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Francis Ford Coppola took some of the deep background from the life of Mafia chief Vito Corleone--the patriarch of Mario Puzo's bestselling novel The Godfather--and built around it a stunning sequel to his Oscar-winning, 1972 hit film. Robert De Niro plays Vito as a young Sicilian immigrant in turn-of-the-century New York City's Little Italy. Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba. As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born. This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression. But even with him and a number of truly brilliant actors (including maestro Lee Strasberg), this is ultimately Pacino's film and a masterful performance. --Tom Keogh ... Read more

Reviews (82)

I know it was you Fredo
Director Francis Ford Coppola does the impossible with this film. He creates an original piece better than its wonderful predecessor! After the phenomenal success of the GODFATHER, Coppola didn't have the studio watching every move he made like a hawk, and the results are a better, more diverse film. He lifted a concept he was saving for another movie, one where a father's story and his son's story are intermingled, comparing them both at the same age. Robert DeNiro won an Oscar for his mostly silent portrayal of the soft-spoken Italian, Vito Corleone, played by Marlon Brando in the first film. This was the first time in history that two people were both given an Oscar for portraying the same character. Running parallel with Vito's story is the continuing saga of Michael Corleone, Al Pacino returning to play the crime boss. His Michael has grown into a man bent on his own fate, battling hubris like a Shakespeare character. The production design and music are once again wonderful, Vito's past is a gorgeous pastiche of immigrants at the turn of the previous century, while Michael now rules an empire that extended into the sleazy world of gambling. Coppola uses some of the same tricks as the first film (If it ain't broke...). The result is a three-hour plus tragedy that is sure to make a hit with you. The first 2 films together make for interesting viewing. On occasion, they have even been needlessly presented chronologically. Followed by an unfortunate third film.

The apex of American film making
To call The Godfather 2 a sequal would be a travesty and an unfair conclusion on what a stunning achievement the film was. Not only is it the greatest sequal of all time (the only one to receive the best film oscar, at the expense of the brilliant Chinatown) but perhaps the greatest movie of all time.

It's an even more towering achievement than it's predecessor with Coppola now telling in parallel the rise of Vito Corleone from a seemingly harmless kid fleeing Sicily at the turn of the century to a fully fledged Mafia Don(now De Niro)in his twenties, contrasted with his son Michael carrying on the Sicilian legacy in 1950s New York.

The intricacy of the flashback sequences is suitably stunning as is the flawless design of both time periods, especially that of 1910s New York. The costume design and focus on detail are simply immaculate with De Niro delivering an electrifying portrayal of the young Vito(speaking Italian for much of his part) as he becomes a player with a gun wrapped under a towel and hoarsely imitates Brando at one stage "I'm gonna make him an offer he can't refuse."

Both won Oscars for their portrayal of Vito but i believe it is De Niro who excels more, not relying on the heavy makeup Brando was employed with for the first film but again proving his versatility of being a method actor and a natural gift of playing gangsters. However, it is often argued that Panino tops De Niro's peformance. He delivers a masterfully cold and distant performance as Michael, carrying on the family business after his father's death (much to his brother Fredo's disapproval).

He moves scrupulously and speaks with rivetting conviction as he attempts to protect his family from the corruption and threat of the era. While being corrupt himself, Michael is also a caring family figure, doing all he can to end this power struggle for the sake of protecting his children. At one stage his wife Kay Adams(Diane Keaton) threatens to take his children away from him but Pacino makes his feelings clear "You know that could never be possible. You know i would do anything in my power to stop that from happening."

The supporting cast are also great, with maestro Lee Strasberg, Robert Duvall also picking up Oscar nominations. At 3 hours and 20 minutes the movie doesn't seem overlong at all. It's an emotional powerful study in family loyalty, betrayal, corruption and greed and the apex of American filmaking. Movies don't come more accomplished or perfect than The Godfather 2. An oustanding piece of showmanship and one of the most important forms of art in any medium.

Even better than the first!
I watched this version first and I've always liked this movie more than the first because it ties up loose ends and it gives you a better understanding of who the family is, where they came from, the origin of the Corleone name (The family name is Andolini, the town he comes from is Corleone.), etc. I wished Richard Castellano was in this one (He wouldn't because of a contract dispute.). His replacements were classic. Michael V. Gazzo & Lee Strasberg give outstanding performances in their roles. This is an epic tale never to be forgotten.

A VERY AMAZING SEQUEL TO A VERY AMAZING MOVIE
THE STORY CONTINUES AS MICHAEL CORLEONE [AL PACINO] CONTINUES HIS DECEASED FATHER'S BUSINESS. THIS SEQUEL SUCCEEDS IN BEING WHAT MANY OTHER SEQUELS COULD NEVER BE, A GOOD MOVIE, MATTER OF FACT, AN OUTSTANDING MOVIE. ALONG WITH ITS PREDECESSOR, THIS IS ONE OF THE GREATEST MOVIES OF ALL TIME. THIS SEQUEL IS VERY AMAZING, AND I RECCOMEND ALL GANGSTER MOVIE BUFFS GET THIS AND ITS PREDECESSOR ON TAPE OR DVD AS SOON AS POSSIBLE. LIKE THE 1ST MOVIE, THIS WON SEVERAL OSCARS, INCLUDING BEST PICTURE.

great character study, great acting
I love this movie even more than Part I, because I love the way you can see Michael's character disintegrating over the course of the story. You watch him strip away all human connections in order to protect the "family." He finally asks his mother "Can you lose your family?" She doesn't understand the question, but of course Michael has lost his family, as well as his own soul. The paradox in this--killing your family in order to protect the "family"--is wonderful.
As in Part I, Diane Keaton is kind of a weak link--just not a credible Mafia wife. De Niro gives one of the greatest performances ever--channeling Brando. I also love the young versions of Don Corleone's sidekicks when they first go into business doing things like stealing rugs. And Robert Duvall has had to work very hard ever since to equal this performance.
The only disappointment is that we don't get to see Sonny (James Caan), since he was killed in Part I. His role was so wonderful that it's a pity Coppola couldn't work him into the flashbacks of Part II, except in the brief final scene. ... Read more

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Director Francis Coppola's adaptation of the popular S.E. Hinton novel about the price of rebellious youth is notable chiefly for the stunning cast of young actors who went on to rich and varied careers. In supporting roles, the film features the likes of Tom Cruise, Patrick Swayze, Diane Lane, Rob Lowe, Emilio Estevez, and Tom Waits, among others. The story centers on two rival gangs in the early 1960s Midwest, and the violent turf wars that escalate and tragically claim young lives. C. Thomas Howell plays the central character who yearns to prove himself and be accepted by his older brothers' gang, while at the same time finding his first love and dreaming of a life beyond his dead end existence. Geared toward the teenage crowd, the film nonetheless features some fine direction from Coppola in a story that evokes memories of the classic coming-of-age films of the 1950s. --Robert Lane ... Read more

Reviews (190)

