Palo Alto (2013 film)

 

Based on a collection of short stories by James Franco, Palo Alto is a film consisting of three different stories set in Palo Alto, California as it relates to teenagers dealing with boredom, lust, and self-destructive behavior. Written for the screen and directed by Gia Coppola, the film is an exploration of teenage life in a small Californian town as it revolves around a group of high schoolers dealing with their own surroundings and the world around them. Starring Emma Roberts, Jack Kilmer, Nat Wolff, Zoe Levin, Chris Messina, Keegan Allen, Margaret Qualley, Val Kilmer, and James Franco. Palo Alto is an evocative and compelling film from Gia Coppola.

The film revolves around a group of teenagers living in Palo Alto, California as they all deal with growing pains, lust, boredom, and other issues as they all embark on some journey that play to their growth. It’s a film that follow four different teens as they all share a narrative of sorts where Gia Coppola creates as it play into these teens who are just lost in the world around them as April (Emma Roberts) is a high school student that is also part of the school’s soccer team as she has a crush on their coach Mr. B. (James Franco) whom she also babysits her son. April has feelings for one of her classmates in the aspiring artist/stoner Teddy (Jack Kilmer) who often hangs out with the more destructive stoner Fred (Nat Wolff) as they get into some trouble with Teddy being forced to serve community service after crashing into another car in order to avoid juvenile detention. Fred meanwhile goes after a teammate of April in Emily (Zoe Levin) whom he would have sex with yet has also things that he would want to do as he would also cause trouble. Though Coppola’s script is loose in its narrative and can be messy at times, she is able to find ways to play into the evolution of these characters as they deal with their growing pains.

Coppola’s direction is definitely stylish in terms of its presentation while utilizing real locations in and around Southern California including the town of Palo Alto as it is a character in the film. Coppola would use wide shots for some of the locations including scenes where the characters are in a location to play into their own sense of isolation and boredom while she also uses medium shots for some of the party scenes in the film. There are also intimate moments in Coppola’s direction in some of the medium shots as well as close-ups as it add to the drama. Notably as it play into April’s own interaction with Mr. B. whom she would have an affair with despite the fact that he’s an adult and she’s a high school student.

There are also moments that do play into the many fallacies of Teddy and Fred’s friendship as the latter tends to be involved in destructive manners as well as voiceover in what he would to Emily with other boys. Coppola also play into Emily’s own search for love but also her own sexual exploration although her character isn’t as developed as she has no idea about what she’s doing other than become a prop for Fred. The climax does play into a party but also characters growing up over some of the things they encounter as well as thinking about the next stage in their lives. Yet, it also forces a few to ponder if there is even a future for them as it all play into the ideas of growing up. Overall, Coppola crafts a dreamy yet haunting film about teenagers dealing with growing pains in Palo Alto, California.

Cinematographer Autumn Cheyenne Durald does brilliant work with the film’s cinematography with its usage of low-key and natural lighting for many of the daytime exteriors as well as the usage of lighting to low-level lighting for many of the interior/exterior scenes at night. Editor Leo Scott does excellent work with the editing as it has style in its usage of jump-cuts and dissolves to play into some of the dizzying adventures the characters go through but also some straightforward cuts for the drama. Production designer Sara Beckum Jamieson, with set decorator Natalie Ziering and art director Dori Hana Scherer, does fantastic work with the look of the homes of where Fred and Emily lived while the rooms of Teddy and April are actual locations. Costume designer Courtney Hoffman does nice work with the costumes from the stylish look of Emily to the stoner clothing that Fred and Teddy wear.

Hair/makeup artist Molly Paddon does terrific work with some of the makeup April and Emily would wear along with their friends. Visual effects supervisor Viktor Muller does fine work with some of the film’s minimal visual effects as it relates to some of the car crashes in the film. Sound designer Richard Beggs does incredible work with the sound in the way music sounds at a party as well as some of the sparse sounds in natural locations. The film’s music by Devonte Hynes and Robert Schwartzman is wonderful for its mixture of indie, pop, hip-hop, and other kinds of music that include contributions from Jason Schwartzman’s side project Coconut Records, Mac DeMarco, Jack Kilmer, Nat & Alex Wolff, Blood Orange, Francesco Pennino, William Storkson, and Tonstartssbandht.

The casting by Laray Mayfield is superb as it feature some notable small roles and appearances from Talia Shire as April’s guidance counselor, Janet Jones Gretzky as Teddy’s mother, Emma Gretzky as Teddy’s sister, Colleen Camp as a woman who was part of a car accident Teddy got involved in, Francis Ford Coppola as the voice of a judge, Ana Thea Bogdanovich as a friend of the woman whom Teddy crashed into, Brennan and Atlanta de Cadenet Taylor as a couple of kids at a party, Andrew Lutheran as a boy April makes out with at a party, Jacqueline De La Fontaine as April’s mother, Don Novello as an art teacher, Sandra Seacat as an elderly woman who takes a liking towards Teddy’s art work during his community service, Margaret Qualley as a teammate of April in Raquel whom April notices Mr. B. puts his attention towards to, Chris Messina as Fred’s father who is a stoner and tries to flirt with Teddy, Keegan Allen as a weed dealer who insults Fred, and Val Kilmer as April’s stepfather Stewart who likes to smoke weed but also help her out with her term paper. Olivia Crocicchia and Claudia Levy are terrific in their respective roles as April’s classmates Chrissy and Shauna who often host parties while also making rumors about everyone.

Zoe Levin is pretty good in her role as Emily despite the fact that she’s underwritten in terms of the fact that there’s not a lot of development to her other than that she gives Teddy a blow-job early in the film and is the object of lust for other guys. James Franco is fantastic as April’s soccer coach Mr. B. whom April has a crush on while he is also creepy for the fact that he also likes April as well. Nat Wolff is amazing as Fred as this unlikeable and destructive teen who likes to smoke weed but also engage in vandalism and other destructive elements to the point that he gets Teddy in trouble as well as use Emily for sexual reasons. Jack Kilmer is excellent as Teddy as a stoner who has a gift for art as he deals with the drawbacks of his friendship with Fred but also his own issues as he also has a crush towards April. Finally, there’s Emma Roberts in a brilliant performance as April as a teenage girl dealing with uncertainty with her life as she longs for her soccer coach as well as coping with growing pains as it is one of Roberts’ finest performances.

Palo Alto is a marvelous film from Gia Coppola that features great performances from Emma Roberts, Nat Wolff, and Jack Kilmer in his film debut. Along with its supporting cast, rapturous visuals, hypnotic music soundtrack, and its exploration of teenage life in a small town in Southern California. It is a film that is a mesmerizing coming-of-age film that doesn’t just explore teen angst and uncertainty but also people just trying to find themselves in a small town. In the end, Palo Alto is a remarkable film from Gia Coppola.

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© thevoid99 2022

The Godfather Part III

Directed by Francis Ford Coppola and written by Coppola and Mario Puzo that is based on Puzo’s The Godfather novel series, The Godfather Part III is the story of Michael Corleone’s attempt to gain legitimacy away from the world of the Mafia as he makes a deal with the Vatican bank only for things to go wrong as it involves an illegitimate nephew who wants to help Corleone in getting rid of his enemies. The third and final part of The Godfather trilogy, the film is an exploration of Michael Corleone’s attempt to find redemption as he also copes with guilt over his past actions as Al Pacino reprises his role as Michael Corleone as he’s joined by Diane Keaton, Talia Shire, Richard Bright, and Al Martino reprising their famed roles from previous films. Also starring Andy Garcia, Sofia Coppola, Joe Mantegna, Bridget Fonda, George Hamilton, John Savage, Donal Donnelly, Helmut Berger, and Eli Wallach. The Godfather Part III is a compelling yet flawed film from Francis Ford Coppola.

Set in the late 1970s, the film revolves around Michael Corleone’s attempt to detach himself from the criminal world as he had reinvented himself as a philanthropist while leaving his other business to other people where it begins to fall apart. When an opportunity arises to buy shares from one of the world’s biggest banks in the Vatican’s Immobiliare, Corleone sees it as a chance to become a fully-legitimized businessman. Still, elements of his past dealings with the Mafia come back to haunt him as his enforcer Joey Zasa (Joe Mantegna) has been running Corleone’s territory into ruins forcing an illegitimate nephew of Corleone in Vincent Mancini (Andy Garcia) to wanting to get control back. Once it becomes clear that there are those trying to get rid of Corleone not just over the deal but for other reasons, Corleone decides to have Vincent take over but with Vincent to disconnect himself with his cousin in Corleone’s daughter Mary (Sofia Coppola).

