list http://www.spout.com/ Recent community activity around The Godfather Saga on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Godfather_Saga/85140/default.aspx Title: The Godfather Saga
Year: 1977
Director: Francis Ford Coppola
Plot: Originally screened as a mini-series on the NBC television network, this epic-length feature combines the entirety of The Godfather and The Godfather Part II with 15 minutes of outtakes from the two films, recutting the material into chronological order (clarifying the complex structure of The Godfather Part II, which jumped back and forth between events that occurred before and after the narrative of the first film). The Godfather 1902-1959: The Complete Epic tells the tale of the Corleone Family, from the arrival of Vito Corleone in the U.S. as a boy and his rise to criminal power as a young man (played by Robert DeNiro) to the decline of his empire decades later. While some of the original material was censored for television broadcast, when The Godfather 1902-1959: The Complete Epic was later released on home video, the altered footage was restored to its original content. However, this proved not to be the final and complete document of the Corleone saga, as Francis Ford Coppola added another chapter to the story nine years later with the release of The Godfather Part III. ~ Mark Deming, All Movie Guide
Number of Lists: 5
Number of blog posts: 1
SpoutRating: 4
]]>Wed, 05 Mar 2008 01:40:09 GMTThe Godfather Saga1977Francis Ford CoppolaOriginally screened as a mini-series on the NBC television network, this epic-length feature combines the entirety of <a href=/films/13611/default.aspx style='text-decoration:underline'>The Godfather</a> and <a href=/films/13612/default.aspx style='text-decoration:underline'>The Godfather Part II</a> with 15 minutes of outtakes from the two films, recutting the material into chronological order (clarifying the complex structure of <a href=/films/13612/default.aspx style='text-decoration:underline'>The Godfather Part II</a>, which jumped back and forth between events that occurred before and after the narrative of the first film). The Godfather 1902-1959: The Complete Epic tells the tale of the Corleone Family, from the arrival of Vito Corleone in the U.S. as a boy and his rise to criminal power as a young man (played by Robert DeNiro) to the decline of his empire decades later. While some of the original material was censored for television broadcast, when The Godfather 1902-1959: The Complete Epic was later released on home video, the altered footage was restored to its original content. However, this proved not to be the final and complete document of the Corleone saga, as <a href="/players/P____85868/default.aspx" style='text-decoration:underline'>Francis Ford Coppola</a> added another chapter to the story nine years later with the release of <a href=/films/13613/default.aspx style='text-decoration:underline'>The Godfather Part III</a>. ~ Mark Deming, All Movie Guide514http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/The_Godfather_Saga/85140/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2007/8/8/17642.aspxPost By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/8/2007 6:00:51 PM
Body: Once a month, cultural critic Camille Paglia publishes a lengthy assessment of the current moment in pop culture at Salon.com. This month’s installment went live today, and the meat of it is an Antonioni/Bergman inspired elegy for the art film. The whole piece is, as is the norm for Ms. Paglia, terribly quotable, but the part where she appears to elevate the entire Star Wars series to the status of those late Europeans’ “masterpieces” is probably the most controversial: On the culture front, fabled film directors Ingmar Bergman and Michelangelo Antonioni dying on the same day was certainly a cold douche for my narcissistic generation of the 1960s. We who revered those great artists, we who sat stunned and spellbound before their masterpieces — what have we achieved? Aside from Francis Ford Coppola’s Godfather series, with its deft flashbacks and gritty social realism, is there a single film produced over the past 35 years that is arguably of equal philosophical weight or virtuosity of execution to Bergman’s The Seventh Seal or Persona? Perhaps only George Lucas’ multilayered, six-film Star Wars epic can genuinely claim classic status, and it descends not from Bergman or Antonioni but from Stanley Kubrick and his pop antecedents in Hollywood science fiction. A lot of bloggers are reading this and doing a double-take, as if to say, “Did she just say George Lucas is as good as Bergman? OHNOSHEDIDN’T!!!” Example, from The Opinion Mill: “Only in the mind of Camille Paglia can Jar-Jar Binks push aside Antonius Block to play chess with Death on the stony beach. I’d always considered the mutual starfucking between George Lucas and Joseph Campbell to be the last word in intellectual vacuousness, but one should never underestimate Camille.” This is not how I read Paglia’s statement at all — I read it as, “The only films of the last three decades that may in the future be considered classics are the Star Wars films, and that’s evidence of how far from the art house golden era we’ve fallen.” But maybe I’m wrong. For all I know, Paglia really did mean to equate Antoniennui with (let’s all make this joke at once) the travails of Jar Jar Binks. Later, in the very same column, Camille suggests that Kelly Clarkson has the potential to singlehandedly “revive…the American fine arts.” I’m all for being contrarian, but at some point, doesn’t the polemic start to strain credulity? Originally posted on:Spoutblog
]]>Wed, 08 Aug 2007 22:00:51 GMTSpoutBlogSpoutBlog on spout.com8/8/2007 6:00:51 PMOnce a month, cultural critic Camille Paglia publishes a lengthy assessment of the current moment in pop culture at Salon.com. This month’s installment went live today, and the meat of it is an Antonioni/Bergman inspired elegy for the art film. The whole piece is, as is the norm for Ms. Paglia, terribly quotable, but the part where she appears to elevate the entire Star Wars series to the status of those late Europeans’ “masterpieces” is probably the most controversial: On the culture front, fabled film directors Ingmar Bergman and Michelangelo Antonioni dying on the same day was certainly a cold douche for my narcissistic generation of the 1960s. We who revered those great artists, we who sat stunned and spellbound before their masterpieces — what have we achieved? Aside from Francis Ford Coppola’s Godfather series, with its deft flashbacks and gritty social realism, is there a single film produced over the past 35 years that is arguably of equal philosophical weight or virtuosity of execution to Bergman’s The Seventh Seal or Persona? Perhaps only George Lucas’ multilayered, six-film Star Wars epic can genuinely claim classic status, and it descends not from Bergman or Antonioni but from Stanley Kubrick and his pop antecedents in Hollywood science fiction. A lot of bloggers are reading this and doing a double-take, as if to say, “Did she just say George Lucas is as good as Bergman? OHNOSHEDIDN’T!!!” Example, from The Opinion Mill: “Only in the mind of Camille Paglia can Jar-Jar Binks push aside Antonius Block to play chess with Death on the stony beach. I’d always considered the mutual starfucking between George Lucas and Joseph Campbell to be the last word in intellectual vacuousness, but one should never underestimate Camille.” This is not how I read Paglia’s statement at all — I read it as, “The only films of the last three decades that may in the future be considered classics are the Star Wars films, and that’s evidence of how far from the art house golden era we’ve fallen.” But maybe I’m wrong. For all I know, Paglia really did mean to equate Antoniennui with (let’s all make this joke at once) the travails of Jar Jar Binks. Later, in the very same column, Camille suggests that Kelly Clarkson has the potential to singlehandedly “revive…the American fine arts.” I’m all for being contrarian, but at some point, doesn’t the polemic start to strain credulity? Originally posted on:Spoutblog http://www.spout.com/members/0/tags/gangster/MemberTagFilms.aspxgangster
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