By Ira Zuckerman
A diary of the creation of the 1st Godfather film.
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Extra resources for The Godfather Journal
The hero was aided by a number of associates who usually worked as a team to support the lead’s efforts. Lastly and most importantly (for the leads in serials were usually rather bland), there was the chief villain, often masked, whose identity was not disclosed until the final moments of the last chapter. Known in the trade as “brains” heavy, the villain would, in turn, be aided by a variety of henchmen, or “action” heavies, who would 56 unquestioningly carry out the orders of their leader in a campaign of mayhem and violence that kept the serial’s narrative in constant motion.
The studio didn’t want to release the film at all. So they released it with a pro-gun-control campaign, but that made the picture seem like a documentary to people, and it didn’t do too well. It was meant to be a cautionary fable. It was a way of saying the Boris Karloff kind of violence, the Victorian violence of the past, wasn’t as scary as the kind of random violence that we associate with a sniper – or what happened last weekend. That’s modern horror. At first, some of the people [at The Dark Knight Rises] thought it was part of the movie.
So they released it with a pro-gun-control campaign, but that made the picture seem like a documentary to people, and it didn’t do too well. It was meant to be a cautionary fable. It was a way of saying the Boris Karloff kind of violence, the Victorian violence of the past, wasn’t as scary as the kind of random violence that we associate with a sniper – or what happened last weekend. That’s modern horror. At first, some of the people [at The Dark Knight Rises] thought it was part of the movie. That’s very telling.