UMA OPINIÃO BAMBA!

UMA OPINIÃO BAMBA!

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quinta-feira, 15 de março de 2012

THE GODFATHER! MY BEST POST EVER... The Anniversary You Can't Refuse: 40 Things You Didn't Know About The Godfather






The Anniversary You Can't Refuse: 40 Things You Didn't Know About The Godfather

On March 15, 1972, The Godfather hit movie screens. In the four decades since, it has become acknowledged as one of the greatest movies of all time. TIME has compiled the most interesting stories, anecdotes and tidbits from the film's production.



The Cat

By NATE RAWLINGS @naterawlings | March 14, 2012 
Vito Corleone with Cat in The Godfather

As Don Corleone calmly explains his idea of "friendship" for the undertaker Bonasera, the first nearly-full body shot of the Don reveals an unexpected guest – a gray and white cat sitting in Marlon Brando's lap. "The cat in Marlon's hands was not planned for," director Francis Ford Coppola said later. "I saw the cat running around the studio and took it and put it in his hands without a word." Brando apparently loved children and animals and it became part of the scene. But it also nearly ruined the shots. When the sound crew listened to Brando's dialogue, they couldn't understand a word he was saying and feared they would have to use subtitles. The problem wasn't Brando, but the cat, whose purring wrecked the sound. You can still hear it on the soundtrack.


George Lucas Shot Some Footage

By NATE RAWLINGS @naterawlings | March 14, 2012 |
Newspaper Inserts from The Godfather

The friendship between Francis Ford Coppola and George Lucas goes back decades to when they were both relatively unknown filmmakers in northern California. Coppola served as executive producer on THX 1138, Lucas's first film, and the year after it was finished, Lucas worked as an assistant on The Godfather. Lucas shot the footage of newspaper inserts that show major events during the scenes where the families go to the mattresses, as well as the one above, which reveals to Michael the shooting of his father. But perhaps his biggest contribution to the film was a small suggestion he made to Coppola. After filming the scene where Michael fends off would be assassins while the Don is in the hospital, Coppola realized he didn't have extra shots where he could feature the sound of footsteps in the hallways. So Lucas suggested that he use the leftover shots of empty hallways just after actors have left the frame. Lucas helped Coppola scour his original footage for those precious few seconds, which Coppola used in the film, greatly adding to the tension of an already white-knuckle scene.


That Opening Shot

By NATE RAWLINGS @naterawlings | March 14, 2012 |
The First Shot of The Godfather

Before helming The Godfather, Francis Ford Coppola wrote the Oscar-winning screenplay for Patton, which featured one of the iconic opening scenes in 20th century cinema. As Coppola was writing The Godfather's screenplay, a friend suggested he try for an equally striking opening. Coppola said the part of the book he found the most significant was that people call on the Don on his daughter's wedding day because on that day, the Don cannot refuse a favor. The undertaker's story introduced that concept, and also the idea that sometimes the laws of the country didn't always protect the citizens, so they called upon the Don like clients in the oldest sense, asking for help. Using a "high technology" computerized zoom lens, Coppola started with a tight shot of Bonasera the undertaker's face, and pulled back slowly for 2 minutes, 20 seconds, then held the shot for another 30 seconds while Bonasera whispers in Don Corleone's ear.


The Alternate Ending

By GILBERT CRUZ @gilbertcruz | March 14, 2012 |
The Final Shot of The Godfather

The Godfather contains one of the more depressing last shots of 70s cinema — Kay Corleone (Diane Keaton) slowly comes to the realization that her husband is a murdering gangster while his office door is slowly shut in her face. But Coppola had shot another ending, one more in line with the book's conclusion — Kay in a church, lighting a candle for the salvation of her husband's soul; the New Hampshire WASP assuming the rituals of the Italian mother. By choosing to excise that scene, Coppola ends his film with a brutality (albeit of an emotional kind) not out of place for a movie about the Mafia.



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