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The Godfather Trilogy: 1901-1980 (1992) (V)
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Overview
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Plot:
The multigenerational saga of the rise and fall of the Corleone crime family. full summary | add synopsis
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If Only They Deleted Part III & Included the 55 minutes of Outakes!
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Cast
(Cast overview, first billed only) | Al Pacino | ... | Don Michael Corleone (archive footage) |
 | Robert Duvall | ... | Tom Hagen (archive footage) |
 | Diane Keaton | ... | Kay Adams Corleone Michelson (archive footage) |
 | Talia Shire | ... | Connie Corleone Rizzi (archive footage) |
 | Marlon Brando | ... | Don Vito Corleone (archive footage) |
 | James Caan | ... | Santino 'Sonny' Corleone (archive footage) |
 | John Cazale | ... | Fredo Corleone (archive footage) |
 | Robert De Niro | ... | Young Vito Corleone (archive footage) |
 | Andy Garcia | ... | Vincent Mancini (archive footage) |
 | Richard S. Castellano | ... | Peter Clemenza (archive footage) |
| Lee Strasberg | ... | Hyman Roth (archive footage) |
| Michael V. Gazzo | ... | Frankie Pentangeli (archive footage) |
 | Sofia Coppola | ... | Mary Corleone (archive footage) |
 | Richard Bright | ... | Al Neri (archive footage) |
 | Eli Wallach | ... | Don Altobello (archive footage) |
Additional Details
MPAA:
Rated R for violence and language.
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Runtime:
583 min | Poland:523 min (DVD) | Poland:710 min (longer version)
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Color (Technicolor)
Aspect Ratio:
1.85 : 1 more
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Fun Stuff
Trivia:
When Vito Corleone, Clemenza and Tessio are going to the gunsmith the owner's name is Augustino Coppola, later in the scene he introduces his son, Carmine Coppola, who demonstrates his flute playing abilities. This scene is a tribute to Francis Ford Coppola's father and grandfather. His father was the first flautist with the NBC symphony under Arturo Toscanini. His Grandfather was an actual gunsmith. His father worked in the "shop" from time to time as a child. They both insist the event actually happened.
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Goofs:
Continuity: As the Corleone's pack up to move to Las Vegas, there is a real estate sign outside the compound offering the property for commercial development. Later, Michael meets Frankie Pentangeli in his father's old (redecorated) house.
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Quotes:
Don Vito Corleone:
Never let anyone outside the family know what you're thinking.
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Movie Connections:
Spoofed in Terkel i knibe (2004)
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| The Godfather: Part II | The Godfather | Once Upon a Time in America | Novecento | The Godfather: Part III |
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The final image in PART 2 said it all! After that, it was just 'more of the same'.
And it's still missing about 20 more minutes (deleted from the theatrical versions) of great footage from the broadcast of "A Novel for Television" (or the retitled "Godfather Saga") that combined 1 & 2. Most notable is James Caan's 'Sonny' that was more prominent following the Don's assassination attempt. Plus...why take out scenes that were in the theatrical release. No matter what version is shown, it's either censored (for TV) with added scenes that further fleshes out the story and characters, or the theatrical release seems edited.
Coppola has said that he doesn't mind taking out scenes (according to his whim) because he can always put them back. What a way to keep the cash cow forever flowing. And...at the expense of depriving movie lovers the definitive version of 'The Godfather Saga'.
Just look at how many versions of 'The Godfather' there is...
1)'Godfather', 'Godfather PART II', 'Godfather Part III' (546 minutes)
2)'The Godfather: A Novel for Television' (1977) (434 min. not including the 171 min. of Part III) [434 + 171 = 605 min.]
3)'The Godfather Epic: 1902-1959' (3 tapes on VHS) (402 min. not including Part III) [402 + 171 = 573 min.]
4)'The Godfather Trilogy' (laser disc) (583 min)
Every version has some scenes that the others don't have. I think I'll wait till all the footage that the viewing public has been exposed to is all included in the film from beginning to end because all that footage is great cinema. For once, it'd be nice to sit back and enjoy the entire story without your concentration being interrupted by missing scenes (you know exists) that causes gaps in the narrative.