The Godfather "An offer you can't refuse!"

4.2 The Godfather – Part II

The second film contains two stories – one shows how Vito Corleone immigrates to America after the death of his family in 1901, at the time he is only nine years old. He had to watch his mother being shot and is then smuggled on a ship to America since the same is supposed to happen to him. There he has to spend three months in an internment camp because he might have brought in some disease. The next scene featuring him is in 1917 in New York City. He then lives with his wife and child and leads an honourable, decent life until he meets Don Fanucci. He is the head of the local Mafia and forces everybody to pay him a certain amount of money for the assurance of security. Vito cannot accept this and finally kills Fanucci. This being his first criminal act he enters the mafia-business and gradually becomes “The Godfather”.

The second story plays in the late 1950s and shows the rise of Michael Corleone as the new Don. He is married to Kay and they have two children but Kay wants to leave him as he becomes more and more immoral. Michael also has a problem with his brother, Fredo, who turns out to have betrayed the family (which is the most important thing to Michael) and finally has him killed.

4.3 The Godfather – Part III

The third film shows Michael Corleone in his sixties. He is searching for a successor and wants to free his family from crime. His children are now adults but his son Anthony refuses to take over the business. He speculates about making Vincent, his nephew, his successor, but known as being fairly corrupt Vincent would hardly be able to legitimize the business as Michael intends to. The Don also doubts whether he can trust Vincent or not – the fact that his daughter Mary falls in love with her cousin does not make things easier. But Vincent proves himself as being a worthy successor and finally Michael transfers his power – “Nephew, from this moment forward, call yourself Vincent Corleone.”

5. Character development

I chose to describe the three main characters who went through the most significant changes – Michael Corleone, who lead a very decent life until he slipped into his father’s shoes; Vito Corleone, who actually never intended to set foot in the Mafia business but one day did so nevertheless which of course changed his life completely; and Conny Corleone, who changed remarkably after the death of her first oppressing husband.

5.1 Michael Corleone

Michael is actually not supposed to succeed his father and does not have the intention to do so. He is not interested in this family business and lives happily together with his wife Kay – whom he assures that he has nothing to do with his father’s mafia affaires:

“That’s my family, Kay, it’s not me”.

(Michael Corleone,The Godfather, 1972)

But after the death of his older brother Sonny things change. His oldest brother Fredo is seen as weak and does not stand behind his family as much as Michael does and so Vito wants him to become the new Godfather. From this time on he changes and becomes more and more like his father. He totally grows into the business, becomes an even more powerful Godfather than his father was, and Kay is absolutely dissatisfied with his development. His relentlessness towards his enemies scares her and she feels as though she does not know him any more. He tries to convince her that they would find back together again but he is unsuccessful:

“You have to understand I had a whole different destiny planned…I’m not the man that you think I am…I love you, Kay. Don’t dread me anymore.”

(Don Michael Corleone,The Godfather – Part III, 1990)

He repeatedly promises her to stop the illegal affaires but without any success:

“All my life I kept trying to go up in society. Where everything higher up was legal. But the higher I go, the crookeder it becomes. Where the hell does it end?”

(Don Michael Corleone to Connie, The Godfather – Part III, 1990)

“Just when I thought I was out, they pull me back in.”

 (Don Michael Corleone to Connie, The Godfather – Part III, 1990)

Michael’s relation to his brother also suffers a lot and their hatred towards each other finally outweighs their love. The first signs already appear in the first film of the famous trilogy when Michael realises that Fredo does not stand behind his family as he is expected to:

“Fredo, you’re my older brother, and I love you. But don’t ever take sides with anyone against the family again. Ever.”

(Don Michael Corleone to Fredo, The Godfather, 1972)

In the second film of the trilogy in which Michael is already praised and respected as “The Godfather” the whole situation aggravates. Fredo does take sides with a hostile family and Michael decides to have him killed after his mother’s death. Family loyalty simply is the highest value for Michael and not even his brother gets away with betraying his family.

“Fredo, you’re nothing to me now; Not a brother, not a friend. I don’t want to know you, or what you do.”

(Don Michael Corleone to Fredo, The Godfather – Part II, 1974)

“I know it was you, Fredo. You broke my heart, you broke my heart.”