The Outsiders
When I was in high school, I had the pleasure of reading a fantastic novel named, "The Outsiders." The author, Susan Eloise Hinton, only 15 years old, wrote her rendition of the conflicts between high society and the lower class citizen. Her novel was so well written that you couldn't stop reading it. Recently, I discovered the movie version of the novel and just had to view it. Francis Ford Coppola, who's known for directing the films, "Apocalypse Now" and the first two "Godfather's" directed the film version of, "The Outsiders." Although no awards were won for the movie, the cast was full of the top stars that we see today, which includes, C. Thomas Howell, Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estves, Tom Cruise and Diane Lane. With a cast this good how could you go wrong?
The story takes place in the early 1960's in Tulsa, Oklahoma where we see the classic rivalry between the rich, whom are call, "socs" (short for socials) and lower class citizen who were called "greasers" building tension toward each other until the final climax of the big rumble. The main themes of the story, are the struggles between two conflicting groups trying to bridge the gap between rich and poorer, honor among the lawless and treacherousness of male-female interaction through the narration of the main character "Ponyboy".
Although I felt the movie was incredible I believe the music soundtrack needed a little help. This action pact drama is rated PG for violence but, I believe that any age group, accompanied by an adult, would love to see and understand how society sometime manipulates individual outcomes. When you get right down to it, the movie, with its great story line and cast, causes you to laugh, cry and get wrapped up in all the conflicting moments. Any movie that can take you from the couch and place you and the middle of the drama deserves a high rating. That's why I recommend this movie to anyone and give it *****5 stars.

The Outsiders
The Outsiders is about some rival gangs, the greasers, and the Socs(short for social). Ponyboy wants to fit in, in his brothers gang. Ponyboy lives with his brothers after his parents are killed in a car wreck. The greasers never had much trouble fighting the Socs, until one night a Soc takes thing to far. Ponyboys friend is forced to killed him in self-defense. Their friend Dallas helps them hide out in the country in an old abandonded church. They are hiding from the town that doesn't want them around, until they are caught by the police. The actors who are in the movie are GREAT! most of them got their start in The Outsiders, like Matt Dillon, Emilio Estevez, Patrick Swayze, Rob Lowe, C. Thomas Howell, Ralph Macchio, and Tom Cruise. The movie teaches young people to not judge others before getting to know them. If you enjoy the movie, you will love the book by S.E. Hinton.

The Outsiders is the #1 Movie
Hey I watched the movie and read the book this year in gr.8 and I have seen the movie like 5 times and read the book like 4 times it's the best movie ever!! all the cast are so0o0 great and talented and I will watch this movie over and over again
From The BIGGEST Outsider Fan
GEL

Just as GREAT as the Book!!!
One of the best adaptations of a book I have ever seen. This movie brings everyone to life from the book. For me, this movie is a classic!!! This movie takes place in Tulsa,OK in 1966. All of the characters fit the description in the book for me. They all look like the typical greasers. I bought this movie without even seeing it and I was tremendously blown away. This is a great movie for the whole family to enjoy.

Outstanding
I had to read the book for a project in school this year as an 8th grader. It was outstanding. It was the last week of school and my class had finished our finals and we wanted to watch the movie, so my teacher went to our school library and got it for us. The movie follows the book pretty well but some parts were left out.

This book shows how lucky some people are compaired to others and makes a great point. It is like a less dramatic version of the movie "Elephant" which shows what people are going through. I am going to head down to my towns public library to borrow it and watch it again becuase it is one of the movies that you can just watch over and over again and still love it becuase it makes a great point and was directed really well.

I would recomend this movie to anyone who has not read it. I would read the book first becuase there are some parts that are left out in the movie that were pretty good.

~Doug Mellon
Kennebunk, Maine USA ... Read more

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Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh ... Read more

Reviews (179)

I'll Write A Review You Can't Refuse
Francis Ford Coppola does something with this movie many filmmakers are unable to do. Coppola makes us feel as if we're part of the"FAMILY". We feel as if were behind the scenes watching the Corleone's up's and down's. A one of a kind screenplay written by Mario Puzo and Coppola,and as we all should know by now,the film the based on Puzo's novel. Truly desevering of the Oscars in won. Brando's performance in this movie,is in my opinion,the best of his career. And the same goes with the rest of the cast:Al Pacino,Diane Keaton,James Caan,Robert Duvall,and Talia Shire. Everyone in this movie delivers a powerhouse performances. Many unforgettable lines and characters that will stay with us forever. Terrific music score by Nino Rota,beautiful camerawork by Gordon Willis,and top notch directing Coppola. Truly one of the greatest films ever made! If there's anyone who hasn't seen this movie,you have no idea what your missing. A must for anyone's video collection.

The Greatest Movie of All Time.
A movie of such size, influence, and power as "The Godfather" isn't simply a movie. It's a life-altering experience. Francis Ford Coppola, barely into his thirties, would team up with author Mario Puzo to create the greatest period gangster epic whose influence remains incalculable. It all begins with the performances. Take a look at the opening scene, in which the undertaker Bonasera comes to Vito (Marlon Brando) for "justice" following the brutal assault of his daughter. That scene is brilliantly played and wonderfully directed, and Brando's portrayal as the Don is nothing short of perfect. The public perception of a Don of this magnitude is someone who is loud, brash, and emotional. Not this one. Brando's Vito is calm, soft spoken, and rarely raises his voice, which makes his character even more intimidating. But while Brando shines in this film, the heart of the movie (and indeed the entire trilogy) belongs to the then-newcomer Al Pacino, who playes Vito's youngest son, Michael. Michael's transformation from a mild-mannered college grad to a ruthless Mafia thug is one of the greatest performances you will see. James Caan as the hotheaded Sonny, John Cazale as the dim Fredo, the suave Robert DuVall as attorney Tom Hagen, and Talia Shire as the troubled newlywed Connie all shine in their supporting roles. Reviewing a movie like "The Godfather" is a bit overwhelming, as it has already been studied by other, more experienced film geeks. But if there's one movie you see in your lifetime, it has to be this verified, straight-up classic. Give three hours of your life to this movie, and what it will give in return will reward you richly.

LOUSY TRANSFER OF A CLASSIC
I can only add my voice to the many who were disappointed by the DVD transfer. How can you mess up one of the best movies of the last half century? Looks very grainy in some indoor scenes...in fact, some scenes looked like they were filmed with an old, cheap video camera. That said, the story, acting, editing and music are just about perfect. The only thing that rings false is the carelessness the family exhibits after Don Corleone's attack. They act a bit like amateurs. This begs for a DO-OVER (maybe they're waiting for another anniversary year to roll around to release a definitive edition). I refuse to buy the box set as it includes the inferior Part 3. Hopefully, when they release Part 2, they pay more attention to the quality of the transfer.

"Leave the gun. Take the cannoli."
I never saw the movie before because I have no interest in "the Mob", New York, or gang politics. It took Brando's death, plus all the great reviews here and the #1 ranking at IMDB to prompt me to get this movie to add to 400 movies I have. The only thing I knew about it going in was there was a horse head in a bed, and Brando mumbled and played with a cat.

The movie has a long list of big name actors including Marlon Brando, Al Pacino, James Caan and Robert Duvall, and was directed by Francis Ford Coppola. It seems to be filmed rather darkly with muted colors, though many posts here complain about the transfer.

I had big expectations for this movie, but at the one-hour mark I was so bored I turned it off. Later I started over with the commentary, which was a bit more interesting. I took a nap in the middle, then came back to finish this 3-hour exercise in tedium.