The film’s screenplay plays into not just Michael Corleone’s attempt to be part of society and make himself legitimate but also carry the guilt over the way he rose into power. Especially as the demons of his past would return in ways he didn’t expect as he is facing new enemies who play by different rules as well as those whom he thought were his friends. The chaos that emerges in Corleone’s life forces him to look towards Vincent for help as well as the advice of his sister Connie (Talia Shire) and longtime bodyguard Al Neri (Richard Bright). It is around the same time that Michael makes amend with his estranged ex-wife Kay (Diane Keaton) after pushing her away from his dealings just as Michael is seeking redemption for his past actions and sins. Still, Corleone copes with issues regarding the Immobiliare as well as the involvement of his old family friend Don Altobello (Eli Wallach) who is the most interesting character in the film. An old man that may seem weak and frail but it’s just a front for who he really is.

It’s among the interesting aspects of the script but there’s elements in that script that involves real-life events such as the death of Pope John Paul I as well as the Papal banking scandal of the early 80s definitely becomes too overwhelming and not as fleshed it for the main story which relates to Michael Corleone’s attempt for legitimacy and redemption. Another aspect of the script that doesn’t work involves the relationship between Mary and Vincent where it does border into the world of incest since the two are related to the Corleone family as Vincent was the illegitimate son of Michael’s eldest brother Sonny as Vincent bears reminders of the father he never really knew. It’s among some of the weak aspects of the script as well as the missed presence of a major character in the series in Tom Hagen, whose character is revealed to have died, as the only connection that is presented in the film is his son Andrew (John Savage) who is a priest that helps Michael in dealing with the Immobiliare.

Francis Ford Coppola’s direction is quite interesting as it’s set in three different places such as Rome, New York City, and Palermo, Sicily as it plays into a world that is changing but things are far more ruthless as they when Michael was ruling the Corleone family. Yet, Coppola retains the look of its predecessors while aiming for something that is rich but also play into a world that is changing where Michael Corleone is unaware that he is on his way out. Coppola’s compositions are still potent in the way he frames some of the drama as well as play into some of the film’s violence which is quite brutal in the way characters are killed and such. Some of the drama has Coppola use some unique medium shots and close-ups as it includes a very mesmerizing scene where Michael makes his first confession in many years to Cardinal Lamberto (Raf Vallone) who is one of the few good men in the world. It’s a scene where Michael Corleone finally reveal his sins as it is also this brief moment where the man could find redemption.

It’s among these very keen moments in the film that works while some of the elements in the film as it relates to Vincent’s attraction towards Mary are among some of the things in the film that doesn’t work. Even as Coppola isn’t able to really do anything new as the film’s climax at an opera house does have an air of theatricality in a montage that does play as a homage to elements of films of the past. Yet, it’s aftermath does have an air of tragedy as it plays to not just the sins of Michael Corleone but also the fact that all of his attempts to get those closest to him away from that dark world aren’t exempt. Especially as he realizes that the world of legitimacy that he thought he was going into is a far more treacherous world than the world of crime. Overall, Coppola creates a very captivating though very uneven film about a mobster’s attempt to find redemption and atone for his sins.

Cinematographer Gordon Willis does amazing work with the film’s cinematography with its approach to low-key lights for the scenes at night while maintaining a sepia-drenched visual style that plays to the film’s interior looks for the scenes in day and night as well as maintaining something natural and low-key for the scenes set in Sicily. Editors Walter Murch, Lisa Fruchtman, and Barry Malkin do excellent work with the editing as it does have an air of style in some of the film‘s violent moments while creating some montages as well as some stylish dissolves to play into the drama. Production designer Dean Tavoularis and art director Alex Tavoularis do fantastic work with the set pieces from the New York City penthouse that Michael lives in as well as the look of Little Italy and the home of the Corleone family in Sicily.

Costume designer Milena Canonero does brilliant work with the costumes from the party dress that Mary wore at the opening party scene as well as the suits and dresses the characters wear in some of the posh events at the film. Sound designer Richard Beggs and sound editor Gloria S. Borders do superb work with the film‘s sound to play into some of the violence that includes the chilling helicopter attack scene as well as the moments in the opera house. The film’s music by Carmine Coppola is wonderful as his approach to lush string arrangements and somber horns play into the sense of melancholia that looms over the film along with some very offbeat cuts such as the use of the Jew-harp that serves as a theme for Don Altobello.

The casting by Janet Hirshenson, Jane Jenkins, and Roger Mussenden is terrific as it features small yet notable appearances from Catherine Scorsese as an old lady who likes Vincent, Raf Vallone as Cardinal Lamberto, Enzo Robutti as the an old-school mob leader in Don Luchessi, Vittorio Duse as the old Corleone ally Don Tommasino, Mario Donatone as the assassin Mosca, Helmut Berger as an Immobiliare accountant Frederick Keinszig, John Savage as Father Andrew Hagen who would help Michael with dealings of the Immobiliare, and Al Martino who makes a wonderful appearance as the singer Johnny Fontaine for the film’s opening party scene. Performances from George Hamilton as Michael’s attorney B.J. Harrison isn’t inspiring as Hamilton really does nothing to make his performance memorable while Bridget Fonda is wasted as a photojournalist in Grace Hamilton who sleeps with Vincent as she is nearly killed for that moment. Other small roles from Richard Bright as Michael’s longtime bodyguard Al Neri, Franc D’Ambrosio as Michael’s son Anthony, and Donal Donnelly as Archbishop Gilday are pretty good as they do serve purpose for the story.

Sofia Coppola isn’t as bad that many has said about her performance as Mary Corleone but it is still quite terrible as she is unable to sell the dramatic elements of her performance as she and Andy Garcia don’t really have any chemistry. Joe Mantegna is excellent as Joey Zasa as a Corleone enforcer who has caused trouble for the Corleone crime empire forcing Vincent to take action. Talia Shire is fantastic as Connie Corleone as she becomes more involved in the Corleone family business as she would encourage Vincent to take action. Andy Garcia is superb as Vincent Mancini as the illegitimate son of Sonny Corleone who attained his father’s fiery attitude as he becomes Michael’s protégé as he later copes with the role he is given as well as breaking off a relationship with his cousin Mary.

Eli Wallach is phenomenal as Don Altobello as an old family friend of the Corleone family who is a truly complex and fun character as this old man that seems like a harmless person but he’s really one of the most deceitful and cunning antagonists ever presented on film as Wallach is a major highlight of the film. Diane Keaton is brilliant as Kay Adams as Michael’s estranged ex-wife who returns to plea for Michael to let Anthony go while coping with his illness and attempts to find redemption. Finally, there’s Al Pacino in a remarkable performance as Michael Corleone as he brings a lot of charm but also a weight of melancholia to the role as a man who copes with the guilt of his actions as he tries to become a legitimate businessman only to realize how corrupt it is as he searches for redemption and atonement for his sins.

The Godfather Part III is a stellar yet underwhelming film from Francis Ford Coppola. While it does feature excellent performance from Al Pacino, Diane Keaton, Talia Shire, Andy Garcia, Joe Mantegna, and Eli Wallach along with some fine technical contributions. It’s a film that has some unique elements in its theme of redemption but is boggled down by some uninspired storylines and other things that really hinders the film though it is still an engaging one. In the end, The Godfather Part III is a superb film from Francis Ford Coppola.

Francis Ford Coppola Films: (Tonight for Sure) - (The Bellboy and the Playgirls) - Dementia 13 - (You’re a Big Boy Now) - (Finian’s Rainbow) - (The Rain People) - The Godfather - The Conversation - The Godfather Part II - Apocalypse Now/Apocalyse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Captain EO) - (Heart of Stone) - (Tucker: The Man and His Dreams) - New York Stories-Life Without Zoe - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2015

I Heart Huckabees

Directed by David O. Russell and written by Russell and Jeff Baena, I Heart Huckabees is the story of an environmental activist who finds himself dealing with coincidences and such as he hires two existential detectives to help him as others also seek the help of the detectives. The film is an exploration into the world of existentialism as it’s told in a humorous manner as it also features a corporate executive who is the antagonist to the activist. Starring Jason Schwartzman, Jude Law, Mark Wahlberg, Naomi Watts, Isabelle Huppert, Lily Tomlin, and Dustin Hoffman. I Heart Huckabees is a truly hilarious and captivating film from David O. Russell.