(Don Michael Corleone to Fredo, The Godfather – Part II, 1974)

5.2 Vito Corleone

In The Godfather - Part II you can see that Vito is a man who had a very difficult childhood. He was forced set foot in a foreign country where he did not know anybody with only nine years which made him independent extremely early. He grows to a very honourable man – he founds a family and has a decent job. But after he loses his job because of the corrupt Don Fanucci he cannot see any legal way to take revenge and also to nourish his family and consequently drifts into the mafia-business. He becomes a very respected but also very feared man – “The Godfather”.

“I’m gonna make him an offer he can’t refuse.”

(Don Corleone to Johnny Fontane about Woltz, The Godfather, 1972)

Johnny, a singer, is an old friend of Vito Corleone (Vito is his Godfather which is a very sacred, close relationship for Italians) and he wants to get into business with Woltz, a producer. This is the information you need to understand the famous “horse-head scene”. Vito wants to convince Woltz to accept his offer but he refuses – a bitter mistake. The next morning when he wakes up he finds the head of his horse in his bed. Nobody should dare to contradict the Don.

Despite this vehement change of lifestyle his main idea always stays the same: Nothing is more important than one’s family. Anyone outside the family could be or become an enemy so you are should not trust anybody:

“Never tell anybody outside the family what you’re thinking again!”

(Don Corleone to Sonny, The Godfather, 1972)

5.3 Conny Corleone (Michael’s sister)

Conny also changes rather remarkably throughout the trilogy. In the first film Michael’s sister is shown as a very weak person who loves a man who is very abusive. She lets him hit and insult her until her brother Sonny beats him up. In retaliation, Conny’s husband arranges Sonny’s murder. Michael consequently arranges for him to be murdered and Conny is left devastated (Michael denies to have done it).

In the second film, the image of a weak little girl is no longer existent – she develops into a rather ruthless young lady who has relationsships with very rich men.

In the third part of the trilogy Conny turns her back to this immoral lifestyle as well and becomes a very family-orientated woman. She develops a close relation to her brother Michael and helps him with the family business.

In addition to the 3 main characters, Michael’s two brothers, Sonny and Fredo, who also play a prominent role. They are absolutely opposite – Sonny is shown as very quick-tempered and capable, Fredo as fairly weak and helpless. Sonny dies in the end of the first film as a consequence of beating up his sister’s husband, Fredo dies in the end of film two after betraying his family.

Tom Hagen, the adopted son is a very trustworthy person who was taken into the family even though he is not Italian. This fact does not bother the old Corleone, Michael nevertheless never totally accepts Tom as an equal.

The trilogy contains many other more and less important characters who appear and reappear (as long as still alive) throughout the three films. A vast quantity of different names makes it rather hard to follow but this can be seen as a specific feature of “The Godfather”.

6. Narrative aspects

6.1 Basic plot structure

Virtually all “Godfather” movies follow a simple pattern: The exposition is always formed as a big family get-together. In part one it is the wedding of Don Vito’s daughter, Connie. The Godfather – Part II is started by a First Communion celebration for the young son of the new Don. In the third chapter of the trilogy a party honouring Michael for his gratitude takes place in New York City. The family gathers and the characters are either exposed (as in part one), or the already familiar faces are shown once again years later (Part II and III). The effect, although, remains the same. The characters basic attitudes and their relations to each other are shown in an obvious way, and it is shown how they have changed over the years.

 The exposition always leads to the various plot branches which are entangled throughout the film: At the beginning there is always a struggle producing complicated conspiracies which are ultimately solved by a series of murders, ordered by the head of the Corleone family.

“Tonight I’ll settle all family business.”

(Don Michael Corleone, The Godfather, 1972)

        A very interesting aspect concerning the obligatory violent plot-resolving scene is that Coppola did not explain the plot connections once again. In the famous “baptism” scene of Part I, he used a special editing artifice to create a picture the cinemagoers should not forget (see 5.2 – editing techniques). Unfortunately, the semantic connections suffered from this. When you read a novel, it is usually easier to cope with various names. The time you take for reading a book is longer, and you also have the possibility to jump back to read a passage again if you did not remember a special name or character. In The Godfather it is especially hard to cope with the names all of the Italian mob family members and relatives as there are so many of them.  In part one, the audience is rather unprepared for this vast number of victims. The climax of The Godfather – Part II is not focused on the killing of rather unknown Italian gangsters but on the long expected revenge of the young Vito Corleone and the abhorrent murder of Michael’s older brother Alfredo. Since the actual killing scene is eclipsed, the audience can concentrate on the more intensive plot branches centring on the young Vito and Michael Corleone.

