Tagarchief: Robert Duvall

The Outfit (1973)

Posted on by Jeppe Kleijngeld

Nobody plays rougher than The Outfit…Except maybe Earl, Cody and Bett!

Directed by:
John Flynn

Written by:
Donald E. Westlake (novel ‘The Outfit’ as Richard Stark)
John Flynn (screenplay)

Cast:
Robert Duvall (Earl Macklin), Karen Black (Bett Harrow), Joe Don Baker (Jack Cody), Robert Ryan (Mailer), Timothy Carey (Jake Menner), Richard Jaeckel (Kimmie Cherney), Sheree North (Buck’s Wife), Felice Orlandi (Frank Orlandi), Marie Windsor (Madge Coyle), Jane Greer (Alma Macklin)

Forgotten, gritty ’70s crime flick loosely adapted from a novel by Richard Stark (a follow-up to ‘The Hunter’, the book that inspired Point Blank and Payback).

The novel’s central character, Parker – named Earl Macklin here for some reason – has a score to settle with the crime syndicate known as the Outfit. After they murder his brother in retaliation for a robbery the two pulled on one of their banks, Macklin decides they owe him payback.

True to Parker’s nature, he demands compensation in his own way: together with his buddy Jack Cody and girlfriend Bett Harrow, he begins hitting the Outfit’s operations one by one. In return they set a trap for him, but Macklin is not a man easily cornered. It ends in a memorable shootout in the mansion of the Outfit’s top boss.

The film is directed by John Flynn (Rolling Thunder), who also wrote the screenplay. Flynn was a fine, efficient, and sadly underrated filmmaker who specialized in lean, mean crime pictures. He’s a director admired by Quentin Tarantino – as Tarantino noted in ‘Cinema Speculation’, his book on ’70s cinema – and it’s easy to see why. The film is stylishly shot and Robert Duvall is great in the lead tough guy role.

That said, it misses the real hard-boiled coolness or cinematic innovation that made John Boorman’s Point Blank, which was again based on similar source material, such a memorable film.

Rating:

Quote:
EARL MACKLIN: “Now, the Outfit’s gonna pay me money for my trouble. I figure 250.000 to make things right. Tell your friends. That’s the bill: 250. I hit you until you pay me. What I take in between is extra.”

Trivia:
The Outfit (1973) (much like The Friends of Eddie Coyle (1973) and other crime films of this period) has been included on many lists of lesser known films recommended by 21st century film analysts.

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.