The film explores the struggles of an environmental activist who is trying to save some marshes from being destroyed in favor of a new department store as he battles a corporate executive who lied to him. Yet, the activist Albert Markovski (Jason Schwartzman) finds himself encountering a tall Sudanese bellboy which prompts him to get the help of two existential detectives in Bernard & Vivian Jaffe (Dustin Hoffman & Lily Tomlin, respectively) where things get complicated as he finds himself in a bigger battle with Huckabees executive Brad Stand (Jude Law) who also hires the Jaffes. With a disgruntled client of the Jaffes in fireman Tommy Corn (Mark Wahlberg) leaning towards the nihilistic views of the Jaffes’ former protégé Caterine Vauban (Isabelle Huppert) as Albert would join Tommy. Things get complicated when the Jaffes’ presence starts to ruin Brad’s life as his girlfriend/Huckabees’ spokeswoman Dawn Campbell (Naomi Watts) starts to rebel against her own image. All of which plays into a group of people questioning themselves as well as their ambitions and roles in life in a very humorous fashion.

The film’s screenplay by David O. Russell and Jeff Baena has an offbeat structure where the first act is about Albert’s frustrations to save the marshes and deal with Brad who constantly bullshits everyone including the people he works for about a story involving country-pop singer Shania Twain and a tuna sandwich. While the Jaffes claim that both Albert and Brad are the same due to their ambitions and the need to make a difference. It’s something Albert refuses to believe as his encounter with Tommy would have him see a much darker view. Tommy is a fireman who despises petroleum as he sees Albert as a man who believes in something where a series of events would have Albert lose the trust of the people trying to save the marshes who go to Brad who is bullshitting them. The second act is about Albert and Tommy turning to Vauban for help as well as revelations for Albert about his own life where Tommy would often combat the Jaffes about their views on how everything is connected while Tommy refutes that.

Then comes this third act where it is about Brad and his own ambitions where his own life would unravel. Even as his relationship with Dawn comes into question as Dawn is often seen wearing skimpy clothes to promote Huckabees as she begins to ask questions about herself and her own relationship. Especially as she would threaten the future of Huckabees and Brad getting into some trouble which would then lead to a major epiphany for all of those involved. Especially the Jaffes and Vauban whose opposing views on the ways of the world would suddenly come together.

Russell’s direction is simple in the way he would shoot some scenes but there’s also something that is very offbeat in the way he plays into many of the film’s humorous moments. Notably the way it opens with Albert cursing at himself for all of the problems he is having where his encounters with this Sudanese bellboy are comical. It plays to the tone of the film where a lot of the humor is absurd as the scene where Albert and Tommy are in a room with the other clients of the Jaffes to showcase a world that is chaotic. The scenes with Vauban doing her own teaches are also absurd as it tries to play into this comical idea of nihilism. There’s also some very offbeat fantasy scenes that play into Albert’s own struggles and his hatred for Brad.

The opposing views of the Jaffes and Vauban would add to the offbeat tone of the direction where Russell would showcase their views through minimal visual effects. The Jaffes present their ideas in dots and such to say that everything is connected in a variation of transcendentalism while Vauban is more grounded in reality where there aren’t any visual effects but one that is still darkly comic. It would all culminate in a scene where it plays into these two diverge forces finally coming together in a moment of enlightenment. Overall, Russell crafts a very witty yet engaging comedy about a young man dealing with the ways of the world and his place in the world.

Cinematographer Peter Deming does excellent work with the film‘s colorful cinematography to capture the naturalistic of the locations in California as well as some of its interiors where a lot of the film is shot on daytime. Editor Robert K. Lambert does brilliant work with the editing with its unique approach to montages and jump-cuts as it plays to the film‘s offbeat style. Production designer K.K. Barrett, with set decorator Gene Serdena and art director Seth Reed, does amazing work with the look of the Huckabees corporate building as well as the home office of the Jaffes to display their eccentric approach of transcendental philosophy.

Costume designer Mark Bridges does nice work with the costumes from the skimpy clothes that Dawn wears in her job to the different array of clothes that Vivian Jaffe and Caterine Vauban would wear. Visual effects supervisor Robert Barrett does fantastic work with the visual effects that play into the ideas of the Jaffes about connection and such as it‘s very playful. Sound editor Kelly Oxford does terrific work with the sound work to play into some of the sounds in the fantasy scenes as well as some of the moments in the location. The film’s music by Jon Brion is an absolute delight with its playful approach to the Chamberlin instrument as well as some folk-based pieces that he brings in to the film.

The casting by Mary Vernieu is incredible as it features some notable appearances from Shania Twain as herself, Richard Jenkins and Jean Smart as a couple who let the Sudanese bellboy live with them, Jonah Hill in his film debut as that couple’s son, Talia Shire as Albert’s mother, Bob Gunton as Albert’s stepfather, Tippi Hedren as a coalition leader who tries to save the marshes where she aligns herself with Brad, Isla Fisher as Dawn’s replacement later in the film, Ger Duany as the tall Sudanese bellboy in Stephen, and Kevin Dunn as the Huckabees executive manager Marty. Naomi Watts is excellent as Dawn Campbell as the Huckabees’ spokeswoman who is often in their commercials and is Brad’s girlfriend as her encounter with existentialism showcases Watts at her funniest as she questions her own image and such.

Isabelle Huppert is amazing as Caterine Vauban as this absurd nihilist who tries to show Albert and Tommy a world where there is nothingness as she proves to be quite extreme and convincing in her views. Dustin Hoffman is brilliant as Bernard Jaffe as this oddball existential detective who is trying to get people on board with his own ideas while Lily Tomlin is fantastic as Bernard’s wife Vivian who also expresses the same views while being more analytical about the people she’s working with. Mark Wahlberg is phenomenal as Tommy Corn as this fireman who rides a bike as he becomes lost in his own despair as he tries to find meaning as it’s Wahlberg in one of his funniest and most vulnerable performances.

Jude Law is superb as Brad Stand as this corporate executive who likes to tell a story about Shania Twain to win over people and such as he’s a man that is quite vain in his ambitions only to realize how empty they can be. Finally, there’s Jason Schwartzman in a marvelous performance as Albert Markovski as this frustrated environmental activist who tries to make a difference as he deals with the different ideas of existentialism and his own issues with Brad as it’s Schwartzman in one of his funniest roles.

I Heart Huckabees is a smart and compelling film from David O. Russell. Armed with a great ensemble cast and very witty ideas about existentialism, the film is certainly a comedy that doesn’t play to any conventions. Especially as it showcases the idea of existentialism in its most absurd. In the end, I Heart Huckabees is a remarkable film from David O. Russell.

David O. Russell Films: Spanking the Monkey - Flirting with Disaster - Three Kings - The Fighter - Silver Linings Playbook - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell

© thevoid99 2014

Rocky

Directed by John G. Avildsen and written and starring Sylvester Stallone, Rocky is the story of a club fighter who is down on his luck as he is given a shot to fight the heavyweight champion of the world. The film is the first of a series of films that explores the trials and tribulations of Rocky Balboa as he is a kind-hearted man that is trying to make it in the only thing he knows how to do. Also starring Talia Shire, Burgess Meredith, Burt Young, Tony Burton, and Carl Weathers as Apollo Creed. Rocky is a heartwarming and sensational film from John G. Avildsen.

The film is a simple story about a club fighter named Rocky Balboa who is a good, kind-hearted man with little prospects as he is given a shot to fight the World Heavyweight Champion Apollo Creed. Yet, the film follows the life of this guy who knows how to fight while he spends part of his time collecting money for a loan shark just to make a living. Still, it’s not enough as he’s considered a bum by most people living in the urban neighborhood in Philadelphia while a gym owner named Mickey Goldmill (Burgess Meredith) is convinced that Rocky is wasting his potential by working for a loan shark. When opportunity arises to fight Apollo Creed all because of his nickname in The Italian Stallion, it becomes one of many things that help Rocky’s life as he also falls for a shy pet store clerk named Adrian (Talia Shire). While he is considered a long-shot to win the fight, Rocky would do something to surprise everyone in his climatic fight with Creed.