Mostly OK acting. Good photography. Famous theme. I liked 2 lines of dialog, but that's about it.

Okay, but not great. Poor DVD Transfer.
I have just viewed this movie for the first time, and for the life of me, I don't know what all the hype has been about. The acting is at most, mediocre (with some roles just downright poorly acted). The plot seems to come and go throughout the movie, and the violence is by today's standards very cheesy. I also kept wondering how Marlon Brando's character became so tied to this movie, as his role seemed very minor.

I give it three stars because, I'm sure when this movie was originally released, it was "Epic", but it just hasn't stood the test of time. Some of the scenes are well acted, but are overshadowed by lack of plot and some particularly bad acting as well.

Aside from the movie itself, Francis Ford Coppola should be embarrassed about the quality of this DVD transfer. It has several flaws (scratches, flickering, low lighting, etc.) and really looks bad on a large screen television. Perhaps he should let George Lucas have a go at a Special Edition version of his movie to "clean it up" and bring it up to date (Whatsa Heesa Deesa Meesa?) - of course I'm joking. ... Read more

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The second of Francis Ford Coppola's films based on the popular juvenile novels of S.E. Hinton (the first being The Outsiders), Rumble Fish split critics into opposite camps: those who admired the film for its heavily stylized indulgence, and those who hated it for the very same reason. Whatever the response, it's clearly the work of a maverick director who isn't afraid to push the limits of his innovative talent. Filmed almost entirely in black and white with an occasional dash of color for symbolic effect, this tale of alienated youth centers on gang leader Rusty James (Matt Dillon) and his band of punk pals. Rusty's got a girlfriend (Diane Lane), an older brother named Motorcycle Boy (Mickey Rourke), and a drunken father (Dennis Hopper) who've all given up trying to straighten him out. He's best at making trouble, and he pursues that skill with an enthusiastic flair that eventually catches up with him. But it's not the whacked-out story here that matters--it's the uninhibited verve of Coppola's visual approach, which includes everything from time-lapse clouds to the kind of smoky streets and alleyways that could only exist in the movies. The supporting cast includes a host of fresh faces who went on to thriving careers, including Nicolas Cage, Christopher Penn, Vincent Spano, Laurence Fishburne, and musician Tom Waits. --Jeff Shannon ... Read more

Reviews (35)

Chemistry and Vision
What makes a five star film? How about a cast starring Matt Dillon, Mikey Rourke, Dennis Hopper (and a cameo appearance by Tom Waits!), a soundtrack by Stewart Copeland (with a bit of Stan Rigeway!), a story by S.E. Hinton, and directed by Fracis Ford Coppola. This film is magic. It is modern impressionism shot in a timeless realm- a blackboard sky. Its more than rouge street kid getting into rumbles, its a story of fish that need to be set free, so they can swim to the ocean where there are no dividing lines. When this movie first came out in the early eighties, it got negative reviews and a cold public welcoming. As you can see here -an almost five star consensus- it was very ahead of its time. This movie probably hit the establishment like a bomb, which at the time was very conservative. All that aside, this is an extraordinary film- a true art piece of the silver screen- livid, bullish, and moving.

Ready To Rumble
Following his acclaimed adaptation of S.E Hinton's book, The Ousiders, director Francis Ford Coppola decided to make another of the author's books into a film. Rumble Fish is another comming of age story. Coppola wanted to stretch his creative juices, and wanted to distinguish it from The Outsiders, so he made a rather bold move by shooting most of it in black and white. This was a risky move, considering that its target audience is the teenager, and typically they avoid colorless films.

Rumble Fish tells the story of Rusty James (Matt Dillon), a gang member, who's being pulled in many directions by the people in his life. His brother, "Motorcycle Boy" (Mickey Roarke), his alcoholic Dad (Dennis Hopper), and his girlfriend Patty (Diane Lane), all want Rusty to straighten out his life. He soon finds himself with some difficult choices to make.

The cast is quite solid. Of particular interest to watch is the interplay between Dillon and Roarke and Dillon and Lane. Roarke plays the older brother with authority and range that the actor isn't exactly known for of late. Lane maintains the give and take with Dillon that began in The Outsiders. Dillon, plays a man who struggles with influences all around him, while trying to make the right choice. The use of minimal color works and serves to highlight the cinematograpy and contrasts the action well.

I can't explain why the movie isn't as remembered as it should be. But... As good as I believe the film is, the minimal extras on the DVD, are disappointing Production notes and the theatrical trailer is all you get. I wish there were more of a perspective on the film. Rumble Fish is stiil recommended just the same.

One of Francis Ford Coppola's finest!
Despite the less than admirable response this movie received when it was introduced to the American public, it is my opinion that this movie is highly underrated. The black-and-white film, time-lapse motion photography, and the recurring motif of clouds and smoke all contribute to the visual beauty of this movie. Based on the book by S.E. Hinton, the movie draws the viewer into a trance-like surrealism. Mickey Rourke's portrayal as the mystical, aloof Motorcycle Boy was excellent. This is the ultimate "coming-of-age" movie. Highly recommended!

"He's like royalty in exile..."
Francis Ford Coppola's Rumble Fish was booed by its audience when it debuted at the New York Film Festival and in turn was viciously crucified by North American critics upon general release. They resisted the allure of such a dreamy, atmospheric film that works on so many levels. It is also Coppola's most personal and experimental project--on par with the likes of Apocalypse Now. Rumble Fish curiously remains one of Coppola's often overlooked films. This may be due to the fact that it refuses to conform to mainstream tastes and stubbornly challenges the Hollywood system with its moody black and white cinematography and non-narrative approach.

Rumble Fish curiously remains one of Coppola's often overlooked films. It refuses to conform to mainstream tastes and stubbornly challenges the Hollywood system with its moody black and white cinematography and non-narrative approach.

It was a movie clearly ahead of its time: a stylish masterpiece that is obsessed with the notion of time, loyalty, and family. Perhaps the most distinctive feature of Coppola's film is that it presents a world that refers to the past, present, and future while remaining timeless in nature.

Right from the first image, Rumble Fish is a film that exudes style and ambience. It opens on a beautiful shot of wispy clouds rushing overhead, captured via time lapse photography to the experimental, percussive soundtrack that envelopes the whole film. This creates the feeling of not only time running out, but also a sense of timelessness.

As always, Coppola assembled an impressive ensemble cast for his film. From The Outsiders, he kept Matt Dillon, Diane Lane, Glenn Withrow, William Smith and Tom Waits, while casting actors like Mickey Rourke and Vincent Spano, who were overlooked for roles in the film for one reason or another. They all fill out their roles admirably, but Mickey Rourke in particular is mesmerizing as the Motorcycle Boy. He portrays the character as a calm, low key figure that seems to be constantly distracted as if he is in another world or reality.

Every scene is filled with dreamy imagery that never gets too abstract but, instead, draws the viewer into this strange world. Coppola uses colour to emphasize certain images, like the Siamese fighting fish in the pet store--some of the only colour in the film--to create additional layers in this complex, detailed world.

