Rob Caravaggio Commentaries

Marlon Brando getting his Don makeup on while Francis Ford Coppola waits patiently for his nemesis, Popeye, to show upRC-2013-107: The Godfather (1972) Your browser does not support this audioWhen e-mailer Tomy suggested a few films that might be ripe for a commentary, The Godfather was the one that lept out at me most. It seems there's actually quite a lot to say about the movie nearly everyone regards as great, so why not give it a Rob Job. (I'm so sorry. I will never say that again.) I discuss how Coppola's uncanny decade (approximately 1970-80) was enabled by the exciting changes happening in American filmmaking from about 1964 to 1980 (a span of years I select arbitrarily), deciding that Coppola and his dream that was American Zoetrope represent  the best characteristics of the so-called Film School Generation. While pointing out the big stuff, like the lovely computerized opening shot and the film's many quotable moments, I also gab about such matters as Michael's bifurcated