        In The Godfather – Part III, Coppola tried a different approach. The film itself follows the original plot structure closely: The exposition shows how the relationships between the main characters have developed and the cinemagoers can also see slight hints on the emerging struggle between the future Don Vincent and Joey Zasa, another treacherous Mafioso. The main difference can be found at the end of the film: Coppola uses a voice over narration during the scene to explain the ongoing actions. Vincent comments on every single action which is going to take place:

“Tonight the Corlene family settles its accounts. Keinzig, that little Swiss banker fuck… He’s been swindling everyone from the beginning. Fuck him. Don Luccesi, my friend… Carlo will pay him a visit at his home. Neri, take a train to Rome. Light a candle for the Archbishop...”

(Don Vincent Corleone, “The Godfather – Part III”, 1990)

        Through this technique, advantageous aspects of both endings in Part II and III are combined: The audience finally knows the plot connections but the attention is actually drawn to the tragic death of Michael’s daughter Mary.

6.2 Stick to the novel!

An interesting aspect of Francis Ford Coppola’s work on the first Godfather is how close he kept to Mario Puzo’s originals novel. Important, strong dialogues which have the ability to underline the figures characteristics were taken one-to-one into the movie:

A very good example is the “Bonasera” scene at the beginning of the film, which serves to build up the exposition of the characters, especially the one of Don Vito Corleone. Bonasera, a noble American with Italian roots, comes to the Godfather on his daughters wedding, as he knows that no Italian Don can refuse a request during such a celebration:

“I went to the police like a good American. The two boys were arrested. They were brought to trial. The evidence was overwheliming and they pleaded guilty. The judge sentenced them to three years in prison and suspended the sentence. They went free that very day. I stood in the courtroom like a fool and those bastards smiled at me. And then I said to my wife: ‘We must go to Don Corleone for justice.’

                                                                        (Puzo. The Godfather: p. 30)

As the scene continues, Mr. Bonasera pleads (he shows humbleness by standing very ducked) with Don Corleone to accept his request, but the Godfather hesitates.

        This whole scene serves several purposes; first it shows the audience how a mob Don like Vito Corleone handles business matters in Little Italy, New York in that period of time. It introduces Tom Hagen and the Don’s oldest Son Sonny who will both be the future leaders of the Corleone family as Don and Consigliere (counselor). One can see that both act in a rather respectful and humble way when the Don is present: In fact, they speak when they are spoken to.  Furthermore, the scene shows the immense contrast between business and family -> the wedding takes place outdoors, on a sunshiny day – the “Bonasera” scene on the other hand is set up in the Don’s workroom, the light is always very dim, almost dark. The use of underexposing light is a very important stylistic device in The Godfather movies (see 5.1 camera & lighting).

        All together, the whole wedding scene is brilliant in its structure: As Michael points out the other guests to Kate, the main characters are of course introduced to the audience and Coppola sets the first roots of his plot.

        As shown in a separate section on the Bonus Material DVD of The Godfather, Francis Ford Coppola made it easier for himself to stay close to the novel and Mario Puzo’s original intentions by using a very uncommon source for his work as a director. Instead of writing a screenplay or hiring a writer to do so, he cut out every single page of the novel and stuck it into a large notebook. He divided the novel into basic units what he considered would be the major breaks in the movie. Additionally, he read the novel very carefully and added notes to each section on what he thought would be strong moments within the final product. He noted every first thought he had after reading a scene, every first picture he had in his mind on what the characters or the scenery in a specific scene would look like. This gave him a quite vivid image of every scene; with this information written down in his notebook he could later refer to his very first thoughts anytime he wanted.

Later on, the actors urged him to write a screenplay, but he often mentioned that it was obsolete and that he could have directed the whole first Godfather movie just by using his own notes.

        For Part II and Part III there was no novel to hold on to available, so Coppola and Puzo worked together on the screenplays. They had a very close relationship during their work on the “Godfather” trilogy which had a very positive impact on the outcome.

For Part II, a lot of information on the life of the young Vito Corleone could be found in the original novel, but the story around the rise and fall of Michael Corleone had to be written from scratch.

6.3 Family

“A man who does not spend time with his family can never be a real man” (Don Vito Corleone, The Godfather, 1972)

“Do you expect me to let you go? Do you expect me to let you take my children from me?”

(Don Michael Corleone, “The Godfather – Part II”, 1976)

“You are my older brother, but don’t take sides with anyone against the family ever again.”

