Pat Geary), Richard Bright (Al Neri)

Francis Ford Coppola’s The Godfather: Part II is a rare sequel that not only lives up to the legacy of its predecessor but in many ways deepens and expands it. Rich with atmosphere, emotional depth, and moral complexity, this beautifully dark chapter in the Corleone saga is, indeed, an offer you can’t refuse.

Following the immense success of the 1972 classic, a sequel was greenlit almost immediately. However, with only a small portion of unused material from Mario Puzo’s original novel – the early life of Vito Corleone – Coppola and Puzo crafted an original narrative chronicling Michael Corleone’s reign as head of the family, interwoven with the rise of his father, Vito. These parallel timelines form the heart of Part II, highlighting both the legacy and the transformation of the Corleone family.

In Vito’s storyline, we witness his arrival in New York as a young immigrant, escaping the trauma of his family’s murder in Sicily. As he grows up, he confronts the oppressive rule of a local crime boss and takes the first steps toward becoming a benevolent – but ruthless – leader within the community. Robert De Niro is mesmerizing as the young Vito, embodying the character with subtlety and strength, and earning a well-deserved Academy Award for Best Supporting Actor.

Meanwhile, Michael’s narrative unfolds in stark contrast. Now at the height of his power, Michael strives to legitimize the family business and expand into Cuba, partnering with the aging Hyman Roth. But betrayal and deception close in from all sides. Al Pacino delivers a haunting performance as a man consumed by control, paranoia, and an increasingly cold detachment from those closest to him. Despite the role being arguably the pinnacle of his career, Pacino was controversially overlooked by the Academy.

The film’s production design by Dean Tavoularis and the moody, shadow-drenched cinematography by Gordon Willis once again elevate the storytelling to operatic heights. But it’s the ensemble cast that truly shines – John Cazale as the fragile Fredo, Robert Duvall’s solid Tom Hagen, Diane Keaton’s heart-wrenching portrayal of Kay, and powerful additions like Lee Strasberg as Roth and Michael V. Gazzo as Pentangeli.

Coppola’s structural innovation – juxtaposing father and son at similar ages – profoundly enriches the film. While both Vito and Michael are motivated by a desire to protect and provide for their families, their approaches – and ultimate fates – are starkly different. Vito, though a criminal, retains warmth and humanity; Michael becomes increasingly isolated, sacrificing everything in his quest for power.

This is essentially the story of Michael Corleone’s downfall. He may get to keep his power, but he is completely lost, not understanding anymore how his actions have a destructive effect on his environment. He is now estranged from his wife and then from all others around him.

In the first movie, when Michael has the heads of the Five Families murdered, it is very satisfying, but when he deals with his enemies – including his own brother – at the end of The Godfather: Part II, it has completely the opposite effect. Michael’s transformation, which started in the first movie, is now complete. He is alone with all his power and it is with that frightening image that Coppola ends this remarkable film.

Rating:

Quote:
MICHAEL CORLEONE: Connie, if you don’t listen to me and marry this man… you’ll disappoint me.

Trivia:
Marlon Brando and Robert DeNiro are the only two actors to ever win separate Oscars for playing the same character. Brando won Best Actor for playing Vito Corleone in The Godfather (1972) and DeNiro won Best Supporting Actor for playing Vito Corleone in its sequel and prequel The Godfather: Part II (1974)

 

The Godfather (1972)

Posted on by Jeppe Kleijngeld


‘An offer you can’t refuse’

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (novel / screenplay)
Francis Ford Coppola (screenplay)

Cast:
Marlon Brando (Don Vito Corleone), Al Pacino (Michael Corleone), James Caan (Santino ‘Sonny’ Corleone), Richard Castellano (Peter Clemenza), Robert Duvall (Tom Hagen), Sterling Hayden (Capt. McCluskey), John Marley (Jack Woltz), Richard Conte (Don Emilio Barzini), Al Lettieri (Virgil ‘The Turk’ Sollozzo), Diane Keaton (Kay Adams)

When discussing gangster films, The Godfather is the one movie that is always part of the conversation. Often hailed as the greatest gangster film of all time, it frequently tops high-profile lists as the best movie ever made, transcending genres entirely.

A myriad of elements contribute to its enduring appeal: the impeccable casting, masterful performances, meticulous production design, breathtaking cinematography, inspired direction, and Nino Rota’s iconic score. However, one element elevates The Godfather above its peers: the family theme. Director Francis Ford Coppola, drawing from his own Italian-American heritage, imbues the narrative with a deeply relatable exploration of family dynamics. This personal touch makes the story resonate universally, beyond the crime genre.