Sylvester Stallone’s screenplay reveals a lot of the struggles of a man just trying to get a break in life as he wants to do good yet he isn’t given many opportunities to do so. Particularly as he is someone who is street-smart but had to give up school as a teenager making life much tougher for him. The only friend he has is an alcoholic meat-packing plant worker named Paulie (Burt Young) who is also Adrian’s older brother. Adrian becomes the one person in Rocky’s life that shows him a world with love as he would help her come out of her shell more as she eventually stands up to the abusive tirades of her brother. The opportunity to fight Creed isn’t just something that Rocky needed to help his life but also prove to the people that he’s not a bum. Even as he turns to Mickey for help as Mickey had been reluctant in the past but knows Rocky needs someone who can help him.

The Apollo Creed character is based on some of the more outrageous fighters of the 1960s and 1970s as he’s a man that needed to fight a fighter as his original fight fell through. By giving an unknown a shot at the title on New Year’s Day in 1976, it would give Creed the publicity that he craves for as a man who is generous with the people. What he doesn’t know is that his opponent is training for the fight a little more seriously as it does lead to this fight. There’s a moment in the third act before the fight where an admittedly-scared Rocky knows that he couldn’t beat the undefeated Creed. Yet, he doesn’t want to go out there and lose like a bum where the fight would have Rocky do the unthinkable in that fight.

John G. Avildsen’s direction is quite understated for much of the film in terms of creating the sense of drama as it has this sense of looseness in the way things play out. Even as it features scenes of Rocky walking around place in Philadelphia where the place itself is a character in the film. While a lot of the dramatic moments are shot with some simplicity, the scenes involving the fights are more stylish. Notably in the way it shows Rocky’s training methods like hitting meat in a meat locker or running around the streets of Philadelphia. Avildsen also creates some amazing training montages where the shots of Rocky running in training featured one of the most early uses of the Steadicam that would also include the shot of Rocky reaching the top of the steps of Philadelphia Museum of Arts.

The climatic fight scene is presented with such degree of style where Avildsen does use some stock footage for the crowd scenes as while having the camera be in and outside the ring to capture the intensity. Even as it reveals what the crowd is seeing as there’s a lot of drama in the fight including some moments where both Rocky and Creed put their bodies at great risk. Overall, Avildsen creates a very gripping yet powerful film about a fighter getting the opportunity to do good and fight the champ.

Cinematographer James Crabe does excellent work with the film‘s cinematography by using very simple lighting schemes for some of the film‘s interiors and exteriors while creating a sense of style for the film‘s fights with some unique uses of lighting. Editors Scott Conrad and Richard Halsey do great work with the editing to use more simple but effective cuts in the dramatic portions while creating some amazing montages in the training sequence as well as some rhythmic cuts in the climatic fight. Production designer William J. Cassidy, with set decorator Ray Molyneaux and art director James H. Spencer, does nice work with some of the set pieces along with the lavish look of the climatic fight.

Makeup designer Michael Westmore does terrific work with the makeup for the film‘s climatic fight to showcase the brutality the two men put upon each other. The sound work of Bud Alper, Lyle J. Burbridge, William McCaughey, and Harry Warren Tetrick is wonderful for the atmosphere that occurs in the gym and in the fights along with the intimate scene of Rocky and Adrian at the ice skating rink. The film’s music by Bill Conti is brilliant as it features some soaring orchestral music including the theme Gonna Fly Now along with some plaintive piano pieces to express Rocky’s melancholia.

The casting by Caro Jones is fantastic as it features some notable appearances from famed fighter Joe Frazier as well as performances from Joe Spinnell as the loan shark Tony Gazzo, Thayer David as the promoter George Jergens, and Tony Burton as Creed’s trainer Tony “Duke” Evers. Carl Weathers is great as the flamboyant fighter Apollo Creed as a man who is full of charisma and skill only to realize that the opponent he picked isn’t some bum. Burt Young is excellent as Rocky’s friend Paulie who tries to help Rocky out while being very cruel towards his sister claiming she’s making his life difficult. Burgess Meredith is superb as Mickey as a former boxer who is aware of Rocky’s potential as he helps trains for the fight. Talia Shire is wonderful as Adrian as a shy pet store clerk who falls for Rocky as she helps him deal with the doubts he has. Finally, there’s Sylvester Stallone in a magnificent performance as Rocky Balboa by displaying a man who is very good to people though doesn’t get appreciated while being a tough guy with heart as it’s definitely a true breakthrough for Sly.

Rocky is a tremendous film from John G. Avildsen and its star/writer Sylvester Stallone. The film isn’t just one of the great sport movies but also an inspirational story of how an underdog can overcome the odds. Even as it’s a film that started one of the great franchises in films while finding a character in Rocky Balboa for the people to root for. In the end, Rocky is an outstanding film from John G. Avildsen.

Rocky Films: (Rocky II) - (Rocky III) - (Rocky IV) - (Rocky V) - (Rocky Balboa) - Creed (2015 film) - (Creed II)

John G. Avildsen Films: (Turn on to Love) - (Guess What We Learned in School Today?) - (Joe) - (Cry Uncle!) - (Okay Bill) - (Save the Tiger) - (The Stoolie) - (Fore Play) - (W.W. and the Dixie Dancekings) - (Slow Dancing in the Big City) - (The Formula) - (Neighbors) - (Traveling Hopefully) - (A Night in Heaven) - The Karate Kid - The Karate Kid Part II - (Happy New Year) - (For Keeps) - (Lean on Me) - The Karate Kid Part III - (The Power of One) - (8 Seconds) - (Inferno)

© thevoid99 2013

The Godfather, Part II

Originally Written & Posted at Epinions.com on 4/6/06 w/ Extensive Revisions & a New Conclusion.

For many movies, especially franchises. Sequels are often done to either cash in on a previous film's success or in continuation with a story. Yet there are some sequels that are even better than the original film in terms of its storyline and character development. One such film that had a rare sequel that didn't just surpass the original film on some levels but also equate the film in terms of its theme and approach to storytelling. That film was 1972's The Godfather based on Mario Puzo's novel and in 1974, came a spectacular sequel that told the rise of a man turned mob figure and the dark descent of his successor simply titled The Godfather, Part II.

Again based on the novel by Mario Puzo, The Godfather, Part II tells two different story. One being Don Corleone's arrival to America as a child after being on the run from mob figures in Sicily where later on, he rose to power as a mob figure of his own while balancing his work life with his devotion to his family. The other story picks up where the last film took off as Don Corleone's successor and youngest son Michael takes over the family business and moves them to Las Vegas where he loses sight of what his father's values and insightful tactics towards business. Directing the film for this sequel is Francis Ford Coppola, who also directed and co-wrote the first film. Teaming with Puzo again for the script. In their approach, the theme again is family where the story moves back and forth in time from how Don Corleone takes care of his family and the people around him and how Michael Corleone corrupts himself into destroying everything around him.

Returning to the fold from the first one are Al Pacino, Diane Keaton, Talia Shire, Robert Duvall, and John Cazale along with flashback cameos from James Caan, Gianni Russo, and Abe Vigoda. Also in the film are Dominic Chianese, G.D. Spradlin, Bruno Kirby, Gastone Moschin, Michael Vincente Gazzo, Joe Spinell, Mario Cotone, Lee Strasberg, and Robert de Niro as the young Don Corleone. The Godfather, Part II is a sprawling, heartbreaking epic drama that in undoubtably one of the finest films of American cinema.

It's the early 1900s as a young mute boy named Vito Andolini (Oreste Baldini) is at the funeral for his father in Corleone, Sicily.  When a revenge attempt on the town's don Francesco Ciccio (Guiseppe Sillato) has failed as well as an attempt to spare Vito's life by his mother (Maria Carta).  Vito secretly flees on a ship to America where he's re-named Vito Corleone.  Some years later in New York City, Vito Corleone is a family man with a wife (Francesca de Sapio) and young boys at the time.  Yet, he has issues with the way people are treated by the town's Don Fanucci (Gastone Moschin) who forced Vito's grocery boss to fire him.  After befriending a man named Clemenza (Bruno Kirby), they join forces as they also take in another young man named Tessio (John Aprea) to stand up against Fanucci.

