Luca Brasi sleeps with the fishes

Mario Puzo's novel, The Godfather, is no one's idea of great art. It is considered a pot boiler of the worst kind. And yet, Francis Coppola (Apocalypse Now, The Conversation) created from it one of the most powerful, critically acclaimed, and successful film trilogies in the history of cinema.

Coppola assembled a cast that, during the span of the three fims, would include Al Pacino, Robert Deniro, Marlon Brando, Diane Keaton, Talia Shire, James Caan, Eli Wallach, John Cazale, Robert Duvall, Abe Vigoda, Bruno Kirby, Andy Garcia, Joe Montegna, and the list could go on for days.

All of these talented actors turned in career making performances under the deft hand of Coppola, who, before he was hired to direct The Godfather was mostly known for a Roger Corman quickie called Dementia 13.

The films center around Michael Corleone (Pacino), the son of a powerful mafia boss (Brando). The trilogy is the story of how he falls from grace, and in the service of his father becomes a crime lord himself. It is also about his attempts at redemption.

Coppola's real genius was using the parallel story of Michael's father, and his inadvertant rise to power in the early days of the twentieth century.

Since most people will be familiar with the plot of these three films, I will not beleagure the synopsis. However, I do see room for some analysis.

I have often viewed these films with the consideration that it is not Michael who drives the action, but his brother Fredo (Cazale). So much of what happens to Michael is a result of Fredo's inability to assume his rightful place as head of the family.

Fredo's weakness creates much of the tension which drives the plot, and fuels the character developments. And, truly, Fredo is the most interesting character. John Cazale creates a full, round person who is, at once, pitiable, and in need of love. Watch the scene in Part 2 where Michael demands information from Fredo. Watch closely as Fredo gives his reasons (or excuses, if there is truly a difference). Cazale manages to seem frail, and old, limp, fighting with a chair as he battles his brother. It is the most moving scene of the entire cycle.

Sadly, after the promise of the first two films, the trilogy is brought low by the third. It is not badly directed, or poorly written. Most of the acting is truly top notch. However, the film suffers greatly from the casting of Coppola's untalented daughter, Sofia Coppola, in the pivotal role of Mary. The poor girl looks like a shadow next to the talents she must share the screen with.

Now a word about this presentation. The three films are presented in pristine, beautiful condition. The supplemental features are extraordinary. Documentaries, and a wonderful Corleone family tree stand out. But the real gem is that all three films contain running commentary by Coppola. He provides wonderful insight to the making of these films, the trouble on set, the tenuous position he had within the studio, and the minutia of film making. He also offers great trivia, like the fact that George Lucas (Star Wars, in case anyone doesn't know) shot some of the second unit scenes.

Also included are a large number of deleted and unused scenes. These give great insight into some of the subplots that never made it into the films.

All in all these films are classics, and a must for all film lovers. This is the best presentation they have ever recieved.