--- title: "The Godfather" year: 1972 kind: "film" canonical: "https://film.one/film/the-godfather" fi1m_id: "the-godfather" imdb_id: "tt0068646" tmdb_id: 238 wikidata_id: "Q47703" fi1m_score: 93 critics_score: 89 critics_reviews: 9 published: "2026-09-12" updated: "2026-09-18T08:37:41.048136+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Godfather (1972) Directed by Francis Ford Coppola · 2h 55m · MPA R · Drama, Crime ## Identity The Godfather - **Canonical:** https://film.one/film/the-godfather - **Type:** Film - **Fi1m ID:** the-godfather - **IMDb ID:** tt0068646 - **TMDB ID:** 238 - **Wikidata ID:** Q47703 - **Same entity:** https://www.imdb.com/title/tt0068646/, https://www.themoviedb.org/movie/238, https://www.wikidata.org/wiki/Q47703 **Fi1m score: 93** · Critics 89 from 9 reviews *In a sentence:* We know the Corleones are criminals; we would still like them to think well of us > Francis Ford Coppola’s Mafia family drama earns its length through patient storytelling and performances that make criminal authority disturbingly attractive. The crowded family politics can take some sorting out, but we would recommend it without hesitation. ## Synopsis Don Vito Corleone presides over a Mafia dynasty, with family loyalties bound up in the running of a criminal enterprise. Marlon Brando plays the patriarch, alongside Al Pacino as Michael Corleone, James Caan as Sonny Corleone and Robert Duvall as Tom Hagen. The story follows the family’s exercise of power and the obligations that come with belonging to it. Personal influence shapes a society where public principles offer little protection. Francis Ford Coppola directs this adaptation of Mario Puzo’s novel, with Diane Keaton as Kay Adams and Talia Shire as Connie Corleone Rizzi. ## Review *The Godfather* asks us to spend enough time with the Corleones to understand why people accept their authority. Francis Ford Coppola makes that invitation dangerously easy to accept, and we would recommend the film even to someone who normally avoids gangster stories. At 175 minutes, it has room for the family loyalties to become as absorbing as the criminal business. The screenplay is by Coppola and Mario Puzo, adapting Puzo’s novel. Marlon Brando’s Don Vito Corleone is the chief reason the invitation works. The performance gives authority the reassuring appearance of something earned over a lifetime, so that we begin to accept the Don’s importance without asking what entitles him to it. We were unsettled by how readily we wanted this man to get his way. Brando’s composed bearing did it: he makes command feel like the reasonable work of a family elder. The film gives us time to enjoy his company. Al Pacino’s Michael Corleone rewards a different kind of attention. Pacino makes us watch for small changes, and the patience of his performance gives the family story much of its pull. James Caan’s Sonny Corleone brings a welcome impatience to the ensemble. His energy prevents all that weighty authority from making the film ponderous, while Robert Duvall’s quieter Tom Hagen gives the exchanges another pace. Gordon Willis’s cinematography lets deep blacks occupy much of the image, with autumnal browns supplying a warmth that keeps the darkness from feeling merely forbidding. The effect is welcoming enough to make us forget how little we can see. Dean Tavoularis’s production design gives the Corleones surroundings that feel lived in, and helps make their comfort persuasive. The family looks as if it has been comfortable here for years and expects to remain so. Editors William Reynolds and Peter Zinner allow time for us to register who carries weight in each exchange. We can follow a scene’s pressure even when we are still sorting out the people in it. Nino Rota’s music encourages affection for the family, and its warmth makes their company harder to dismiss. We might otherwise be able to keep these criminals at a safe distance, admiring the actors while congratulating ourselves on knowing better. The reservation is clarity. With so many relationships competing for attention, there are passages when keeping track of the family requires more effort than it should. Coppola’s patience usually helps us find our bearings, though he occasionally seems more confident that we know everyone than a first viewing warrants. The long running time allows this uncertainty to linger, and anyone struggling early on should know that the film does ask for sustained concentration. Within the gangster genre, this is unusually patient about letting us enjoy the ordinary pleasure of being among people who know one another well. That choice makes the brutality harder to shrug off. Coppola gives the violence enough force to disturb the affection he has encouraged, without pretending that affection simply disappears. Set aside an uninterrupted evening, preferably with someone willing to admit which of the Corleones they found themselves making excuses for. *Fi1m score 93, published 12 September 2026.