After defeating Fanucci, Vito Corleone becomes a mob leader of his own but with more compassion as he helps the little people of Little Italy.  With their olive oil business being their front and becoming a success, it was a chance for Vito to return to Sicily to settle some business.

In the 1950s, Vito Corleone's grandson Anthony Corleone (James Gounaris) is taking his first communion in front of his parents, Michael Corleone (Al Pacino) and Kay Adams (Diane Keaton). A party happens in their lake home near Las Vegas where Michael and his family are celebrating with his sister Connie (Talia Shire) and her new husband Merle Johnson (Troy Donahue), his older brother Fredo (John Cazale) with his wife Deanna (Marianna Hill), and their mother (Morgana King).  Also in attendance are Senator Pat Geary (G.D. Spradlin), Johnny Ola (Dominic Chianese), and an old friend named Frank Pentageli (Michael Vincente Gazzo) as they came to discuss some business with Michael.  Though Michael's business dealings bring discomfort to Kay, it doesn't dampen the night.

Later that night, an attack occurred at the home of the Corleones where Michael and Kay were nearly killed.  Realizing he's a possible target for another mob boss in Hyman Roth (Lee Strasberg), Michael turns to family friend and former consigliere Tom Hagen (Robert Duvall) to be in charge with Rocco Lampone (Tom Rosqui) and Al Neri (Richard Bright) as assistants.  Michael goes to Miami with Busatta (Amerigo Tot) to meet with Roth, who had an old business relationship with Vito.  The meeting has Michael suspecting Pentageli who has his own issues with the Rosato brothers (Carmine Caridi and Danny Aiello) as a meeting with them almost became fatal until he's saved by Willie Cicci (Joe Spinell).  Back in Las Vegas, Hagen is called Fredo's brothel place where he finds Geary in trouble as Hagen offers to help.

Michael joins Roth to Cuba for some business only to have second thoughts about the ongoing Cuban Revolution.  Michael calls Fredo to help as he reveals that Roth was the one who assassinated him.  He plans revenge on the ailing Roth by getting Busatta to kill him while Michael attends a party with Fredo, Geary, and Johnny Ola.  It is there Michael finds out some awful truths as he returns to Las Vegas learning that Kay had a miscarriage while Hagen tells him that he is to go on trial against the U.S. Senate.  Though Geary was willing to help Michael and Willie Cicci, the Senate are trying to go after Michael with Pentageli as the big witness to testify against him.  With Fredo returning home to Las Vegas, Fredo reveals his frustration towards Michael along with information about the trial.  While Michael decides to keep Fredo at bay, he finally gets Pentageli to commit perjury to win.

Though Michael won his case, his relationship with Kay has suffered forcing the marriage to dissolve following an ugly secret.  With his mother dying and Connie pleading to Michael to forgive Fredo for what he's done.  Michael gives in to Connie's pleas but his plans for some unfinished business leaves Hagen alienated and disillusioned despite choosing to stay at Michael's side.  Even as it became clear for those who were close to realize how far Michael has descended.

It's a rare feat for a film sequel to outdo the first one. With the case of The Godfather and the sequel, it's even rare to match it up where neither top each other but are equal in what both films are trying to say. With The Godfather, it's a thematic film about family in the world of crime and how an old man tries to run his business as just a business and not bring anything personal to the game. With Vito Corleone trying to protect his family and wanting a better life for them while not getting his sons too caught up in personal matters in the mob game. The ending in the first Godfather with Vito Corleone's death only reveals in the way Michael Corleone runs the business only to lose sight of himself and what his father stood for. There, it sets up the idea of what becomes the center-point of The Godfather, Part II.

The second film is clearly darker in one of its stories where the overall part of the film is very tragic. It remains a family film but one where the family disintegrates. The credit for this complex, parallel world of the young Vito Corleone and an older Michael Corleone in the 1950s goes to the team of the book's novelist Mario Puzo and co-screenwriter Francis Ford Coppola. The story in many ways is a classic rise-and-fall story but its approach of a man's rise and his son's downfall only gives the story of the Corleone family more intriguing and heartbreaking at the same time. It shows the similarities and difference of the way Vito and Michael Corleone deal with their business and family.

While Vito's story has its share of brutality and violent moments, it's only because he was forced to see violent acts as a child and tries to ignore it. Yet, when he’s a man trying to make a simple, decent life only to be pushed away by another power-hungry mob boss. He is forced to go into a life of crime to do right not just for himself but for his family. Unlike Don Fanucci and Don Ciccio, Vito doesn't make his presence known nor does he act like the big-shot of the town. Instead, he tries to help the little people while wanting to not make them feel that they'll be in trouble if they do something wrong. Still, Vito's act of violence was only personal in order to have some emotional closure. Yet, his act only helps him gain a status as a respected mob boss who doesn't like to cause trouble. Another side of him is the way he deals with his family and how he cherishes them where all of his qualities are passed down to his three sons.

In Michael's part of the story, it starts off with his cold-hearted way he deals with business as he reveals to Senator Geary that they're both corrupt in every way. His emotional take on business only leads him into this downward spiral where in the end, he alienates nearly everyone around him to the point that he becomes paranoid. The hit on him confirms his paranoia while he ends up trusting no one, not even himself. Michael, in the end, becomes as cold-hearted and ruthless than his father was when his father rarely showed that part of himself. The result of the decisions he made, the way he's corrupted himself, the way he deals with his own family, and how he tries to distance himself in the way his father does thing would only begin to haunt him in the years to come.

If the film's script in all of its dramatic elements and complex structure is filled with amazing moments, Coppola's sprawling direction takes it to new heights. The scene where Vito Corleone plans to assassinate Don Fanucci is one of the best presentation with images of a parade, a play, and the street with Fanucci walking around on the street. Coppola brings a vision that is unique in its two parallel storyline by going for a wide-open look of Sicily and old New York in the Vito Corleone sequence. His vision of Michael Corleone's world from Miami, Cuba, Vegas, and Washington, D.C. is a little bit bleaker. Coppola also heightens the emotions and tragic nature of the film that really becomes hypnotic to watch in every way and form, especially a classic scene of Michael and Fredo discussing Fredo's frustration. The way Coppola composes tragedy is very prominent throughout the film, especially in the film's flashback ending of Michael recalling his own ideal innocence which was far removed from the cold nature that he is in the late 50s. It's truly some of the best directing ever done in film.

Helping Coppola in his sprawling vision is Gordon Willis, who also shot The Godfather. The famed cinematographer brings the same, unique, sepia-like vision of orange throughout the entire film where in the Vito Corleone sequence, the film has a distinctive look that is classical. The look of the first film is given more coverage where the exteriors of Sicily is beautiful to look while the New York scenes reveal a lesser, color feel. The interiors are given an idea of intimacy with little lighting other than a light bulb or a candle to feel the look of the times. The Michael Corleone sequences has more color yet the feel of the looks is even bleaker as the colors began to decay within the story as the feel of the film looks less and less colorful. Willis' work in the series is wonderfully distinctive in its authenticity and atmosphere.

Helping Coppola and Willis with that look is Coppola's longtime collaborator Dean Tavoularis. The production designer creates a look of the film that is authentic to the period that the differing stories are in. From the poor yet simple look of Little Italy in early 1900s New York to the lavishness of Las Vegas, Tavoularis, along with art director Angelo P. Graham and set decorator George R. Nelson, create an atmosphere that plays to the feel of the film that is wonderful to look while enclosing the worlds that the Corleone men are in. Helping out with the costume design of the film is Theadora Van Runkle who captures a wonderful, flashy look of the Las Vegas, 1950s sequence of the film while giving a wonderful look to the Don Fanucci character with his white suit. Editors Barry Malkin, Richard Marks, and Peter Zinner do great work in not just giving the film a nice pacing feel but also the presentation sequences for the Don Fanucci assassination scene and the classic climax of Michael finishing his plans. Longtime Coppola collaborator Walter Murch does great sound work in capturing the tone of the film in its atmosphere.