(Don Michael Corleone, The Godfather, 1972)

Francis Ford Coppola described the adaptation of Mario Puzo’s The Godfather as the biggest home movie in history. In fact, the main emphasis is put on the way the Corleone family deals with crime, mafia struggles, the changing times and its influence on the family with its patron, Don Vito Corleone and later Don Michael Corleone.

The importance of the family unit in Coppola’s masterpiece derives from various factors. First off all he wanted to realize in the film that it is part of the Sicilian culture to have strong emotional ties with family members. The country’s bloody and violent history combined with the rather isolated mentality islanders are known for, are the main reasons why the Sicilian people draw their power from the sense of security in their families.

In The Godfather - Part III Michael Corleone accentuates finally what was the real, prime reason for any action he or his father Vito Corleone took during the first two movies: “Protect the family, protect his wife and his kids from the horrors of this world”. The strange ---irony is that through his efforts to protect the family, he became the horror of his family.

6.4 What does it mean to be a “Godfather”

“The Godfather was textured, or perfumed in a way by our memories of our Italian-American family...”

(Talia Shire-Coppola, “The Maiking of The Godfather”, 1990)

        In Sicily it has always been a tradition for young parents to ask the richest, most powerful and most influential gentleman in a village to be the godfather of the newborn child. Besides the financial benefit, it is also some sort of insurance for the baby’s future, as the godson/goddaughter will once have the opportunity to work for the godfather’s organisation or company.

A godchild often develops a strong relation to the family, and since there has always been a strong sense of kinship embedded in Sicily’s culture, a godfather is obliged to take care of his godchild.

        In Mario Puzo’s The Godfather, the term itself is associated with words like respect, responsibility, mystery, fear and power. The contrast between the warm behaviour in matters of family and the coldness and relentlessness towards the enemy is the linchpin of the whole trilogy.

“Godfather” also always embodies a man who is never forced to do the dirty work himself, though the viewers always have to assume that a cold blooded person such as Vito Corleone had to accomplish various dirty tasks of his own to reach a position that high.

        

6.5 Violence

        In the “making of” of The Godfather trilogy, F. F. Coppola often stated that he is, in general, not very fond of violence in motion pictures. He more or less sees it as a necessity in modern films, especially when it is about ruthless Mafia families. In his own productions, Coppola always viewed violence as a stylistic technique which should only be used very consciously: As a trigger for an emotional reaction of the audience, or as a means to build up the plot structure or to push the evolution of a character. He simply always tries to set up violent scenes in a different way than what a typical cinemagoer has seen before.

According to Nick Browne’s Godfather Anthology, Coppola wanted to avoid an emotional blunting of the audience due to the numerous violent scenes which had to be shown to build up the plot. He gave these shots special consideration and by setting them up in a very special way: Before or within every violent scene in the trilogy, he put in little details which should urge the viewer to remember the scene.

In The Godfather – Part II, an example can be found in the scene where the young Vito Corleone kills the white dressed Don it is the flickering light bulb and especially the burning towel around Robert DeNiro’s Hand which catches the viewer’s eye. Everybody also remembers the odd Mist of blood which was sprayed over the room after Michael Corleone killed Solozzo in The Godfather.

In the mob gathering scene at the beginning of Godfather – Part III in the penthouse hotel room is also found an example for an odd feature which serves the purpose of urging the viewer to remember the scene: Everybody thinks of an Earthquake when the dinner tables start to waggle but in truth it is a helicopter which cannot be seen through the whole take. Coppola wanted to keep it mysterious. Another detail of Godfather – Part III is very similar to the disgusting scene in Part I where the casino boss was shot in the eye and the blood ran through his glasses. For the new scene where a politician is killed he uses an idea he had seen in a Kurasawa film: Since the target person is a politician, the killer has to enter the room unarmed. Instead of breaking his neck, he uses his glasses to stab into his carotid.

7. Stylistic aspects

7.1 Camera & lighting

If the camera work in The Godfather trilogy had to be characterized with a few words, these would probably be “slow and steady”.

In general all three motion pictures are famous for their large, panoramic images like that at the beginning of the first film during the wedding. Moreover, the director pans the camera only in very few scenes like the one in which Sonny Corleone is shot. In The Godfather, camera angles are instrumental in providing perspective, as in the first scene with Don Corleone behind his desk in his home, as well as the scene in which Michael shoots the crooked cop in the restaurant. In a few scenes, the camera is kept steady to draw the viewer’s attention to the actors.

