Film Structure
Francis Ford Coppola asked his editor Barry Malkin to make a 7-hour version for television; Coppola reportedly did this project to raise money for Apocalypse Now, which was severely over-budget at the time. The resulting film was in chronological order. The Godfather Part II had cut back and forth between scenes in the early 1900s and contemporary scenes, and was therefore both a prequel and a sequel to The Godfather. Malkin also toned down the violence, sex and language for a television audience.
The television film incorporated additional footage not included in the original films, including Don Fanucci being attacked by street thugs, Vito Corleone's first encounter with Hyman Roth, Vito killing two of the mafiosi who worked for Don Ciccio and were instrumental in his family's death, Michael Corleone's reunion with his father after his return from Sicily, and Sonny Corleone's taking charge of the family after his father is severely wounded. The previously deleted scenes totaled almost 75 minutes.
Hal Erickson summarized the results as follows, "While this rearrangement was reasonably coherent, the rhythm and pacing of the original theatrical versions of the two films was severely damaged. The inclusion of scenes previously removed from the theatrical prints also stretched out what was already an overlong project. Even allowing for the achievement of pulling off this gargantuan editing assignment, The Godfather Saga is a lumpy affair which seems to stop and start at irregular intervals and never truly picks up momentum. "
Read more about this topic: The Godfather Saga
Famous quotes containing the words film and/or structure:
“The motion picture is like a picture of a lady in a half- piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.”
—Raymond Chandler (1888–1959)
“A special feature of the structure of our book is the monstrous but perfectly organic part that eavesdropping plays in it.”
—Vladimir Nabokov (1899–1977)