Composers Nino Rota and Coppola's father Carmine do great work in not just the familiar themes of the film but also playing the tension of the film. While Carmine brings out more innocent moments of the film, Rota's music balances it with his dark, sprawling arrangements. The music of the film portrays the film's tragedy and disintegration of Michael while building up the innocent hi-jinks of Vito Corleone. It's the music of Rota and Coppola that stands out among the many classic films scores.

Finally, there's the film's amazing ensemble that features several famed cameos and small appearances. There's early performances from the likes of Danny Aiello as one of the Rosato brothers, Bruno Kirby as a young Clemenza, Harry Dean Stanton as an FBI agent protecting Pentageli, and former teen idol Troy Donahue as Connie's new husband, whose real name is Merle Johnson. There's also early performances from two of Coppola's children, Roman as a young Santino and Sofia as a girl on a boat arriving to America. There's also some great cameos from Roger Corman as a Senator, Gianni Russo as Carlo in a flashback, Abe Vigoda as Tessio, and a fantastic flashback performance from James Caan as Santino.

Smaller performances from Joe Spinell as Willie Cicci, Amerigo Tot as Michael's Miami bodyguard, Frank Sivero as Genco, John Aprea as a young Tessio, Richard Bright as the brooding Al Neri, Tom Rosqui as Rocco, and Morgana King as Mama Corleone along with Francesca de Sapio as the young Mama Corleone and Maria Carta as Vito's mother. Gastone Moschin and Guiseppe Sillato are great as the dons that Vito Corleone despises while Oreste Baldini is great as the young Vito Corleone. Future Sopranos star Dominic Chianese is excellent as the sly Johnny Ola while G.D. Spradlin is wonderful as the corruptive Senator Geary who ends up pledging loyalty to the Corleone family. Michael Vincente Gazzo is wonderfully hilarious as the angry, frustrated Frank Pentageli whose loyalty for the Corleone family is shaken when he believes he is tricked. Pentageli is an interesting, complex character of a man who wants what is promised to him only to realize that the old days of Mafia is dying.

While Talia Shire's role as Connie is small, her performance as Michael's frustrated young sister is one of the most memorable. Notably for Shire's plea to take care of Michael where eventually, she becomes his only family ally who is forced to realize about the family business. Diane Keaton gives an even better performance in her role as Kay whose understanding about the mob and family begins to confront Michael's ideas of family. Keaton's performance is amazing to see a woman who realizes the dangers that she's living in and how it affects her own children as she is saddened at who Michael has become. Lee Strasberg gives an amazing performance as a version of Meyer Lansky in the role of Hyman Roth. Strasberg's masterful performance reveals an ailing man who is hoping to retain the power and presence that he wanted for so many years despite his attempt to try and con Michael out of his money. Strasberg is great in his role.

The best supporting performance is the late John Cazale in the role of Fredo. Cazale brings all sorts of sensitivity, heartbreak, and frustration into a character who is so complex and emotionally that anyone can relate to him. Cazale steals the show from everyone including Al Pacino in a classic scene about Fredo being stepped over. Cazale exudes all sorts of emotions into the role that it's one that is extremely memorable. It's even sadder that Cazale would later die in early 1978 despite being in five films, all of them considered to be classics. Robert Duvall is also great in the role of Tom Hagen who plays the role of a moral conscience who does everything he can to protect Michael and the family only to find himself alienated. Duvall brings the role of a man who sees the old ways being crumbled down into something more violent and ruthless as his own conscience comes to question despite his loyalty to Michael. Duvall is great in the role as he is one of the reasons why The Godfather series is a defining moment in cinema.

Robert de Niro gives a great performance in the role of young Vito Corleone as a man who tries to live a simple life only to find a better life in the world of crime but remain a simple man. While de Niro's performance is mostly done in Italian with little dialogue, the performance is amazing since it has the same wit and charm that Marlon Brando brought in the previous film. Instead of imitating Brando, de Niro brings his own wit and quiet acting into the role as he gives the Vito Corleone character which makes the man more innocent despite his deeds. Al Pacino gives a classic performance in the role of Michael whose development from young idealist wanting to stray from the mob into a dark, mob leader is amazing to watch. Pacino's cold stare and his eerie performance is very haunting and sad as the man from the first film is gone and has become a darker, paranoid man. Pacino sells the performance in every way as he has great chemistry while bringing the right approach to parallel the performance that fellow actor Robert de Niro gives.

When the film was released in late 1974, months after Coppola released his paranoid thriller film The Conversation. Not surprisingly, The Godfather, Part II became another huge box office success which eventually won six Academy Awards for Art Direction, Film Score, Adapted Screenplay for Puzo and Coppola, a Supporting Acting win for de Niro who was going up against co-stars Gazzo and Strasberg, Directing for Coppola, and Best Picture. Nearly 30 years after the release of the film, The Godfather, Part II remains a very popular film along with The Godfather as both films are often hailed as gangster classics. For Francis Ford Coppola, his work with The Godfather series wasn't done as in 1977, he released a TV-miniseries edit of the film with extra footage that didn't make it to the final cut which was somewhat successful despite its chronological approach.

The Godfather, Part II is definitely one of the best films ever made from Francis Ford Coppola.  Armed with amazing technical work by its crew, wonderful music by Nino Rota and Carmine Coppola, and a phenomenal ensemble cast.  Though it's not easy to say whether it's as good or better than its predecessor, it's one of those films truly defines the idea of what a great sequel can be.  Even as it has a narrative structure that is unique about the way men ran things back in the early 20th Century and in the second half.  In the end, The Godfather, Part II is a masterpiece from Francis Ford Coppola.

Francis Ford Coppola Reviews: Dementia 13 - (You're a Big Boy Now) - (Finian's Rainbow) - (The Rain People) - The Godfather - The Conversation - Apocalypse Now/Apocalypse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Garden of Stone) - (Tucker: The Man & His Dreams) - New York Stories - The Godfather, Part III - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2011

The Godfather

Originally Written and Posted at Epinions.com on 7/3/04 w/ Additional Edits.

One of the greatest films of all-time that's been imitated but never duplicated, The Godfather based on Mario Puzo's novel is one of the greatest crime stories ever told. Unlike previous mob films in the age of cinema, the film was entirely about family rather than crime. Directed by Francis Ford Coppola from a script he co-wrote with Puzo, The Godfather is in some ways a family tragedy about a don and his relationship with crime and his family and how tries to balance his role as family and crime boss. Starring Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, John Cazale, and many more. The Godfather is a classic film that remains a landmark in American cinema as it inspired generations of actors and filmmakers to rethink the landscape of filmmaking.

The Godfather begins with a story of Don Corleone (Marlon Brando) at the wedding of his daughter Connie (Talia Shire) to Carlo Rizzi (Gianni Russo) in post-World War II 1940s. After conducting business with an undertaker named Bonasera (Salvatore Corsitto), Don Corleone returns to the wedding reception with wife (Morgana King), sons Sonny (James Caan) and Fredo (John Cazale), and his adopted son/advisor Tom Hagen (Robert Duvall). The don is awaiting the arrival of his youngest son Michael (Al Pacino) who arrives with girlfriend Kay (Diane Keaton). The wedding was a wonderful ceremony where Kay learns about what Don Corleone does but Michael insists, he's not a part of the crime thing.

The Corleone's business may be a mob business where Tom Hagen visits film producer Jack Woltz (John Marley) to convince him to have Johnny Fontane (Al Martino) to be in a film with an offer he couldn't refuse. Don Corleone may be a man of crime but his business is only to help people but when a fellow mob rival named Sollozzo (Al Lettieri) wants to make business-involving drugs, the Don refuses. The Don sends Luca Brasi (Lenny Montana) to talk with Sollozzo but things go wrong when an assassination attempt on Corleone leaves him wounded and Tom Hagen being kidnapped. Upon Hagen's return, Michael visits his father learning that he's in danger as he tries to move him but gets in trouble with corrupt police captain McCluskey (Sterling Hayden). With help from the Don's right hand men Clemenza (Richard Castellano) and Tessio (Abe Vigoda), Michael decides to meet with Sollozzo and McCluskey where he kills them both.