        A chapter on the “The Making of the Godfather” DVD is dedicated to Gordon Willis who was the prime cinematographer in all parts of the trilogy. His work was described as a style everybody “could not help, but notice”.

        A lot of things concerning lighting actually came out of a necessity to deal with Marlon Brando, to give him “on screen” makeup. It was an example of designing something to make a character work which was later extended to the rest of the movie. Critics often stated that nobody could see Marlon Brando’s eyes; in fact there a few scenes where the audience are unable to see what Brando’s facial expression looked like.

        But Gordon Willis kept the underexposed light quite deliberately. In various scenes, viewers see this mysterious human being thinking about something but cannot tell what is going to happen.

        Among other cinematographers Gordon Willis is known as the “Prince of Darkness” due to his preference for underexposing light. Although this technique is rather uncommon in modern cinema, at least in scenes where no immediate tension is created, Willis seems to know exactly how much to use it. Paramount Pictures, which were not very cooperative from the beginning, had more practical problems in their minds: The feared that this movie could not be shown in drive-in theatres because of the lack of light.

        Willis’ decision to use mainly yellow filtering in The Godfather is now seen as the trendsetter for the colouring of the yellow period movies which were mainly yellow after the release of The Godfather.   

7.2 Editing techniques

A film does not simply consist of a series of shots following one after the other, but instead consists of a system that creates the illusion of continuity. The editing technique which is for example used for dialogues (shot/reverse shot) continuity editing. The opposite, known as montage, creates highly stylised scenes in order to create symbolic meanings, as in parallel editing (shots of “the rich” interlaced with shots of “the poor”), or in an attempt to create analogies.

The “Godfather” makes extensive use of cutting techniques that give the film its unique look. As said before, F. F Coppola’s epic was often compared with the classic gangster films Warner Bros. produced. This partly derives from the specific cutting techniques that were used in Coppola’s trilogy.

The perhaps most famous sequence in The Godfather is known as the “baptism scene” at the end of the film, where the young Don Michael Corleone becomes the godfather of his sister’s son.

It is definitely one of the most significant and climactic points in the film, due to a combination of techniques that attribute to making it much 

more visually dramatic than the rest of the movie.

The sequence which lasts a total of six minutes consists of cross-cutting between Michael, at the baptism of his nephew, the Corleone assassins preparing for the shootings, and then later the actual murders.

The cutting is fast paced and various images are shown within a short amount of time. The irony of Michael in such a religious setting as his arranged killings are going on simultaneously is visually portrayed. On one hand he is agreeing to be the godfather of his nephew in a very reverent and honorable tradition and on the other hand, he has agreed to become the head of his family and is doing so in a brutally violent way.

The power of this sequence is enormous: It speeds up the whole film and it resolves numerous plot elements.

         

8. Conclusions

8.1 Conclusion – By Nick Gruber

        After this overview on the various narrative and stylistic aspects of The Godfather, one question still remains partly unanswered: Why exactly this film was so incredibly successful?

        If you think of Hollywood motion pictures, what are the “ingredients” Blockbuster-films mostly have in common? An interesting screenplay, often adapted from a novel; a high production budget; at least one Hollywood-star, often surrounded by good and promising young actors; a star director – or at least a young talent and last but not least a high dose of innovation.

        The Godfather combines all of these attributes. The screenplay was adapted from Mario Puzo’s bestselling novel; so many fans of the book felt almost obliged to go to the cinema. Paramount set a reasonably high production budget (6.2 Mio $;) and Coppola was able to cast Marlon Brando to play Vito Corleone. The cast around him was very young, but actors like Al Pacino, Robert Duvall, James Caan or Diane Keaton have later on proven more than once that they now belong to the rank of Hollywood megastars. Last but not least it was Francis Ford Coppola himself who brought so much of his own life into this movie and managed to create a blockbuster out of the highly innovative concept.

8.2 Conclusion – By Tanja Slattenschek

The success of this famous trilogy is undisputed – but what is it based on?

In my opinion there are various reasons for it: Firstly, it contained magnificent actors: Francis Ford Coppola had many difficulties in convincing Paramount Pictures of his choice of actors. Especially the casting of Michael Corleone presented many difficulties. (As Francis Ford Coppola was a very new and unknown director at that time, Paramount did actually not believe him capable of doing such an important project. They had another director aside who was supposed to take over in case Coppola failed.) Paramount wanted stars like Robert Redford or Ryan O’Neal to play the role of Michael but Coppola insisted on the so far unknown Al Pacino (who had only acted in Broadway productions until then). In him he saw a credible Italian and after countless attempts of conviction (Paramount would have even preferred James Caan – who played Sonny) Al Pacino was finally accepted. 

