Don Vito Corleone (Marlon Brando) is the head, or Godfather, of his family and crime syndicate in 1940s New York. He receives a request to move into narcotics by up-and-comer Sollozzo (Al Lettieri), but when Vito declines, the Tattaglia family, with whom Sollozzo is in business, attempt to kill Vito and break the Corleone family apart. With Vito in hospital, it is up to his children – headstrong firebrand Sonny (James Caan), simple Fredo (John Cazale), newly married Connie (Talia Shire), war veteran Michael (Al Pacino) and adopted Tom (Robert Duvall) to resolve matters. Continue reading →
Watching so many films I sometimes find myself going through completely unintentional themed periods, often discovered after the fact. For example, a lot of films I’ve watched recently have featured Italian or Italian-American families with lots of brothers in, and these all arrived to me through different means. Brooklyn cropped up on my LoveFilm list and got dispatched immediately. Then Rocco and His Brothers needed reviewing for Blueprint: Review. And this past week I’ve watched Three Brothers, also for Blueprint: Review, and I watched The Godfather for this weekend’s Lambcast. Even more bizarrely, the past few weeks have seen not one but two films in which someone submerges themselves in a large quantity of grain (Three Brothers and The Dressmaker). Weird. Anyway, here’s what I watched this week: Continue reading →
Today is my Grandad’s birthday, happy birthday Grandad! If he knew what the Internet was, he still probably wouldn’t be reading this, but in tribute let’s have a look at the greatest Grandad’s on film (spoiler alert).
5. Grandpa Joe (Jack Albertson), Willy Wonka and the Chocolate Factory On the surface, Joe seems to be a pretty decent grandparent – he never loses faith in Charlie and accompanies him to the chocolate factory upon his grandson’s finding of the last golden ticket, but there are many reasons why he isn’t higher on this list. Firstly, he’s been in bed, unmoving, with Charlie’s other three grandparents, for many years, complaining of a medical condition preventing him from working, whilst his daughter (or daughter-in-law, I’m not sure) slaves away all day, every day to provide for the entire family. Secondly, his undying faith that Charlie was going to win a ticket is only acceptable because Charlie did in fact win. The entire first half of the film depicts the chances of Charlie finding a ticket as so remote, that it’s nothing short of an astronomical miracle that he finds one. Had he not, it’s likely that his hopes had been built up so high, mainly because of his grandfather, that it’d be surprising if he didn’t end up with some kind of a complex. Thirdly, Joe’s antics within the factory almost cost Charlie and his family the life of their dreams when he coaxes Charlie into drinking the Fizzy Lifting Drink (not to mention threatening what little life he already had with that giant fan). All that being said, as a grandfather he isn’t too bad, and does seem to be a lovely man. Continue reading →
Truly great movie trilogies are few and far between. Historically, it seems fairly straightforward to make a good film and a sequel that either equals, tops or slightly disappoints, but then the whole thing gets sullied by a dismal third film. I’ve done what I can to find trilogies where all three films stand up. I’ve also somewhat reluctantly ignored any franchises with more than three films in it, so I’m afraid Die Hard, Indy and Star Wars didn’t get a look in, even though in each case the first three films are quite clearly the greatest. Annoyingly this also meant I couldn’t use Resident Evil as the worst trilogy, ah well. Also, no loose trilogies, like Baz Luhrman’s Red Curtain trilogy or Park Chan-Wook’s Vengeance trilogy.