Comments by "TheNabOwnzz" (@TheNabOwnzz) on "WatchMojo.com"
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@masteroftheseas9595 They're meaningless pieces of drivel, not masterpieces. Solaris is Tarkovsky's only coherent movie, and i saw all 7 of him. And likewise could be said for Nights of Cabiria and Fellini, though La Strada isn't that pretentious either, but that is nothing special. 8 1/2 & La Dolce Vita however... ugh. Incredibly terrible. Based on the fact that you think either Tarkovsky or Fellini have made masterpieces one can safely conclude that you are a gullible boyo. I'm not using it as an argument, it's a statement of fact. You are the type of boyo to go to modern art museums and idolize a canvas with puke on it. That is what Tarkovsky is. And what isn't bad about slavery? Well, judging by the context of society and the intelligence of the person enslaved, it can be quite a good thing. Since we are on the topic of Lee, take the Antebellum South, negroes who could barely get by by their limited intelligence and the fact that they did not really have a lotta say when free, enslaving them ensures them food, security, and care. There was little else for them to do elsewise.
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Stan Schmidt Oh, i see everything just fine. The Godfather is, however, not an 'average' Hollywood production, that statement is lunacy. It is inherently superior to the Mirror and Stalker, which are both obviously purely abstract pieces of work that feature very little coherence and cohesion. 'equals being too stupid to understand what the difference between a piece of art and a piece of entertainment is.' ….This is the go-to excuse to defend filmmakers like Tarkovsky, Bergman, Fellini and in lesser terms even Nolan etc. It does not have anything to do with my intelligence, which is high enough. However, i do not believe someone who blindly throws a can of paint onto a canvas ( Implying Tarkovsky ) equals art. A movie that raises far more questions than it answers is not automatically 'art'. There is no reason to care about anything that happens in a Tarkovsky film, because the surrealism he uses is simply inhuman and lacks any kind of humane relatability, and ofcourse his characters (if any) are non existent. ( Again, Solaris is an exception to this ) The Mirror is just a typical example of this. No characters, non existent plot, lack of any form of cohesion, pretentious dialogue & amateurish editing. It is beautiful to look at, but that's pretty much it. I also will never understand the fascination a lot of people have in that trackingshot which ends with the burning house. Really sub-par scene. So yes, it is not just me, it is the movie's fault. True 'art' in cinema is emotionally powerful, and this is all the result of developed characters and a cohesive narrative. ( Which Tarkovsky lacks, and the Godfather doesn't ) And yeah, nothing from Hitchcock, Tarantino, Park or Tarkovsky is better than the Godfather. It features superb acting, one of the greatest screenplays & original scores, one of the greatest scenes ever made (The killing combined with the morally opposing baptism while Bach's Toccata and Fugue plays), fantastic cinematography and characters that are actually developed instead of neglected. All of this is art, and a lot of ambiguous abstract nonsense which has no meaning does not equal this.
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@justbreathe7816 Alright.. i'll explain it to you. Whereas some films disregard immediate reality and seek to convey a certain message in its sub text, The Godfather is the kind of motion picture that seeks to bring forth reality exactly how it was, and does this by creating a kind of family bonding that is as near perfectly structured as it can be.
Of course, The Godfather still utilizes cinematic moments, and has one of the greatest character arcs in cinema ( Michael's ). The film starts with a wedding sequence of half an hour, all in which we are introduced into the world of the characters, and their respective business. We see Don Vito Corleone ( Marlon Brando ) calmly doubting the sincerity of an undertaker's request, we see Santino Corleone ( James Caan ) breaking a camera of a journalist, we see Michael Corleone ( Al Pacino ) being the one soul that seems to be absent from most of the family at that part, telling us the story of the characters and personalities wonderfully. Due to this extended opening sequence, we also get a feel for the brotherhood and warmth that the mob can also possess. It is, of course, a sad cover for what is to come afterwards, as The Godfather is also somewhat of a study on the self destructive nature of man, as nearly every character in the end pays for price for immorality.
The Godfather is one of the best acted films of all-time. Most of this is of course because of Marlon Brando, who is deliberately made up like a 'bulldog' to fit his personality. The mannerisms & voice are somehow exactly what one would think when thinking of the founder of a gigantic mob empire. There is not really a weak spot in the acting throughout the entire picture, but other standouts are James Caan & Robert Duvall. Of course Al Pacino also set himself on the map with this performance as the good hearted war hero transforms into the stoic and calculated don of the family. As stated before, the film is near perfectly structured, with events always coinciding with character ( Take the final scene of Michael in Italy for example, with his wife getting killed in the car bomb. This scene is only there to further disconnect Michael emotionally between his work and his life, further sending him down the dark path to becoming the Don ), being the result of one of the greatest screenplays of all-time.
The Godfather features cinematography befitting its subject, as a lot of shots are very scarcely lit. In particular the scenes indoors where the mob business is being discussed, the darkness makes sure that only the faces and the white parts of the outfit are shown, as they are mostly wearing black during these scenes. This was to emphasize how 'shady' the dealings of the mob were, and this darkness enhances this feeling in the audience.
The original score by Nino Rota is also one worthy of mention, as it perfectly encapsulates what this movie is about; friendship, family, beauty & tragedy. Being an Italian composer who has previously composed other (Italian) masterpieces such as The Leopard (1963) & Rocco and his Brothers (1960), he also manages to give the Godfather this italian atmosphere, further enhancing the immersion into the roots of this family.
In the end, The Godfather is mainly about Michael's slow ascent to the top of the ladder in the family. He doesn't want to have anything to do with the business of the family at first, but he feels compelled to act when assassins try to assassinate his father, feeling that he is the only one who can get close enough to his enemies to eliminate them, and after he has done so, the events he witnesses in italy cause him to develop an even more emotionally disconnected personality that makes him feel compelled to take his family's throne. By the end, there is a sequence which contrasts the baptism of Michael's new nephew with the simultaneous murder of all of his competition ( Other mob bosses ), in a stunning sequence of moral duality. While Bach's satanic score plays, and enhances in sound significantly when Michael is asked if he renounces Satan. One of the masterful scenes in a masterful film, it perfectly shows us his final personal descent into immorality & emotional disconnection.
The Godfather is an epic family ballad of themes and tragedies, while also being exceptionally well made. It features some of the best acting & writing of all-time, superbly darkly lit sets to enhance atmosphere and a fantastic original score while being near perfectly structured. All of which cements this as one of the world's greats of mob & rise to power movies.
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