* ## What the critics say The consensus is strongly positive, with praise clustering around the performances, the family drama and the film’s account of American power. Most critics single out Marlon Brando’s authority as the Don, while Al Pacino and the ensemble receive sustained attention. The reviews admire how Coppola makes the Corleones’ enclosed world compelling without losing sight of its brutality. The dark photography and careful establishment of period and mood also earn praise, alongside readings that connect organised crime to capitalism and respectable institutions. Reservations concern length and clarity rather than the film’s central achievements. Variety finds it overlong and occasionally confusing, while Sight and Sound questions both its length and its self-effacing style. Other reviews praise its control across the long running time. The spread is narrow in sentiment: even the more qualified accounts admire the acting, with disagreement chiefly about how effectively the sprawling family story holds together. ## Straight answers **Is The Godfather worth watching?** *The Godfather* is worth watching, and we scored it 93; we would recommend it even to someone who normally avoids gangster films. Marlon Brando and Al Pacino make criminal authority disturbingly easy to accept across 175 patient minutes. The crowded family politics do ask for sustained concentration, so set aside an uninterrupted evening rather than watching it in pieces. **How long is The Godfather, and what is it rated?** *The Godfather* runs 2h 55m and is rated R by the MPA in the US. It is a drama and crime film. **Where can I watch The Godfather in the US?** *The Godfather* is streaming on Paramount+, The Roku Channel and Apple TV in the US, and it is also available to rent from Apple TV from $3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The Godfather, and is it suitable for children?** *The Godfather* carries a UK 15 certificate and is not suitable for children. The violence is brutal when it comes, and Coppola gives it enough force to disturb, deliberately, after so much time spent enjoying the family's company. It is a crime drama rather than a horror film; older teenagers who can manage 175 minutes of patient storytelling should be fine, but the squeamish should be warned. **How does The Godfather compare to The Godfather Part II?** *The Godfather* is the warmer and more approachable of the two films, and the better place to begin; [*The Godfather Part II*](https://film.one/film/the-godfather-part-ii) is the more upsetting. The first spends its length letting us enjoy the Corleones' company before the brutality registers, while the sequel's account of criminal power, through Pacino and Robert De Niro, cuts deeper but drags through some cumbersome political intrigue. We rate both highly. **Is The Godfather based on a true story or a book?** *The Godfather* is adapted from Mario Puzo's novel rather than a true story, and Puzo wrote the screenplay with Francis Ford Coppola. Our review does not measure how closely the film follows the book, and you do not need to have read it. The film introduces the Corleones itself, though a first viewing asks you to keep a crowded family straight. **Do you need to have seen the other The Godfather films before The Godfather?** *The Godfather* is the first film in its series, so there is nothing you need to have seen before it, and it is the right place to start. It stands complete on its own, and the later films build on the family history it establishes. Newcomers should expect to work at telling the Corleones apart early on, since Coppola assumes a little more familiarity than a first viewing warrants. **What should I watch after The Godfather?** After *The Godfather*, try [*Goodfellas*](https://film.one/film/goodfellas) (1990, Fi1m 93): For another crime family whose company becomes increasingly difficult to enjoy. Then [*A Prophet*](https://film.one/film/a-prophet) (2009, Fi1m 86): For patient attention to how a newcomer learns the uses of power; and [*The Leopard*](https://film.one/film/the-leopard) (1963, Fi1m 88): For family authority, changing fortunes and rooms that explain who holds power. **What order should I watch the The Godfather films in?