Tag Archives: The Godfather

The Godfather Part II

The Godfather Part II is less a sequel and more a cloak that wraps itself around the original, leaving Michael Corleone haunted by the memory of his dead father.

The Godfather

Regarded as the greatest gangster picture of them all, the passing years continue to reveal new layers and meanings in Francis Ford Coppola’s masterpiece.

Die Hard

What makes a classic film? The plot’s originality, director’s vision, or the star’s magnetism? Paradoxically, any, all, yet none of the above. It’s the audience.

Dog Day Afternoon

With an Oscar-winning script from Frank Pierson, Dog Day Afternoon is a masterclass in breaking the basic rules of screenwriting.

The Leopard

All countries have troubled histories they would rather forget. The Leopard is a masterpiece that admits to those troubles as well as the failure to fix them.

Deliverance

When we think of American cinema in the seventies, all too often we all too quickly think of the great directors. But what of the cinematograph-auteurs?

Miller’s Crossing

The plot to Miller’s Crossing is so complex, it’s hard to even figure out where and when it is set. And that’s before we discuss the meaning of Tom Reagan’s hat.

Great Openings – Part Three

What makes for a great opening? Character? Conflict? Poetry? Hopefully, more than something we’re supposed to just listen to.

Great Scenes – Part One

What makes for a great scene? Performance? Conflict? Dialogue? Visuals? Music? Combine them and you have atomic weight.

Raiders of the Lost Ark

Thirty-five years old, Spielberg’s classic was inspired by more than just the Saturday matinee serials he watched as a child.

Blazing Saddles

We like to think of ourselves as modern and sophisticated, but is the humour of Blazing Saddles too outrageous for anyone in Hollywood to make it today?

Apocalypse Now

Francis Ford Coppola’s radical adaptation of Joseph Conrad’s novella is one of the most astonishing achievements in the entire history of cinema.

GoodFellas

GoodFellas is more than just a breathless tale of middle-management in the Mafia. It’s one of Martin Scorsese’s many films in which he seeks enlightenment.

Brief Encounter

Once dismissed as parochial and passé, the influence of David Lean’s classic can be seen in such unlikely places as The Third Man, The Godfather and Carol.

The Parallax View

Adapted from Loren Singer’s poorly reviewed best seller, Alan J. Pakula’s conspiracy thriller is a classic of assured pacing and paranoia.

Gordon Willis

Gordon Willis was one of cinema’s greatest artists. Irrespective of genre: comedy, drama, thriller, musical or gangster picture, his style and technique was so unmistakable he should have been called a cinematrograph-auteur.

The Searchers

The Searchers is both a cinematic monument and an extremely unsettling depiction of the racism that lies at the heart of America’s own mythology.

Fifty Shades of Hate

This video-essay addresses the abuse inflicted by men against women in cinema. The films are critically acclaimed, Oscar winners and box-office hits. WARNING: It features scenes of extreme graphic violence.

The Conversation

He may be responsible for The Godfather pictures and Apocalypse Now, but Francis Ford Coppola maintains his best film is The Conversation.

Fight Club

When it was released, Fight Club was rubbished by critics and rejected by audiences. Now it’s regarded as a masterpiece. So what changed people’s minds?

The Untouchables

The studios didn’t like the script and no one wanted to play the heroic Treasury Agent, Eliot Ness. So how did The Untouchables turn out to be such a success?

The Summer Blockbuster

With young audiences off from school, Hollywood knows there is more money to be made in the summer than at any other time.

Money, Money, Money

All industries need profits to survive. So why do so many Hollywood films castigate wealth and capitalism?

James Bond and the Art of the Set-Piece

There is more to James Bond than dry martinis, guns, gadgets and girls. His biggest contribution to cinema is the Set-Piece.

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