At its heart, The Godfather tells the story of the Corleone crime family at its zenith and the challenges it faces. Aging patriarch Don Vito Corleone (Marlon Brando) grapples with two critical dilemmas: selecting a successor to lead the family after his death and navigating the changing criminal landscape of post-war America. The rise of the narcotics trade brings new threats, and his resistance to adapt creates powerful enemies.

Ironically, neither Paramount Pictures nor Coppola himself anticipated the monumental success of the film. While Coppola had achieved some recognition for his work on Patton (winning an Academy Award for the screenplay), he was not yet an established auteur. Meanwhile, Mario Puzo’s source novel, though popular, was dismissed by some as pulp fiction. The production was fraught with difficulties, most notably in casting. Paramount was resistant to casting Marlon Brando, then considered a liability, and the studio balked at Coppola’s insistence on the relatively unknown Al Pacino for the pivotal role of Michael Corleone. These decisions nearly cost Coppola his job. Looking back, it’s impossible to imagine anyone else embodying these roles.

Despite the hurdles, Coppola and Paramount struck cinematic gold. The Godfather became not just a groundbreaking box-office sensation but an instant classic, revered by critics and audiences alike. Every aspect of the film is masterfully executed: the authentic recreation of the late 1940s and early 1950s, the technical precision, Rota’s hauntingly beautiful score, and, above all, the performances.

The acting remains a standout triumph. Brando’s monumental portrayal of Don Vito earned him a well-deserved Oscar, but the supporting cast is equally remarkable. James Caan is explosive as the hot-headed Sonny Corleone, and Al Pacino delivers a career-defining performance as Michael. Pacino’s subtle and chilling transformation from an idealistic college graduate to a ruthless mob boss anchors the film. When Don Vito’s demise shifts the narrative focus to Michael, the transition is seamless, a testament to Pacino’s magnetic presence.

Michael’s arc forms the emotional core of The Godfather. His descent into violence and moral compromise is both tragic and compelling. By the time he exacts his revenge in the film’s climactic sequence, the audience feels both the catharsis of his triumph and the weight of his irrevocable loss. The final moments, where the office doors close on Michael and shut out his wife Kay, encapsulate the story’s tragic brilliance. It’s a devastatingly poignant image of power, isolation, and corruption.

Every frame, every line, and every note of The Godfather exudes cinematic perfection. It’s a film that redefined not only the gangster genre but cinema itself. To speak of The Godfather is to speak of the very essence of filmmaking excellence. It remains, unequivocally, a masterpiece for the ages.

Rating:

Quote:
MICHAEL CORLEONE: “My father is no different than any powerful man, any man with power, like a president or senator.”

Trivia:
Ernest Borgnine, Edward G. Robinson, Orson Welles, Danny Thomas, Richard Conte, Anthony Quinn, and George C. Scott were considered by Paramount Pictures for the role of Don Vito Corleone.

The Last Don II (1998, TV mini-series)

Posted on by Jeppe Kleijngeld


‘Power. Passion. Betrayal. It’s all in the family’

Directed by:
Graeme Clifford

Written by:
Mario Puzo (characters from the novel The Last Don)
Joyce Eliason (Teleplay)

Cast:
Jason Gedrick (Crucifixio ‘Cross’ De Lena), Patsy Kensit (Josie Cirolia), Kirstie Alley (Rose Marie Clericuzio), David Marciano (Giorgio Clericuzio), James Wilder (Billy D’Angelo), Conrad Dunn (Lia Vazzi), Jason Isaacs (Father Luca Tonarini), Michelle Burke (Claudia De Lena), Danny Aiello (Don Domenico Clericuzio), Joe Mantegna (Pippi De Lena)

When Don Domenico Clericuzio dies, his family has to face its many enemies. Son Petie gets killed soon after and an underworld war begins. Giorgio brings back Cross from Paris to lead the family. Cross only agrees to come back after his wife Athena Aquitane is blown up by a bomb meant for him.

You have to wonder how necessary a sequel to The Last Don really was. It is not like that film set the world on fire although it was a decent effort. There was no source material left from the Puzo novel, so the writers had to come up with an original story. They fail in this, as the story hardly contains anything new in the genre. They even copy The Godfather plotlines in a too obvious and non-convincing way.