Overblown, top-heavy pomposity-- but interesting.
Coppola obviously is setting out to make the mythical American teen picture, set in the midwest, a modern gothic Rebel Without a Cause replete with Dennis Hopper as the drunken paterfamilias. The story in this film is very very weak. Essentially, it is a slave to the visual poetry of Coppola, which is at times breathtaking, but at others, painfully "innovative" Same thing can be said about Stewart Copeland's score, at times it's a bizarre reflection of the angst of youth, but mostly it's just from left field and an unsuccessful experiment. Matt Dillon's acting is atrocious. Very little to no character development with the supporting characters. A thoroughly disappointing film, but given its unique qualities, has to be appreciated. Just like Coppola himself! ... Read more

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Sixteen years after Francis Ford Coppola won his second Oscar for The Godfather II (his first was for the 1972 Godfather), the director and star Al Pacino attempted to revive the concept one more time. Despite an elaborate plot that involves Michael Corleone seeking redemption through the Vatican while simultaneously preparing his nephew (Andy Garcia) to take over the Corleone family, the film fails to take shape as a truly meaningful experience in the way the preceding movies do. Still, Pacino is very moving as an elder Michael, filled with regret and trying hard to make amends with his wife (Diane Keaton) and grown children (one of whom is played, and not all that well, by the director's daughter, Sofia Coppola). --Tom Keogh ... Read more

Reviews (104)

A movie that should not have been attempted
"The Godfather", and its sequel, are quite possibly the greatest films made after the golden age of movies. It's all the more disappointing, then, that "Godfather Part 3" is a turgid, impotent movie that is always trying to set up a big finale, but never concludes anything convincingly. The cinematography lives up to the Godfather pedigree, but that's where the similarity ends. Coppola is clearly trying to revive feelings for Michael Corleone, his now-estranged wife Kay, and introduce newer characters like Sonny Corleone's bastard son (acted superbly by Andy Garcia) and the family's lawyer (George Hamilton). But years after Michael's overboard vendettas in "Godfather 2", the story has too much catching up to do to draw the viewer in. Coppola uses a heavy-handed technique to bring the audience along. The film often recalls previous scenes: the opener is a social gathering... there's a bloody "hit" that wipes out assorted gangsters... there's kitchen plotting... there's an Italian festival as a backdrop for murder. The look is there, but the feel isn't. Equally distressing is the casting. Hamilton's tanned, lounge lizard oiliness make him more of a corporate than "criminal" lawyer. Garcia should have acted the part of Michael's son. Sofia Coppola is sadly wooden, and I suspect she's not just acting the part of a bored princess. Michael's son is totally useless, as are the myriad characters flitting in and out of this film. We get a pope, a priest (unconvincing as Tom Hagen's son), a shifty cardinal, two beefcake bodyguards, a cowardly financier, an assassin who's not very good, and Father Guido Sarducci. Michael's old hitman Al Neri looks a bit paunchy as he fingers the chocolates that conceal his pistol... and what the heck is Brigitte Fonda doing in this story? In the first two films, every character mattered to the plot; there wasn't a dead character ('scuse the pun) in either story. Arguably, the first "Godfather" was a complete entity that needed no sequel. Coppola gambled and came up a winner with Part 2, but it's a tall order to repeat that formula in Part 3. When I fire up the "Godfather" films, I have no trouble forgetting that Number Three was ever made.

Great way to end the classic epic
i Don't understand why everyone are hating on ''the Godfather III'' after all it was nominated for a best picture in 1990 (Goodfellas should have won that year)true it's was not as brilliant as the first film mostly because there was too much recylcling going , but overall Godfather III was a good film .

Lay Off Sophia!
Sophia Copola has been bashed too much, and it's undeserved. While she had no experience, she had a certain sweetness about her. She's also much prettier than Wynona Ryder- YEAH, YOU HEARD ME! Coppola had a certain innocence about her. After all, she was never convicted of stealing.

The bigger problem is with Robert Duvall's absence as the lawyer Tom Hagan. Without his charasmatic presence, the film is seriously lacking. But the film does have its moments.

Good Movie, but ruined the Trilogy
Godfather 3 was a movie saved by one person, Al Pacino. His powerful acting in the first two Godfather films was without a doubt visable in the third. But this movie was destroyed by horrible acting. Andy Garcia portrays Micheal's (Al Pacino) nephew from his dead brother, Sonny. Andy plays Vinnie, a youthful hoodlum looking for power and respect. This movie got Andy Garcia famous, even though it was obvious he was just trying to copy Marlon Brando and Al Pacino's prefomance's in the last two Godfathers, and he did a horrible job and tore down the legacy of Godfather with every scene he was in.

But it wasn't just Andy Gracia who tore apart this movie, oh no. He had some help. Sofia Coppola plays Mary Corleone, Micheal's daughter. You could tell she had no idea what was going on. It was like Francis Ford, the director, just told her to say random things without even giving her a script. Marlon Brando, may he now rest in peace, was probably disgusted with this movie before he died.

To make this movie even worse, they decided to have a dramactic ending scene with Mary shot by a some random person sent to kill Micheal. This scene ends with Al Pacino screaming his lungs out, and the whole time I was sitting there saying, "That guy did you a favor by killing off that unholy death angle sent from the deep dark bowels of heck." The final scene, was indeed, a sad one, but with the acting skills in this movie, I don't blame Micheal for dying. I do have to admit, there are no words to describe the death scene of Micheal Corleone, because that marked the end of the Godfater lagacy, hopefully, forever. But don't get me wrong, I still love the Godfather trilogy, and always will. It just needs to end, here and now.

If you ever plan to watch this movie, tape a knife under your couch, just in case you feel like killing yourself after seeing the horrible acting presented by the infamous Andy Garcia and Sofia Coppola, The Destroyers of the Godfather Trilogy.

soso
godfather III was entertaining, in that we got to see what happened to some of the characters we loved (or hated) from the first two movies. this alone is reason enough to rent it (not buy!). however, godfather III should NOT have been made. the moral of the story is fulfilled with the last scene from godfather II, where michael is sitting alone, old and graying, face lined from a stressful life. after watching "II" i felt that the corleone tale indeed had nowhere left to go. anything after that would be harmful to the artistic acheivement of the first two movies. mario puzo said that his godfather books were really stories of family. michael the all-american marine, from the beginning of "I," and michael the morally bankrupt head of a crime family at the end of "II," should be seen with what has happened to his family along the way. THAT is what the godfather story means. godfather III isn't useless. again, it's fun to see what has happened to those interesting characters from the first two movies. but i wouldn't trade all three hours of director's cut "III" for that last scene in "II"! ... Read more

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Director Francis Ford Coppola and executive producer George Lucas shared a strong desire to film the story of Preston Tucker, the man who revolutionized car design in the late 1940s, only to have his innovation squelched by the "big three" automakers in a legal battle between Tucker and powerful political lobbies. Coppola surely related to and sympathized with Tucker as a visionary underdog, and so this stylish, energetic film envisions "the man and his dream" in idealistic terms--an unabashed optimist (played by Jeff Bridges) who realizes his vision through blind faith and tenacity. Martin Landau gives a superb, heartbreaking performance as an associate who desperately wants to share Tucker's enthusiasm, but knows that corporate wolves are knocking at the door and will soon burst in with fangs bared. Joan Allen is equally good as Tucker's supportive wife, and the film's combination of dazzling costumes, production design, and the fabulous Tucker itself (of which only 50 models were made) creates an infectious atmosphere of postwar optimism. In the end, however, this fascinating film is much like Coppola himself: possessed of genius, blinded by ambition, and prone to create works of erratic brilliance. Don't take that as criticism, however; this is a sharp, underrated film about a dreamer whose dream was a worthy one, even if it only briefly came true. --Jeff Shannon ... Read more