With Michael out of the country in Siciliy and the Don at home but still wounded, it's up to the hot-headed Sonny to run things but his temper would lead him to trouble where Michael, upon returning from Sicily after a brief marriage to a woman named Apollonia (Simonetta Stefanelli), takes over. He realizes that Tattaglia (Tony Giorgio), Moe Greene (Alex Rocco), and Barzini (Richard Conte) are trying to overpower the Corleone family. Michael knew he has to take control even with the Don's decline where he would have to confront his foes in order to move the family out.

What makes The Godfather such a vastly powerful film is Coppola's subtle, wandering direction where he lets the cameras flow with such grace in its dramatic, intimate sequences while being a bit more stylized and extreme in its violent nature. The screenplay by Puzo and Coppola definitely plays up to a great Shakespearean tragedy but in a modern, American context where the nature of the story balances between crime and family drama. Easily one of the greatest adapted scripts ever written in film not for its dramatic structure but also, its catchy one-liners that is both philosophical and witty. Complementing Coppola's vision is a lush, Italian-regality look from cinematographer Gordon Willis who brings a Goth-like look in the more interior scenes while capturing more color with real-time look in the Sicilian scenes. Helping Willis in its looks is longtime Coppola-associate Dean Tavoularis for his detailing of 1940s America with lovely art direction from Warren Clymer and costume design from Anna Hill Johnstone. Another memorable moment about The Godfather is its famous score of woodwinds and arrangements from Nino Rota and Carmine Coppola's score for the wedding suite.

Then there's the film's wonderful cast of actors from the smaller roles of characters from John Marley, Salvatore Corsitto, Alex Rocco, Richard Conte, Tony Giorgio, Lenny Montana, Al Lettieri, Lenny Montana, and Gianni Russo. There is no bad performance in that film. Talia Shire's role as the abused Connie is sympathetic and harrowing to watch and towards the final act of the film, we begin to see how damaged she is that would lead to darker textures in the upcoming series of The Godfather trilogy. Diane Keaton brings a strong supporting performance as Kay; a woman who is reluctant to enter the world of the mob is understandable as we see her become the moral cornerstone that Michael would later neglect. Abe Vigoda and Richard Castellano are excellent in their performances as Don Corleone's right hand men while John Cazale is amazing as the sweet but weak Fredo whose character comes more into fruition in the second film.

Robert Duvall is brilliant as Tom Hagen, although not a son by blood, who serves as the intellectual side of Don Corleone while brings a moral guidance in the business of the mob while knowing his role in the family. James Caan is amazing as the temperamental Sonny as someone who just wants to do things his way but keeps forgetting to do things right. While he makes his character someone we care about in family matters, we see how he is doomed due to his angry nature. Al Pacino is the film's best supporting performance as a reluctant son who starts off innocent but when he descends into the mob world for revenge of his father's attempted murder, he evolves into someone darker. By the film's second half, we see that he becomes colder and more sinister where he begins to lose sight as who is which continues through the second film.

Finally, we have Marlon Brando in a performance that was regarded as a comeback at the time the film came out in the spring of 1972. While his performances like On the Waterfront, A Streetcar Named Desire, Guys & Dolls, and The Wild One were classics; his roles had been erratic and strange until he returned to form in The Godfather. His performance of Don Corleone wasn't just one of the most complex performances he did but he brought a character that was likeable despite what he does for a living. Brando brings a presence that is charming as he makes Don Corleone a man that has flaws but you can forgive him for that. Brando brings a moralistic intelligence to his performance with his great one-liners along with his regrets and sadness that makes his role of the Godfather one of the greatest performances of all-time. It's clearly one of his greatest performances that would follow with Bernardo Bertolucci's Last Tango in Paris and Coppola's 1979 Vietnam film Apocalypse Now where after that, Brando became a legend with methods that were unsound. Despite his behavior, Brando is just an actor who will continue to inspire many, even with his recent passing.

In the end, The Godfather is just an undisputed classic that everyone will seem to love. It has romance, violence, wit, and drama that have something for everyone. For Francis Ford Coppola, it's one of his greatest films while on the IMDB poll, is still the # 1 film of all-time. For many of the actors, it would be a role that would give them newfound attention and make new legends in Pacino, Keaton, Caan, and Duvall while for Brando; it was the role that would define his legend. Thirty-two years since its release, The Godfather is a film that just doesn't die since its release and it's a film everyone must see.

Francis Ford Coppola Films: Dementia 13 - (You're A Big Boy Now) - (Finian's Rainbow) - (The Rain People) - The Conversation - The Godfather Pt. II - Apocalypse Now/Apocalypse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Garden of Stone) - (Tucker: The Man & His Dream) - New York Stories - The Godfather Pt. III - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2010

New York Stories

In the late 1940s, the anthology film was a medium that allowed directors to make a short about a theme or anything that directors would like to talk about. The medium became popular in the 1960s among the European film scene as it would influence many. By the 1980s, the anthology film was merely non-existent in the age of the blockbuster until three prominent American directors decided to revive the medium by basing their films in the Big Apple called New York Stories.

New York Stories are three short films about the city of New York from three different directors. The first short is Life Lessons that is directed by Martin Scorsese with a screenplay written by Richard Price about a troubled relationship between an abstract painter and his assistant. The second short is Life Without Zoe from director Francis Ford Coppola with a script co-written with his daughter Sofia about a rich girl dealing with the neglect of her divorced parents. The third and final short Oedipus Wrecks is by Woody Allen about a man who is dealing with his overbearing mother. The result is a fascinating anthology film with two great segments and one that doesn’t work.

Life Lessons

Lionel Dobie (Nick Nolte) is a difficult abstract painter trying to finish another painting for an upcoming exhibit. Yet, he is having a hard time trying to complete the painting as he decides to pick up his assistant/apprentice/lover Paulette (Rosanna Arquette). Upon her arrival, Paulette announces she’s leaving New York and Lionel to strike out on her own while revealing to having a fling with performance artist Gregory Stark (Steve Buscemi). Paulette also announces that she decides to move back home to her parents after feeling that she’s failed to evolve as a painter.

During a party with Lionel’s agent Phillip Fowler (Patrick O’Neal), Lionel notices Paulette hanging around with a young painter named Reuben Toro (Jesse Borrego). Lionel doesn’t want her to be humiliated by Reuben where she ends up sleeping with Reuben. Lionel buys a dress for Paulette as an apology as he goes with her to see Gregory’s performance art show. At the after show party, Paulette doesn’t want to meet Gregory where Lionel tries to make her talk to him leaving her humiliated. Things get worse the next night at a bar where Lionel fights with Gregory as Paulette realizes she is only there as a muse who doesn’t get anything in return. For Lionel, it’s another reminder about the sacrifices he makes as an artist.

Life Without Zoe

Zoe (Heather McComb) is a rich girl whose father (Giancarlo Giannini) is a flute soloist and mother (Talia Shire) is a photographer. Zoe’s parents are divorced as Zoe lives in a hotel with her butler/guardian Hector (Don Novello). With her parents often away, she takes money for cabs and such as she goes to school where a new boy named Abu (Selim Tlili) has arrived. Zoe and her friends want to interview him for the school paper as he reveals his own life that is very lonely. Zoe becomes friends with him where they went shopping. Later that night as she went home, Zoe is caught in the middle of a robbery as she manages to save some of the belongings of her dad which includes a beautiful jeweled-earring along with a note that the jeweled-earring belonged to a princess (Carole Bouquet). With an invitation given to Zoe’s father that was earlier torn to pieces, Zoe and Hector grabbed the pieces to realize that it’s part of something bigger. Even as Zoe talks to Abu who reveals that the princess is her aunt.

Zoe invites Abu to a party so she can talk to him about the jeweled-earring only to have her mother arrive with an announcement. While Zoe still wants to talk to Abu, her father finally comes home where he tells her the story about a concert he played where attending was the princess. She was moved by his performance that she gave him the earring as she revealed to her father that she saved the earring. Later at a party with Abu and friends, Abu finally introduces Zoe to his aunt who gives Zoe something in return.

