Act Like a Man and Get This Blu-Ray

Title: The Godfather Gift Set: The Coppola Restoration
Feature Time: 549 Min
Studio: Paramount Studios
Rating: R
Format: Blu-Ray
SRP: $124.99

Feature: A+

Upstarts George Lucas and Francis Ford Coppola formed the independent film studio, American Zoetrope in 1969. However, their resources had begun to dwindle and Mario Puzo’s novel, The Godfather had buzz as the next great adaptation that no one wanted to direct–even Copppola. This was not the film he was interested in making, a Hollywood film produced by a floundering studio. Lucas advised him to accept the job and use the money to make the films he truly wanted to make. As much as he needed to make this film, The Godfather needed him to make it.

It became a smashing success, earning numerous Academy Awards and became the first American film franchise. Godfather II still stands as one of the few sequels that stands up to or higher than its predecessor. Marlon Brando was immortalized as Don Vito Corleone and showcased legends such as Robert Duvall and James Caan. The careers of Al Pacino, Robert Deniro, Andy Garcia, and Diane Keaton soared into the stratosphere. And ever since the first film, the word “godfather” took on a whole new meaning.

Coppola and Puzo have said the Godfather is a metaphor for capitalism but the crux will always be Michael Corleone (Pacino) and his dysfunctional family, fathers and sons, brothers and sisters, husbands and wives. Coppola took the effort to establish the family element and Italian culture early in the films. Had it all been about the shadow cast by the mafia, there wouldn’t have been any connection to these characters or their stories. Italian was spoken throughout the films, old men and women singing traditional songs, fiestas in the street, the innocence of a child’s baptism or first communion, made the production feel authentic, made it more personal and so tragic. These were bold choices and rare opportunities for a director to take, but they made all the difference. Amidst these moments, Michael Corleone corrupted himself with revenge and emotion, then by power. His meteoric decent into madness was romanticized and irresistible. We just can’t let it go.

College courses are built around it, minute plot points inspire complete novels, lazy writers parody it over and again, and restaurants rip from it. Its influence is still present in hip-hop, fashion, television and movies. With this new treatment on blu-ray, the most notable trilogy will live on in high definition, bigger and better that ever. If there were ever a film to shock pop culture, The Godfather is it.

Presentation & Packaging: A–

With new presentations, we get new packaging. The slipcase and jacket art sport a cover design with an embossed logo cast on a solid black background. Images of cast members sit in a splatter of blood that’s spot varnished and wraps around to the back. Housed in a standard blu-ray case with a 4-disc swivel holder so the profile is kept thin. Details of each disc’s contents are listed in a 12-page booklet that fits in the slipcase, but not the actual blu-ray holder. Menus are very basic, non-animated, showing a single scene with Nino Rota’s magnificent score in the background. All three film are presented in 1.85:1 with optional yellow subtitles in English, Spanish, French and Portuguese. Something missing that would have been a nice meatball on top–a pocketbook-sized copy of the screenplay or a coupon for a bottle of Francis Ford Coppola Wine.

Video: A+

It’s exciting to see a film that has looked so poorly for so long to get a restoration and high definition treatment. Coppola was the mastermind but as much can be said about cinematographer, Gordon Willis and his contribution has suffered the most from the deterioration of the film. From the opening scene alone, there is a dramatic departure from the past transfers. When the first film starts, look at Bonasera’s eyes in the “I Believe in America” monologue, you can see the tiny twinkle in his eye sparkle brightly in a sea of black; then the warm honey-dipped coppertones of flesh slowly come in as the camera pans out. Bouncing back and forth from Don Vito’s study to the burst of blown-out whites at Connie and Carlo’s wedding, the range of clarity is amazing! In the pivotal revenge scene in the restaurant, for the first time since perhaps the initial theatrical release can you see every single twitch in Pacino’s face before making his move. The level of method acting is explosive and has never-before seen so apparent. And in scenes shot wide with hundreds of extras like the fiesta in the first sequel become more grand because you can see so much more going on. Even taxi cabs look exciting in this transfer. Never has a series of films been shot so dark and undergone so many dupes over the years and now the trilogy looks as if it was released this past weekend. Longtime fans will feel like this is a completely new experience.