Reviews (30)

Tuckered out.
Frenetically directed biopic of Preston Tucker, automobile entrepreneur, genius . . . dreamer. The most offensive thing about *Tucker: The Man and His Dream* is the explicit comparison between its subject and its director, Francis Ford Coppola. The Tucker automobile is evidently meant to be compared to Coppola's Zoetrope film studio, just as each man is meant to be compared to each other. (Both even have large, rambunctious families.) The great difference, of course, being that Tucker happened to be a visionary, whereas Coppola just made some decent movies in the 1970's. (Who wouldn't rather have a Tucker car than a copy of *Apocalypse Now Redux* on DVD or even the overpriced *Godfather* collection, in which Coppola -- that uncompromising "artist" -- forces one to actually bring that *Godfather Part 3* into his own home?) Notice I said the 1970's: *Tucker* was made in 1988, and Coppola's glory days had definitely passed. And no amount of flashy direction -- cut-aways, scene-blending, hyper-kinetic camera movement -- can bring them back. The cut-aways etc. don't really bring back the 1940's, either, probably because the spirit in which the movie was made belongs strictly to the excessive 80's. The visual style reflects the entrepreneurial icons of the Reagan Era -- Lee Iacocca, Michael Milkin, Donald Trump -- more often than it recalls Preston Tucker. Flash, splash, crash. Is the movie entertaining? Yes. Whatever else can be said about F.F.C., he doesn't make BORING movies. But ultimately the movie is as shallow as its basic form, which is the Old Hollywood-style worshiping, deifying hagiography (along the lines of *The Benny Goodman Story*, *Yankee Doodle Dandy*, etc.). Finally, it must be stressed again that Coppola's ego is terrifying: identifying himself with a visionary inventor like Preston Tucker is, given his own checkered career as a director, not merely offensive, but close to obscene.

Wonderful work by Jeff Bridges ...
One of his finest performances since "Starman" ... Here, Jeff gets to play a little bit of the good-natured kidder we've come to love ... as Tucker, the eternal optimist and dreamer, we experience the reality that all dreams are met with obstacles sometimes ...

The flashy style of the director has the look and feel of a Life magazine or Saturday Evening Post piece ... it's hype, sure, but it attempts to capture the entreprenurial spirit of post-war America with the swing music and stylish clothing ... Excellent performances by Bridges (both of them!), Martin Landau and even Christian Slater plays with much more subtlety than usual. Dean Stockwell does a pretty good Howard Hughes.

Get this movie and be prepared to simply sit back and enjoy it. Before the Big Three had serious competition from Germany and Japan they ruled with an iron fist. The cars we drive today are infinitely better because of competition. Should any criticize me for that statement I simply say these words: Pinto, Vega and Pacer. BTW, my new Ford Explorer is an excellent, well-designed and engineered vehicle.

Unfortunately the father-son team of Bridges didn't have nearly as much material to work with in "Blown Away", their only other movie pairing ... Lloyd Bridges plays the corrupt U.S. Senator so well that you'd like to see a full Congressional investigation on him ... Excellent sound track as well.

"It's the idea that counts, and the dream."
This 1988 movie, directed by Francis Ford Coppola and produced by George Lucas, has good acting from Jeff Bridges, Martin Landau, Frederic Forrest, and Joan Allen in the larger roles. Smaller supporting roles were also handled well by Christian Slater, Jay O. Sanders, Nina Siemaszko and Mako.

As reflected by the DVD cover, the movie is filmed in a splashy 1940's advertising style, and uses warm gold and sepia tones and some impressive camera work to tell the tale of the development of the "Tucker 48" automobile, also known as the "Torpedo" after its sleek lines (for the times), of which only about 50 were made. For its time, it had many innovative features, including a rear-mounted engine, seat belts and padded dash, push button controls, and a third central headlight that would turn when steering. The large, 4,800 pound behemoth got about 20 MPH.

In a somewhat dichotomous framework, the movie shows the result of American "Yankee ingenuity" coupled with the eventual demise of the Tucker due to pressure by the Big Three automaking competitors. Taken to court for fraud with the accusation that he would not deliver on the promise of producing a car, Tucker in fact is found not guilty, and had actually produced about 50 cars, though his business was effective ruined.

Tucker had other successes however. Just before World War II, he developed an armored car that was so fast at 80-plus MPH, the Army did not want it because they thought such vehicles should only go about 35 MPH. However, the rotating gun-turret used on top of the vehicle, the "Tucker turret", was used on American bombers, such as the B-17 and B-24, thoughout the war.

Although his business partner Abe Karatz (Landau) is quite upset that the car business folded, Tucker tells him..."It's the idea that counts, Abe, and the dream." Tucker died in 1956 from lung cancer at age 53.

The reasonably-priced DVD has the wide-screen movie, an excellent original 15-minute long 1948 promotional film made by the Tucker company (with or without commentary by FFC), a mediocre short "making of" collection of cast/crew interview clips mostly from 1988, a decent commentary by FFC, and the usual setup features.

Excellent Movie
This is an excellent movie I really like it. What I can also say is it was done in my hometown of Bay Point Ca. The scene where they are watching the movie of the car pulling into the garage and the gas man comes and opens the hood but now engine that is a block away from where I live. They also did some at the county seat and had to take down the state flags because they had to many stars on them for this time but I would recommend this movie to anyone.

A wonderful story set in a time when America was great
I first saw this movie when I was ten years old and loved it then as I do now. If you love the style of the 1940's and the incurable optimism of post-War America, then this flik is for you. Preston Tucker was true visionary who demonstrated the power and opportunities that each American has at their fingertips beginning with only a dream or two and Jeff Bridges captures the essence of this incredibly well. ... Read more

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In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad's classic story "Heart of Darkness" into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film's awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of "the smell of napalm in the morning." Like Herzog'sAguirre: The Wrath of God, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola's obsession (effectively detailed in the riveting documentaryHearts of Darkness, directed by Coppola's wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. --Jeff Shannon ... Read more

Reviews (285)

The Best War Movie Of All-Time!
Francis Ford Coppola risked his career, his money and his sanity in making this Vietnam adaptation of 'Hearts Of Darkness'. The result is a large-scale war movie that ranks among the best movies of all-time. Martin Sheen has the role of a lifetime as Captain Willard, and he does deliver a credible performance. Marlon Brando is equally credible as the mysterious and possibly mad Colonel Kurtz. Robert Duvall creates a brilliant character; Colonel 'I love the smell of napalm in the morning' Kilgore. Grandly majestic war sequences are awe-inspiring. Thought provoking and filled with eerie chaotic imagery. Simply masterful filmmaking from Coppola. Extras: Laurence Fishburne and Harrison Ford in small roles, also spot Francis Ford Coppola in a cameo. From a scale of 1-10 I give this film a 10!