** Release order is the safe choice for The Godfather, and it is the order [our collection page](https://film.one/collections/the-godfather) lists them in. *The Godfather* is the first of the 3 The Godfather titles on Fi1m; after it [*The Godfather Part II*](https://film.one/film/the-godfather-part-ii). [The full order.](https://film.one/collections/the-godfather.md) ### Reviews we read (14) - **Time Out**, Tom Huddleston (5/5): The film is the single most financially successful movie to date and remains almost universally beloved, appearing in the top rank of best movie lists. It is grand entertainment as well as an emotional and intellectual experience, with a Shakespearean story, striking black and autumnal brown photography, shocking violence and flawless performances. [Read](https://www.timeout.com/movies/the-godfather-1972) - **Empire**, Kim Newman (90/100, inferred): The critic views it as marking the dawn of the mega-movie era, transitioning organized crime while blending art and commercial appeal. They praise its performances, style, substance, and how it achieves box office success without being mindless, noting it has aged better than most films from the early 1970s. [Read](https://www.empireonline.com/movies/reviews/godfather-review/) - **Evening Standard** (90/100, inferred): The original Godfather stands as a near-perfect example of classical filmmaking and a generational saga. It features superb performances, a tight grip over its long runtime and darkly ironic commentary. [Read](https://www.standard.co.uk/culture/film/francis-ford-coppola-s-the-godfather-is-a-masterpiece-7416768.html) - **RogerEbert.com**, Roger Ebert (90/100, inferred): Ebert praises the film for inviting viewers to consider the Mafia entirely on its own terms within a closed world, making even evil characters sympathetic. He singles out the virtuoso filmmaking in introducing the large cast and Gordon Willis' rich, atmospheric cinematography for praise. [Read](https://www.rogerebert.com/reviews/great-movie-the-godfather-1972) - **The AV Club**, Tom Breihan (90/100, inferred): The critic highlights the film's indictment of American capitalism and corruption through Michael Corleone's arc and iconic scenes like the baptism montage. It is celebrated as a mythic, operatic masterpiece that remains compelling and rewatchable. [Read](https://www.avclub.com/the-godfather-touched-a-nerve-with-its-dark-vision-of-t-1838492668) - **The Hollywood Reporter**, Arthur Knight (90/100, inferred): The critic finds the film an extraordinary achievement that successfully adapts the novel while delivering a richly detailed epic of family, power, and crime. Particular praise goes to Marlon Brando's transformative performance as the aging don and the seamless ensemble interplay among the cast. [Read](https://www.hollywoodreporter.com/news/general-news/godfather-review-1972-original-movie-986404/) - **The Guardian** (80/100, inferred): The critic views Coppola’s 1972 film as a measured, deathly serious epic that offers a top-down view of the mafia. Brando’s authoritative performance as the Don is singled out for its papal quality and lasting influence on the genre. [Read](https://www.theguardian.com/film/2009/sep/25/the-godfather-review) - **Sight and Sound**: The review notes the film's self-effacing style and length as drawbacks but highlights its compelling portrayal of contemporary private enterprise through strong performances, particularly Marlon Brando as the Don and Al Pacino as Michael. [Read](http://old.bfi.org.uk/features/ultimatefilm/chart/details.php?ranking=46) - **The New Yorker**, Pauline Kael: The film merges commerce and art, staying close to the book's sensationalism while achieving spaciousness and strength. It offers a vivid view of a Mafia dynasty with Coppola's quality of feeling, headed by marvelous performances from Brando, Caan and Pacino. [Read](https://www.newyorker.com/magazine/1972/03/18/the-godfather-movie-review-pauline-kael) - **The New York Times**, Vincent Canby: Canby calls it one of the most brutal and moving chronicles of American life ever designed within popular entertainment, a superb Hollywood movie that transcends its milieu. He singles out Marlon Brando's magnificent performance as the shrewd patriarch and the film's capture of the Corleone family's isolated world