Audio: B

The entire trilogy can be heard in English 5.1 Dolby True-HD and Dolby Mono for parts I and II. French 5.1 and Spanish 5.1 Dolby Digital tracks are also included. I was underwhelmed by the overall audio experience, expecting an environment of sound but I kept in mind these films were made in 1972, 1974, and 1990. Almost everything comes from the fronts and center channels. Prior to the infamous horse in the bed scene, I was hoping to hear the crickets behind me or at the large parties to hear conversation all around me. Sadly, the restoration didn’t involve much effort to revamp the audio experience, in fact the rears don’t wake up seemingly until the third film since films were recorded much differently after 15 years. I wasn’t looking for an overly-enhanced track, just added touches to take advantage of what home audio has to offer. Where this True-HD soundtrack holds its own, is the dynamic range. Regardless if Brando speaks in his raspy glory, Rota’s score fills the room, or when gunshots ring out there’s no need to change the volume.

Extras: A+

First timers and diehards will enjoy the abundant heap of extras in this box set. First, all of the 2001 DVD extras have been archived on the supplemental disc except each of Coppola’s first-rate and brutally honest commentaries which accompany each corresponding on their respected disc–even Godfather III deserves a few more plays, with the commentary. A collection of deleted and extra scenes that were cut or shot for the broadcast television are accessed one at a time and categorized in the timeline of the saga. A LOOK INSIDE is the lengthiest of the extra from the archive. Just over 70 minutes long, it’s a solid behind-the-scenes with interviews done with James Caan, Al Pacino, and other principle cast members discussing auditions, Coppola creating a home movie with his family, and pivotal plot points. COPPOLA’S NOTEBOOK unearths his mammoth-sized collection of scribbles when he adapted the novel into the screenplay, shooting notes, and guidelines he used throughout principle photography. MUSIC OF THE GODFATHER is split in two: an interview with Coppola’s father, Carmine, the composer, and an old recording of Nino Rota on a piano sharing his original score for the first time. Other short features include shooting on location, Puzo and Coppola working on the screenplay together where Puzo revealed a desire for a fourth Godfather film, a Gordon Willis interview, trailers, storyboards, Oscar speeches, and plenty of still photos.

Also found on the fourth disc are the new extras are the same as the new DVD box set except that they are now in HD. All of them are anamorphic widescreen in 2.0 Dolby Digital Stereo and are mixed bag of extras that should get many repeat viewings, while others not so much.

Fans will thoroughly enjoy EMULSIONAL RESCUE: REVEALING THE GODFATHER (19:05) where they can see the restoration process as explained by famed film historian, Robert Harris. Made possible with the help of Steven Spielberg, the process involved searching for all salvageable films stock, restoring damaged frames, color correction and bringing out the robust colors hiding beneath underexposed negatives. WHEN THE SHOOTING STOPPED (14:18) revealed some of the methods used to add weight to a scene by changing the music or with good editing. The other substantial extra is THE MASTERPIECE THAT ALMOST WASN’T (29:46) From his humble beginnings at American Zoetrope films with George Lucas to battling Paramount, Coppola’s experience with the Godfather was well-tested. Robert Evans interviews (then Paramount’s head of production) and clips from his autobio-film, The Kid Stays in the PIcture (2002) were included showed just how bad the film could have been or close it was to being shut down. Fellow acting/directing peers including Kimberly Pierce, Guillermo Del Toro, Alec Baldwin and more are seen to speak about the importance of the franchise and how it revolutionized filmmaking.

At best, the remaining extras are good for a seldom visit. The influence of the films is widespread and odd as seen in GODFATHER WORLD (11:19). From the Sopranos to the South Park, even those who have never actually seen the films, know the films. GODFATHER ON THE RED CARPET (4:03) is a thankfully short showing of younger actors starring in Cloverfield and Star Trek 11 showing off their Godfather knowledge and inability to recite the classic quotes. FOUR FILMS is a glorification of shorts (Each two minutes or less) that touch on the fate of Clemenza, the importance of the cannoli, “Riffing on Riffing,” and comparing the first two installments. The CORLEONE FAMILY TREE is a detailed diagram full of factoids of how characters are related, their roles in the films, and the actors who played them. In the same vein is the CRIME ORG CHART that breaks down the Corleones, rivals and associates that has everyone’s rap sheet, quotables, and affiliations.

The Final Meatball

The most decorated and honored American film has finally made its way to blu-ray and future generations will surely find new ways to fold it into this culture. Too often the emphasis of high definition video is put on bright, razor-sharp, high speed or animated films that do flex some of the muscle of modern home entertainment. The Godfather trilogy shows the other side with showcasing expert camera work, the subtlety of method acting, and trademark brooding scenes so dark they seem like they’re shot in outer space–all come alive sharing the screen with film grain. Many generations experienced the Godfather through poor, overly-duped prints, small televisions or warped VHS tapes. The restoration breathes new life to already classic set of films, dispelling the belief that old films do not benefit from high definition. Even Coppola doesn’t remember them looking this good.