Dark and somewhat slow-paced, but excellent epic film
I saw this film for the first time on video, and was somewat surprised by its somewhat deliberate pacing and lack of straightforward action. For someone who is not a huge Coppola fan, nor a reader of "Heart of Darkness", I found the movie somewhat difficult to follow.

That is not to say that this isn't an excellent film. Captain Willard (Martin Sheen) is an apparently unattached Airborne soldier who is "waiting - waiting for a mission" and is enlisted to find and "terminate the command" of the renegade Special Forces Colonel Kurtz (Marlon Brando). Along the way, we meet a motley crew of a Navy riverboat, including a very young Lawrence Fishburne as a 17-year-old machine-gunner. The plot takes an almost whimsical turn when we meet Lt. Col Kilgore (Robert Duvall) who is an Air Cavalry commander, and plays the immortal "Flight of the Valkyries" while systematically laying waste to a North Vietnamese village. While the fighting is still going on, he orders a couple of his soldiers to either "surf or fight", being that he is a huge fan of surfing. It is from Duvall's character that we get the immortal line, "I love the smell of napalm in the morning. It smells like --- it smells like victory!"

After this scene, Sheen and his crew of Navymen proceed further upriver, until they reach the last American outpost on the river. The outpost is under apparent heavy attack, and there are no officers to be found. This scene, which makes no sense in the context of a typical war movie, makes perfect sense in this film. The leaderless American soldiers seem to move about in a haze, apparently oblivious to anything outside their immediate surroundings, particularly the grenadier, who is either at far beyond the point of psychological exhaustion, or heavily drugged. Copolla never makes either clear, but rather leaves that to the imagination of the viewer.

When Sheen and his crew get further upriver, the plot takes stranger and stranger turns - the crew is attacked by an unseen enemy, in which Clean (Fishburne) is killed, and shortly thereafter, the boat's chief is killed in an attack by natives hurling, of all things, spears at the Americans!

However, the strangest part of the movie is the last half-hour or so. Sheen reaches his objective, but Col. Kurtz is heavily guarded by native warriors toting modern weaponry. There are bodies everywhere - hanging from trees, floating in the river, laying sprawled about on the ground. It is truly horrific, and speaks to the level of insanity to which Col. Kurtz has descended, but it also begs the question - "How could all those people stand being around all those rotting corpses?" In the climax, Sheen sneaks past Kurtz' guards, and hacks the colonel to death. As he lay dying, Kurtz whispers, "The horror - the horror..."

All in all, an extremely powerful and moving film, although rather slow-paced.

A True Masterpiece!
I watched this movie in 1978 when it first came out and was totally in awe! Francis Ford Coppola spent almost 3 years making this film and it was well worth it. The all star cast in this film rocks! Everytime I watch this film, I wind up mimicing the characters. The lines are memorable! (I love the smell of Napalm in the morning.) It is the greatest movie ever made!

A great adaptation
To write that this movie is a comment on war or the politics of the period is a gross misconception in my view. this movie like the book Heart of Darkness, which I suggest everyone who sees this movie reads, is a powerfull commentary on human nature. The line 'the horror, the horror' does not refer to the horrors of war or acts of violence commited but is a general judgement and condemnation of the darkness that resides in human nature.

Anyway this is a brilliant adaptation and well worth the few bucks it costs.

The horror, the horror.
The horror of war and what it does to teh mind of men is exposed beautifully here in this grande epic. Great performances, plot and cinematography. It doesnt get much better than this. ... Read more

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A funny thing happened to Finian's Rainbow in between its debut as a Broadway musical in 1947 and its appearance as a film in 1968. After 21 years, its theme of racial tension in the American South was no longer cutting edge, and the fact that its heroes are a group of sharecroppers called the Rainbow Valley Tobacco Cooperative dates it even further. Add a number of subplots and the heavy hand of a 29-year-old Francis Ford Coppola directing his first and only musical, and the two-and-a-half-hour running time feels bloated. Hermes Pan (best known for the classic Astaire-Rogers movies) is credited with choreographing the overbusy musical numbers, but he was reportedly overruled by Coppola at every turn. Still, there is a lot to enjoy in this movie, most notably Fred Astaire in his last lead role in a musical. Fred plays Finian McLonergan, an Irishman who has traveled to America in hopes of planting a pilfered pot of gold near Fort Knox and watching it grow. Even at 69, Fred shows he is still capable of a sprightly step and warbling "Look to the Rainbow." Another plus is the casting of '60s pop icon Petula Clark as his daughter, as she sings with an unaffected loveliness. Finally, the score by Burton Lane and E.Y. Harburg includes two of the best Broadway songs ever written--"Old Devil Moon" and "How Are Things in Glocca Morra?"--as well as the comic ditty "When I'm Not Near the Girl I Love." --David Horiuchi ... Read more

Reviews (25)

My favorite movie
I have a hard time understanding why several other reviews keep saying that the themes to this story are outdated -- wishful thinking, perhaps. But unfortunately, the themes of bigotry, prejudice and hatred are still alive and well and living in the U.S. today (should anyone doubt this, consider that the first successful murder conviction in the south against a white man for killing a black man occurred in the 1970's!) Abuse of power and the overwhelming gap between the poor and the rich are also as healthy as ever.

Sure, there are some specifically outdated elements -- sharecropping, for instance. And the tobacco subplot isn't really very PC nowadays, though it's pretty funny. But what's important is still contemporary.

The acting is marvelous, and the chemistry between Fred Astaire and Petula Clark is very strong, making Sharon's instant infatuation with Woody much more believable than it might otherwise be. "He's just like you!" And Og is wonderfully comical with just a hint of a serious edge, making him utterly loveable. Though probably my favorite bit of acting in the show is Howard's complete non-expression in the scene where he is being taught how to "act black".

There is a plot hole big enough to drive the Death Star through, I admit -- but I choose to see it in a slightly different light. If Og made two of the wishes -- well, you figure it out. I like to believe that maybe things aren't quite what they seem.

All in all, I think it's a wonderful, delightful and moving story and I've loved it passionately since I was six.

Hurray for Tommy Steele!!
It was neat to see Fred Astaire (I like old movies) and TOMMY STEELE! He was my favorite character in "Finian's Rainbow", also my favorite in "Happiest Millonare." I think Tommy Steele's character, Og, was one of the most interesting. This movie has romance, comedy, and drama. The main male character,Mr. Mclanagan,(Fred Astaire)came from Ireland to America to bury the crock of gold he stole from the leprachans back home. He also brings his daughter, Sharon, along (Petula Clark). Og (Tommy Steele) is the leprechan who follows Mr. Mcglanagan to America. Mcglanagan finds this out after he buries the crock. "Oh, give it back Mr. Mcglanagan," Og pleads, because now that the crock has left Ireland all the leprachans are turning mortal including himself. He has grown so much that by that scene his pant cuffs are above his ankles. Mr. Mcglanagan is too greedy and refuses to give it back. Sharon, on the other hand falls in love with a tobacco share cropper, Woody, Og falls in love with Sharon, and then Sharon, angry with the unfair way the senator was treating blacks, made a big wish on the senator and the crock granted it. It makes a whole mess of problems, because now the neighborhood thinks Sharon is a witch. My favorite scene is when Og woos Susan, Woody's mute sister, since Sharon's already taken by Woody. He thought Susan was Sharon at first, though, because when her back was turned she looked like Sharon: Og:I'm 99% mortal now, and my feelings for you, . . it's a frenzy, a frenzy! Ah, but it feels better just bein' near ye, the scent of the air the touch of your hand, oh the miracle of it, the miracle of it, the sweet, sweet, miracle of it! (He reaches for her hand to put it to his cheek and Susan pulls away startled) She loves me! Her hand fits me cheek! Oh, Sharon you are the only one, the only one! (He sees her face) Wha- but- you're not Sharon at all! You're Susan "the silent." . . yet I feel the same frenzy for you. . is this what it's like to be mortal? Is every girl the only girl? Huh! I'm beginin' to like it! (Then breaks into a funny song) This one of my favorite movies as you can tell!!