for praise. [Read](https://www.nytimes.com/packages/html/movies/bestpictures/godfather-re.html) - **Variety**, A.D. Murphy: Murphy notes the large pre-sold audience, outstanding performance by Al Pacino, strong characterization by Marlon Brando, excellent production values, flashes of excitement, and a well-picked cast. He singles out the establishment of mood and time as the biggest achievement but complains that the film is overlong and occasionally confusing. [Read](https://variety.com/1972/film/reviews/the-godfather-2-1200422863/) - **Eye for Film**, Chris (90/100, inferred): The critic calls it a masterpiece of restrained filmmaking that elevates the gangster genre with traditional storytelling freed from censorship. They single out the complex family plots as potentially overwhelming for first-time viewers while praising the contrasts between light and dark and the characters' dual natures. [Read](https://www.eyeforfilm.co.uk/review/the-godfather-film-review-by-chris) - **Collider**, Emily Bernard (B+): The critic calls it a movie you can't refuse and praises its ensemble cast, storytelling scope, and Al Pacino's gradual transformation into a ruthless figure as the standout element. [Read](https://collider.com/the-godfather-review-francis-ford-coppola-al-pacino/) - **The Playlist**, Jason Bailey: Coppola uses the film's opening to explore the gap between American ideals and realities, with the Don's world revealing how power trumps justice or morality in a nation where lofty principles often fail. The story underscores that respectable institutions like police and politicians are no better than criminals, highlighting the film's quintessentially American focus on raw power and the illusion of the American Dream. [Read](https://theplaylist.net/the-american-dream-of-the-godfather-at-50-20220315/) ## Details - **Director:** Francis Ford Coppola - **Director:** Francis Ford Coppola - **Screenplay:** Mario Puzo, Francis Ford Coppola - **Novel:** Mario Puzo - **Cinematography:** Gordon Willis - **Editor:** William H. Reynolds, Peter Zinner - **Music:** Nino Rota - **Production design:** Dean Tavoularis - **Costume design:** Anna Hill Johnstone - **Producer:** Albert S. Ruddy, Francis Ford Coppola, Robert Evans - **Cast:** Marlon Brando as Don Vito Corleone; Al Pacino as Michael Corleone; James Caan as Sonny Corleone; Robert Duvall as Tom Hagen; Richard S. Castellano as Clemenza; Diane Keaton as Kay Adams; Talia Shire as Connie Corleone Rizzi; Gianni Russo as Carlo Rizzi - **Runtime:** 2h 55m - **Certificate (MPA):** R - **Release (the US):** 24 March 1972 - **Genres:** Drama, Crime - **Part of:** [The Godfather](https://film.one/collections/the-godfather.md) · 1 of 3 - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 1972); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Winner, 1972) - **Budget:** $6 million - **Box office:** $245 million - **Trailer:** https://www.youtube.com/watch?v=Ew9ngL1GZvs ## Where to watch in the US - Paramount+: streaming - The Roku Channel: add-on, hd - Apple TV: add-on, uhd - Apple TV: rent $3.99, hd - Apple TV: buy $16.99, hd *Checked 2026-09-12.* Also available in: AR, AT, AU, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, HK, HR, HU, ID, IE, IN, IT, MX, MY, NL, NO, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1973: Best Costume Design (nominated); Best Director (nominated); Best Film Editing (nominated); Best Original Dramatic Score (nominated); Best Sound (nominated); Best Supporting Actor (nominated); Best Actor (won); Best Picture (won); Best Writing, Adapted Screenplay (won) - Golden Globes 1973: Best Actor – Motion Picture Drama (won); Best Motion Picture – Drama (won); Best Screenplay (won) ## If you liked this - *Goodfellas* (1990), Fi1m 93: For another crime family whose company becomes increasingly difficult to enjoy. — [Fi1m page](https://film.one/film/goodfellas.md) - *A Prophet* (2009), Fi1m 86: For patient attention to how a newcomer learns the uses of power. — [Fi1m page](https://film.one/film/a-prophet.md) - *Election* (2005): For criminal succession treated as an ugly business of favours and intimidation. - *The Leopard* (1963), Fi1m 88: For family authority, changing fortunes and rooms that explain who holds power. — [Fi1m page](https://film.one/film/the-leopard.md) - *Tokyo Story* (1953), Fi1m 92: For a quieter reckoning with what families believe they owe one another. — [Fi1m page](https://film.one/film/tokyo-story.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-godfather