Oedipus Wrecks

Sheldon (Woody Allen) is a lawyer trying to deal with his overbearing, overly-critical mother (Mae Questel). When he introduces his girlfriend Lisa (Mia Farrow) to his mother, Sheldon becomes embarrassed over stories and such. Though she thinks Lisa is nice, she tells Sheldon that she isn’t right for him. Things get worse when his mother and aunt drop by at his law firm only to be topped by Lisa inviting the mother to dinner at an outdoors restaurant with her kids. When they all go to a magic show, the mother becomes part of a magic trick where she disappears and is supposed to come back. Instead, she’s gone as Sheldon asks everyone including the theater owner (Larry David) where has she gone.

At first, Sheldon becomes worried until he realized that she’s gone and he becomes happy about it. Everything goes great for him until he sees his mother in the sky talking about Sheldon to the entire city. Immediately, the phenomenon is all over the news as embarrassing stories about Sheldon are revealed to everyone as he feels humiliated. While the city seems to accept the idea of Sheldon’s mother talking to them from above as it helped crime rates go down. Sheldon however, feels overwhelmed as his relationship with Lisa suffers while his shrink (Martin Chatinover) suggests he goes to a psychic. The psychic Treva (Julie Kavner) helps him try to get his mother back on Earth where things don’t go to plan.

The concept of New York Stories is very simple, three different stories about different characters in the city of New York. With it, there’s three revered directors who has have a history with shooting in the Big Apple. Two of them are natives while another is an outsider. Yet, to have these three names make three different stories about New York City. It seems like a great idea. Well, two of them brought their A games while another lost it somewhere back in California.

In Life Lessons, the film is a loosely-based adaptation of Fyodor Dostoevsky’s The Gambler but set in the world of the NYC arts scene. It’s about a brilliant artist who is revered for his art but as a person, he’s a mess. Already having failed marriages, he desperately tries to cling to the one woman he has left in his assistant. Yet, she has become frustrated, tired, and upset over her lack of talents as a painter as well as playing the muse for this guy. Though he expresses his love for her, she is annoyed by him. The story is definitely a study of two people in the art scene as the story’s title is about life lessons. Yet, the person that is taking lessons isn’t Paulette but it’s really Lionel who is starting to become aware of his own flaws as a person. Though he can be caring, he’s also selfish as he uses her anger to fuel his art.

Scorsese’s direction is definitely stylish in its presentation. With the use of zooms and wandering camera movements. The use of close-ups and circle fades are all done from Scorsese’s idea of what Lionel is feeling. Along with Nestor Almendros’ gorgeous cinematography and Thelma Schoonmaker’s stylish editing filled with jump-cuts. It is truly a Scorsese short in terms of storytelling and in visual style while using a soundtrack that is a mix of opera and rock music from acts like Bob Dylan &; the Band, Cream, and Procol Harum’s A White Shade of Pale to express Lionel’s love for Paulette.

In Life Without Zoe, it’s a film about a girl wanting her parents to reconcile while living in a lavish yet lonely lifestyle. While the themes of loneliness as well as living in the world of hotels and travel would become prominent themes in the work of co-writer Sofia Coppola. The film is definitely the weakest segment of the film because there’s not much depth to nor is there any idea of what the story should be. While Francis Ford Coppola approached it as a light-hearted comedy for children, it comes off as quite tedious to watch. Even some of the dialogue that Zoe says comes off as unrealistic at times along with the ending.

Coppola’s direction didn’t carry a lot of weight despite the beauty of the way the film looked courtesy of Vittorio Storaro’s lush cinematography. Yet, his idea of a posh, fashionable New York City just didn’t seem to be interesting. Though the children’s party scene looked fun along with a lot of the costume design that was courtesy of Sofia Coppola, who also did the title design. It was a film that was style over substance with characters that the audience don’t seem to care about despite a few moments in the stories that include the brilliance of playing the flute. While one of the technical highlights was the score of Carmine Coppola, the rest of the soundtrack didn’t fit as it included loads of pre-alternative music and party stuff by Kid Creole.

For Woody Allen’s Oedipus Wrecks, the film is about a man’s wish to be rid of his mother. Well, he gets it and seems to be content with it until he realizes his mother is watching from above. For Sheldon, he’s a man who seems to be ashamed of his mother because she’s overly-critical and wanting him to maintain his Jewish background. When she disappears, he believes he will be great until she re-appears in front of the entire city. The story is definitely one of Allen’s funniest while his direction is definitely off the wall with a great visual effect of his mother appearing above the city.

The fact that he has the entire city stop what they’re doing so they can talk to Sheldon’s mother is truly an amazing concept. Shot by Sven Nykvist, the film has a great look to the city while the music is a nice mixture of ragtime and jazz. It’s a short that is truly quintessential Allen.

The casting is quite phenomenal for the shorts that work while it would feature some early appearance for some now revered actors. In Life Lessons, there’s appearances from Steve Buscemi, Illeana Douglas, and Brigitte Bako in small roles along with cameos from Debbie Harry, Peter Gabriel, and Martin Scorsese himself. Two notable small roles include Jesse Borrego as a young painter and Patrick O’ Neal as an agent. Yet, the film definitely belongs to Nick Nolte as a haggard-looking yet selfish painter and Rosanna Arquette as his frustrated yet insecure muse/assistant.

In Life Without Zoe, there’s not much to standout in the short though it includes a very early appearance from Adrien Brody as a student and Chris Elliot as a robber. Other appearances like Carmine Coppola as a street musician is great but Carole Bouquet as the princess doesn’t leave much of an impression. Talia Shire and Giancarlo Giannini are OK though Giannini gets more to do in an underwritten role. Don Novello is funny as the butler Hector yet the film is more geared towards the young actors. While Selim Tlili is OK as Abu, Heather McComb does have her moments as the title character despite the fact that she has to perform some amateurish voice-over work.

In Oedipus Wrecks, the small ensemble is great with some funny appearances from former mayor Ed Koch, Larry David as a theater owner, and Mike Starr as a hardhat worker while the short also includes an early appearance from Kirsten Dunst as a daughter of Lisa. Mia Farrow and Julie Kavner are both great in their roles as the women who would help Sheldon through his ordeal while Woody Allen himself is funny in his usual role as an overwhelmed lawyer. Yet, the star of the short is Mae Questel as Sheldon’s mother whose rapid criticisms and talks about Sheldon is what keeps the short to be a flat-out fun fest.

New York Stories is an excellent anthology film despite one awful short from Francis Ford Coppola. Fans of Martin Scorsese and Woody Allen will no doubt see their respective shorts as some of the best work of their careers. Even as they both present something with lots of style and worlds that is unique. Coppola though, creates something that is among some of misses while fans of his daughter Sofia might be interested of where some of her ideas came from but through her own films which is better than what she co-wrote in Life Without Zoe. In the end, New York Stories is an anthology film that fans of Martin Scorsese and Woody Allen will enjoy despite they mess that have to endure from Francis Ford Coppola.

Woody Allen Films: What's Up, Tiger Lily? - Take the Money & Run Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love & Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer Night's Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - Crimes & Misdemeanors - Alice - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don't Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Times Crook - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society) - (Wonder Wheel)

The Auteurs #24: Woody Allen: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

Francis Ford Coppola Films: Dementia 13 - (You're a Big Boy Now) - (Finian's Rainbow) - (The Rain People) - The Godfather - The Conversation - The Godfather Pt. II - Apocalypse Now/Apocalypse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Captain EO) - (Garden of Stone) - (Tucker: A Man and his Dreams) - The Godfather Pt. III - Bram Stoker’s Dracula - Tetro

Martin Scorsese Films: Boxcar Bertha - (Mean Streets) - Italianamerican - Alice Doesn't Live Here Anymore - Taxi Driver - New York, New York - American Boy: A Profile of Steven Prince - (The Last Waltz) - Raging Bull - The King of Comedy - After Hours - The Color of Money - The Last Temptation of Christ - Goodfellas - Cape Fear (1991 film) - The Age of Innocence - (Kundun) - Bringing Out the Dead - Gangs of New York - (The Aviator (2004 film)) - No Direction Home - The Departed - Shine a Light - Shutter Island - George Harrison: Living in the Material World - Hugo - The Wolf of Wall Street - (The Fifty-Year Argument) - Silence (2016 film) - (The Irishman) - Killers of the Flower Moon - (An Afternoon with SCTV)

© thevoid99 2010