One of the Worst Musicals I have Ever Seen
Let me say something before I go into how bad this movie really is. I am a seriously big Fred Astaire fan, and I can honestly say that 30 out of 31 of his musicals have been nothing less than atleast worthy of watching. That single one that slips up, and makes it to the list of "Fred Astaire Completists only" is this one, for sure.

If Fred Astaire was not in this movie, it would not even get the one star rating, it would deserve absolutely nothing. This is a complete embarrassment, to the otherwise brilliant list of films Fred Astaire has been in. Being a completist, even I, myself have trouble over thinking that this movie is actually in my collection.

Fred Astaire, the greatest male dancer to ever appear in the movies, is completely wasted here. For some stupid reason, the very little dancing that poor old Fred does in this movie, might aswell have been cut out completely. When filming a dance number, you should NOT cut out the view of the dancers feet. I am personally insulted by the waste of such a great talent. Fred Astaire is also a great - and very much underrated - singer. He does do a few numbers, but even they cannot save this movie.

Moving away from Fred Astaire for a bit, I'll get on with the co-stars. Petula Clark is a fairly good singer, and she does actually have a few good songs to sing in this movie. But, then we have to be tortured by that leprechaun, played very annoyingly by Tommy Steele. This film is insulting in another way, also, which I wont explain here, because if you choose to watch the movie, you will know, more or less, straight away what I am referring to.

I had to, simply HAD to sit through this movie, so that I could say I had seen it, and therefore complete the films of Fred Astaire, and I tried my best to watch it a second time. I managed to, but let me say this, it was one of the most torturing things I have ever had to put up with. The film is very long, also.

I am amazed by the amount of people who have already written their own thoughts on this movie. Some of them even saying it is their "favourite movie". I can guarantee there are more people out there that hate this movie, than there are that like it. I have came across a whole load of them. I guess nobody seems to want to put it in print. This movie was a huge flop when it was released, and personally, I can't understand why the negative, and all prints of the film, were not burned. The only explanation I can think of, is due to Fred Astaire fans having to need to watch this, and then being able to say they have seen all of his movies.

Believe me, Fred Astaire completists only should watch this. I can write so much about this movie that I hate, but I honestly cannot think of a single thing I like about it, except Fred's appearance. Nothing else. Terrible, terrible movie. It's torturing to watch. If only Fred had of not made this movie, I would never of had to watch it. Watch Fred Astaire in any of his other musicals, and just pretend he never made this, for your own good.

Uhhhhhhhhhhhhhhhhhhhhh..........
What the....? I thought this was supposed to be one of those musicals like Singin In The Rain or Anie Get Your Gun. Thank goodness it's not. To say this movie is weird is an understatement, but to let it mingle with other musicals is even weirder. This movie shows two Irish immigrants who move to a town of hillbilly wackos in order to bury stolen gold. An obnoxious leprechaun, played by Tommy Steele, follows them there to claim his rightfully owned gold. My favorite scene with him in it is when he chases the drunken Fred Astaire through the Tennesee woods at night, disguised as a Christmas tree. Also in the story is the Senator, played by Keenan Wynn, who lives in a tumbledown house outside of the town, in a rural area. My favorite scene with him in it is the infamous "ham and cheese sandwich" scene on the baks of the bayou. The one con is: Too many bad songs. The songs are not very good, like they were in Fiddler On the Roof, and there are way too many of them. But if you are looking for a great black comedy, search no further. Finian's Rainbow is the best there is.

Bizzare 60's Musical
Although the story is very complicated, I will try to tell it the best I can. Two Irish immigrants move to a backwoods town of bizarros, in order to bury some stolen gold. The guy who the gold was stolen from, (in this case a leprechaun), has tailed them to the backwoods to take it back. Between songs and dances like 'Woody's Here' and 'How Are Things In Glocka Morra' the town battles against the intense, ramshackle house-living Senator, played by Keenan Wynn. This is quite bizzare for the usual light-hearted, song-and-dance musical, but I really wouldn't expect anything else to come out of the late 1960's. If you are interested in a queer, sly movie, get this. But you won't really go for this if you are a fan of Seven Brides For Seven Brothers. ... Read more

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When viewed from a cranky perspective, this by-the-book David versus Goliath story doesn't offer any surprises, and it's a bit sad to watch director Francis Coppola (who also adapted John Grisham's bestseller) squandering his once-glorious talent on such conventional Hollywood fare. In a more charitable light, however, there's great pleasure to be found in Coppola's intelligent, no-nonsense handling of a plot that's every bit as involving as it is formulaic. Coppola also knows how to bring out the best in a stellar cast, and this is the movie (released in November 1997, just a few weeks before Good Will Hunting) that signaled Matt Damon's arrival as a major-league star. Damon plays Rudy Baylor, a young rookie lawyer in Memphis (location of many Grisham stories) who takes on a powerful insurance company (led by shark-like lawyer Jon Voight) by representing the family of a boy who was denied potentially life-saving treatment for leukemia. Rudy also comes to the rescue of an abused wife (Claire Danes) and learns the tricks of the legal trade from a seasoned paralegal (Danny DeVito) who sees Rudy as his ticket out of the sleaze-ball practice run by a shady lawyer (Mickey Rourke). There's no mystery about where this plot is going, but Coppola takes us there in high style with a sharp script, and Damon strikes just the right note of naivete and strategic intelligence. When Goliath inevitably falls, this courtroom David wins fair and square. --Jeff Shannon ... Read more

Reviews (58)

Great Movie, Fair Disc
The Rainmaker 2.35:1/Dolby Digital 5.1 Paramount Pictures

The first adaptation of a John Grisham tale that I've really enjoyed, "The Rainmaker", directed by Francis Ford Coppola, looks at the life of a poor young Southern lawer, Rudy Baylor(Matt Damon, in a great performance) as he battles against an insurance company and it's staff of lawers(led by Jon Voight).

Baylor is battling for Donny Ray Black, a young man who's insurance claims have been turned down time and time again; Kelly Riker(Claire Danes), who lives in continuing fear of her abusive husband and Miss Birdie, an older woman who simply wants to keep her money from her greedy offspring.