Secondly, I certainly have to mention Coppola’s flair for trifles – even though these are fairly difficult to see. One very fascinating narrative aspect is his use of oranges to predict that something terrible is about to happen. He uses it throughout the trilogy but you certainly have to pay special attention to realise. Another remarkable trifle is that Coppola builds in members of his own family: Michael’s daughter Mary is actually his own daughter, Michael’s sister Conny is his own sister and his father composed some of the background music (his uncle also plays a minor role but is not too relevant).

Thirdly, what really distinguishes The Godfather from so many other films is Coppola’s ability to weave numerous stories into one cohesive whole. It is a film you have to pay full attention to, not one of these lamely structured films where a short look every half hour grants comprehension. This is even more important in part two where Coppola does not only give one complex story but tells two stories in parallel to one another.

On the whole I would count The Godfather to one of the rare films you simply cannot get bored of. When occupying yourself with the facts and figures you always find new interesting pieces of information which attract your attention. With this masterpiece in film history Coppola managed to not only give his actors stereotypical qualities, but to create new stereotypes.

 

9. Appendix

9.1 Bibliography

Primary literature:

Puzo, Mario (1978). The Godfather [1969].New York: Penguin Books Ltd.

Secondary literature:

Brown, Nick (2000).Francis Ford Coppola’s Godfather Trilogy. Cambridge: Cambridge University Press

Electronic media:

Coppola, Francis-Ford, Director (1972). The Godfather [Film].Paramount.

Coppola, Francis-Ford, Director (1974). The Godfather – Part II [Film].Paramount.

Coppola, Francis-Ford, Director (1990). The Godfather – Part III [Film].Paramount.

Coppola, Francis-Ford, Director (2001). The Godfather – DVD Collection [Film].Paramount.

Online resources:

Smith, Neil (2000) „The Godfather Part III (1990)“, BBC Films Review, [Online]  [2004, December 01]

Malta, J. Geoffrey (2001) “The Godfather’s STATS”, The Godfather Trilogy, [Online]

  [2004, December 01]

9.2 Cast and crew

Francis Ford Coppola

Director

Films he directed:

The Rain People (1969)

The Godfather Trilogy (1972-1990)

Apocalypse Now (1979)

Peggy Sue Got Married (1986)

Bram Stoker’s Dracula (1992)

The Rainmaker (1997)

Marlon Brando

(Don Vito Corleone)

Partial Filmography:

Julius Caesar (1953)

Mutiny on the  Bounty (1962)

The Godfather (1972)

Apocalypse Now (1979)

Christoph Columbus (1992)

Don Juan de Marco (1995)

The Score (2001)

Al Pacino

(Michael Corleone)

Partial Filmography:

The Godfather (1972)

The Godfather Part II (1974)

Scarface (1983)

Revolution (1985)

The Godfather Part III (1990)

Frankie and Johnny (1991)

Heat (1995)

Any Given Sunday (1999)

Insomnia (2002)

Robert Duvall

(Tom Hagen)

Partial Filmography:

M.A.S.H. (1970)

The Godfather (1972)

The Godfather Part II (1974)

Apocalypse Now (1979)

Days of Thunder (1990)

Deep Impact (1998)

Gone in 60 Seconds (2000)

John Q (2002)

James Caan

(Santino 'Sonny' Corleone)

Partial Filmography:

El Dorado (1967)

The Godfather (1972)

Rollerball (1975)

Alien Nation (1988)

Misery (1990)

Dick Tracy (1990)

Diane Keaton

(Kay Adams-Corleone)

Partial Filmography:

Play it Again, Sam (1972)

The Godfather (1972)

The Godfather Part II (1974)

Manhattan (1979)

The Godfather Part (III)

Father of the Bride (1991)

Father of the Bride Part II (1995)

The First Wives Club (1996)

Talia Shire (born Coppola)

Constanzia 'Connie' Corleone-Rizzi

Partial Filmography:

The Godfather (1972)

The Godfather Part II (19729

Rocky (1976)

Rocky II (1979)

Rocky III (1982)

Rocky IV (1985)

Rocky V (1990)

The Godfather Part III (1990)

Bed and Breakfast (1992)

Kiss the Bride (2002)

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