special 50th anniversary in frames

On March 24, 1972, it premiered on the North American billboard ‘The Godfather‘, a bet by Paramount Pictures that, not without problems, had been carried out with a young filmmaker of little renown at the time who had just won an Oscar for the adapted screenplay of ‘Patton‘ (Franklin J. Schaffner, 1970). Francis Ford Coppola32 years old at the time of the premiere, had titles in his filmography such as ‘dementia 13‘ (1963), ‘rainbow valley‘ (1968) or the commercial disaster ‘rain on my heart‘ (1969) but, from that month of March, everything would be different for him.

“’The Godfather’ changed my life, for better or for worse. He definitely made me have an older man movie career when I was 30 years old. So now I say: ‘if I had my career as an old man when I was young, as an older man maybe I can have the career of a young filmmaker’”.

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Five decades after that event, and excited about the re-release in theaters on February 25 of the last great classic in the history of cinema, at FOTOGRAMAS we want to celebrate the 50th anniversary of ‘The Godfather‘ with a week full of articles on the jewel of Francis Ford Coppola and mario puzzoa review of all that has meant (and continues to mean) a fundamental title of cinematographic narration.

“I had been so conditioned to think that the movie was bad, too dark, too long, too boring, that I didn’t think it was going to be successful at all,” recalls Coppola. “I took the job to write ‘The Great Gatsby’ (1974) because I had no money, I had three kids, and I was sure I would need the money. I found out about the success of ‘The Godfather’ from my wife, I wasn’t even there. Masterpiece, ha! I didn’t even trust it would be a mild success.”

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During these days, we will review the original review of FOTOGRAMAS written in 1972, we will delve into our archives to retrieve interviews published at the time Marlon Brando and Al Pacino and we will rescue images of the premiere of the film and of the posters used to fill the theaters with spectators.

At the same time, we will unravel his legacy from the present, analyzing his weight during five decades of history and reviewing the careers of his main cast, giving, of course, special attention to Brando.

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We will immerse ourselves in the secrets and curiosities of the production of the film, we will scrutinize the obscurantism of the photography of Gordon Williswe will review the phrases that passed to posterity and we will compare the before and after in the mafia cinema, discovering the tropes of the genre before 1972 and analyzing how its figure has reached our days impregnating characters like Tony Soprano and Walter White.

As if all this were not enough, during these days we will be publishing different surveys in which our readers will be able to vote between different titles to discover, once and for all, which is the best mafia movie of all time. We know this is an offer you can’t refuse, put down your gun and grab the cannoli we’re celebrating.

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