Less prominent characters from the first film now have to carry this sequel. Aiello, who’s only in the first five minutes is sorely missed as the Don. Jason Gedrick simply does not have the acting skills to carry this film as leading man. The best character is probably Lia Vazzi, Cross’ murderous, Sicilian henchman who is out for revenge after his family gets killed.

Kirstie Alley has her moments as the tragic Rose Marie. Especially in the second half she is quite touching at times. Patsy Kensit does her best, but is not the spectacular addition to the cast that this film needed. Daryl Hannah obviously didn’t feel the urge to return, so her character Athena in her short screen time is played by unknown actress Mo Kelso. Joe Mantegna does come back and appears in some mediocre dream sequences as Cross’ father.

What really gives this film it’s deathblow is the ridiculous Hollywood side plot in which Cross’ sister Claudia runs a studio that produces the supposed hit movie The Fumigator, starring the terrible Schwarzenegger clone Dirk Von Schelburg who is named in the film as ‘the most famous actor in the world’. Really embarrassing. Action fans might find some value in this film, except that the acts of murder, betrayal and violence are stretched out over the too long three hour running time. Better use that time to watch The Godfather for the thirtieth time.

Rating:

Quote:
LIA VAZZI: “We can’t afford to be soft. This is not the time to be soft.”

Trivia:
Mario Puzo died on 2 July 1999 from heart failure. About a year after this film premiered.

The Last Don (1997, TV mini-series)

Posted on by Jeppe Kleijngeld


‘Power Isn’t Everything… It’s The Only Thing’

Directed by:
Graeme Clifford

Written by:
Mario Puzo (novel)
Joyce Eliason (Teleplay)

Cast:
Danny Aiello (Don Domenico Clericuzio), Joe Mantegna (Pippi De Lena), Jason Gedrick (Crucifixio ‘Cross’ De Lena), Daryl Hannah (Athena Aquitane), Penelope Ann Miller (Nalene De Lena), Rory Cochrane (Dante Santadio), Kirstie Alley (Rose Marie Clericuzio), David Marciano (Georgio Clericuzio), Christopher Meloni (Boz Skannet), Seymour Cassel (Alfred Gronevelt)

Don Domenico Clericuzio is a man that demands respect. His daughter Rose Marie has started a love affair with Jimmy Santadio. The Santadios are the sworn enemies of the Clericuzios and both families are against the affair. But the youngest son of the Don, Silvio, sticks his neck out to help the young love couple but gets shot to death by two Santadio brothers.

At Silvio’s funeral, Jimmy Santadio shows up and asks Don Clericuzio for Rose Marie’s hand. The Don agrees but tells them no family will be present at the wedding. Only Pippi De Lena, a loyal family soldier, will be there. But the Don is lying. After the wedding at the Santadio Mansion, the Clericuzio brothers storm in and kill Don Santadio and all of his sons. Pippi strangles Jimmy Santadio to death personally. He does choose to spare the life of Rose Marie.

After this tragic history, Pippi moves to Vegas to take over the Santadios’ business there. He marries the dancer Nalene and they have a son; Crucifixio. Rose Marie was already pregnant by Jimmy Santadio and at about the same time as Nalene, she gives birth to her son Dante. Now, with this new blood in the family, the evil from the past will have to be set straight. And the war between the Clericuzios and the Santadios is not over yet.

This enjoyable Mario Puzo pulp starts as the Sicilian version of Romeo and Juliet. All the typical mob story elements are there; family disputes, assassinations, illegal gambling and some romantic plotlines. It even contains a Hollywood side-plot in which Hollywood is compared to the Mafia. The cast of this Mini Series does fairly well. Danny Aiello, though no Marlon Brando, gives a convincing performance as the powerful Don Clericuzio who is as cunning as he is ruthless.

The other cast members also give solid performances, most notably Joe Mantegna as Pippi De Lena and Rory Cochrane as Dante Santadio. Also interesting is the performance of Kirstie Alley as Don Clericuzio’s daughter Rose Marie who has gone insane after her newlywed husband got murdered by her own family. The budget for this Mini Series must have been quite tight but it still has plenty of production value to offer. Those who like Mario Puzo stories will definitely enjoy this. Followed by The Last Don II.

Rating:

Quote:
PIPPI DE LENA: “This will be a confirmation which means the body will be found. A communion is when the body disappears.”

Trivia:
In the book the killing of the Santadio family is told towards the end, while the mini-series is told chronologically and therefore this crucial scene is shown in the beginning.