This is really the best of the Grisham adaptations and I'm fairly positive it's the hand of director Coppola that has it rising above the rest; the film is crowd-pleasing sure, but it's also very smart and very well acted, with a lot of rich dialogue and some very interesting and entertaining characters. Danny Devito, as Damon's aid, has a lot of fun in a great performance; like in "LA Confidential", we're seeing Devito as his absolute peak lately. He's been picking bigger and especially, much better roles lately. Matt Damon's first major performance in this film is also very well done, yet another in his line of subtle, wonderful performances along with "Courage Under Fire" and "Good Will Hunting." Much like Damon's last film "Rounders", I also thought his narration in this film was well done and well written(by Michael Herr)

Overall, it's an excellent film, well directed, acted and written. It's a well-told tale by Ford Coppola and it's highly entertaining. "The Rainmaker" was one of my picks for the top 10 films of 1997.

The DVD: Picture: Well, where there's good, there's also bad. It's unfortunate that Paramount did an unsatisfactory job with this disc. Colors are not terribly well defined or vibrant; contrast is only fair; the whole disc looks, to my eyes, like an "okay" laserdisc would. There is definitely a noticeable amount of pixelization and some shimmering. It makes a point I was talking about with another person a couple of weeks ago all the more apparent to me. I said, "the best DVD material will absolutely blow your mind; at worst, it'll make you shrug your shoulders and say, 'well, that's sort of okay' ". "The Rainmaker" simply made me shrug my shoulders in dissapointment. It's probably the least impressive picture transfer in my collection of discs, and that's too bad since this is really a great film that deserves a great disc. In a time where Tristar is making discs that look as good as "Godzilla", there's no excuse for a film that's not terribly old like "The Rainmaker" to look like this. It looked this way on my Panasonic A110. Hopefully, although I highly doubt it, people will have better luck on other players.

Audio:Pretty good. It's definitely a dialogue film, backed by a nice, subtle score. Both are well recorded and pleasant to listen to. Nothing terribly mind-blowing. Again, the annoying problem is still there; you can not switch the audio during the film, only from the menu. Try during the film and you're out of luck.

Menus: Very weak. The picture on the front of the box with some simplistic bordering and big, dull buttons.

Extras:Nothing. No 16x9, No Trailer, Not A Thing. Absolutely zero.

Overall: It's a great film and if you liked the film as much as I did, it's worth a purchase at some of the very low prices found on the internet, but after watching this disc, I would *definitely* not pay full price for it. If you're considering it, I'd highly suggest a rental first, unless you like the movie itself as much as I did.

Film:**** Picture:* 1/2 Audio:** 1/2 Extras:Zero Menus:Zero

Overall Disc Quality:**

This is Damon's show.
Matt Damon was a relative unknown when he was tapped to play the hero of "The Rainmaker", based on a novel by John Grisham & directed by Francis Ford Coppola. It was a twist of fate that launched Damon's career and definitely lifted this movie. (Ironically, Matthew McConaughey got his start the same way- being an unknown cast in a movie based on a Grisham novel.)

The plot is a classic David-vs-Goliath story- fresh out of law school Matt Damon sues an insurance company for denying treatment to a family with cancer. Ultimately Damon triumphs- the righteous cause succees and the system works. Damon is a major talent, as evidenced by his performance in this film. He's shy, unsure of himself, but basically a good person committed to doing what's right.

I wasn't too impressed by the rest of the cast- Claire Danes is a talented actress but fails to shine here. Danny DeVito is okay as Damon's law partner, and Jon Voight comes across as a none-too-interesting arrogant villain. The rest of the cast? Nobody stands out- this is Damon's show.

What impressed me about "The Rainmaker" was its hard, unflinching portrayal of the legal profession. A lawyer's life is not glamorous and does not necessarily guarantee a huge paycheck. Those quick to criticize lawyers ought to take some law courses before they open their mouths- the road to becoming a lawyer is rough and a considerable commitment of both your time and financial resources. Despite his law degree, Damon's financial picture at the beginning of the film is decidedly precarious.

Watch "The Rainmaker" along with "A Civil Action" and "Erin Brockovich" to get a pretty good idea about the way the law works & how courts give the little people an avenue to even up with big shots like corporations and insurance companies. Watch this movie in particular to see a terrific performance from Matt Damon.

GRISHAM'S LAW
THE RAINMAKER is a by the numbers adaptation of John Grisham's bestseller. Director Francis Ford Coppola explores no new grounds in this film, but elicits competent and professional performances from a stellar cast. Matt Damon who plays Rudy burst onto the scene in this movie, released just before his Oscar winning screenplay and starring role in GOOD WILL HUNTING. Damon captures the youthful impetuosity and naivete of a just bar-approved lawyer who finds himself involved in a case against a big insurance company. His assistant is played by a restrained Danny DeVito. Their boss is played by an unusually understated Mickey Rourke, who shows up on screen looking halfway decent for a change. His clients are wonderfully played by Mary Kay Place and Johnny Whitworth. Jon Voight delivers an Oscar-worthy performance as Damon's devilishly cold opponent; Roy Scheider has a brief scene as the CEO of the insurance company; Randy Travis has a thirty second scene as an irate juror; Virginia Madsen is wonderful in a small role as the claims adjustor who was fired; Claire Danes is appropriately cast as the abused wife who turns to Damon for help. Oscar winner Teresa Wright turns up in a lovely role as an elderly lady who wants to leave her money to a tv evangelist.
THE RAINMAKER is perhaps a little too long (it clocks in well over two hours), and offers little in the way of suspense. It is competent, involving and ultimately satisfying, however. Matt Damon proved the hoopla about to come was deserved.

The Rainmaker- Worthwhile for All
Adapted from a novel by John Grisham, The Rainmaker details the life of a young and poor lawyer, Rudy Baylor. Based in the South, Baylor takes on several cases: a young man battling leukemia (and the Great Benefits healthcare provider), an elderly wealthy woman revising her will, and a married woman suffering domestic violence. Donny Ray Black's case serves as the central storyline for The Rainmaker, though the movie follows Baylor and his interactions with all his clients and legal staff. Rudy Baylor serves as an exception to the legal system as a whole, and is portrayed as a man who is genuinely concerned for the well being of his clients.

The Rainmaker is a well directed and acted film. Its characters, plot, and situations make the video both educational and entertaining to watch. Matt Damon, who plays Rudy Baylor, is at his best. The supporting roles played by Danny Devito (Deck Schifflet) and Claire Danes (Kelly Riker) add to the moving storylines. The most fascinating aspect of the movie, however, is its exploration of the legal ethics. The audience is encouraged to form their own opinions of the principles within the legal system from The Rainmaker's plot.

Though Rudy Baylor becomes too involved with his cases, he teaches the viewers an important lesson about legal careers and life in general: that people respond to those who care. Baylor experiences both criticism and praise in his cases, and ultimately, he accomplishes several important tasks- overcoming the fraudulent Great Benefits health insurance company, freeing Riker from abuse within her marriage, and developing a trusting relationship with the older woman. The Rainmaker is both a worthwhile and thought-provoking film that explores the legal system and ethics while absorbing the interest of the film's audience.

Best of old and new
The story line of John Grisham's Rainmaker comes to screen life through the creative genius of Coppola, and unlike some of his films which are far from where I live, such as The Godfather (although very truistic), this film is one I can relate to and which could touch the life of many of us.

Matt Damon's character, Rudy Baylor, is believable and represents the heart of many young men and women who start their law practice with high ideals, moral values and integrity. His quiet wisdom holds up well when pitted with the arrogance of a Leo Drummond-type lawyer, a man whose moral and ethical values were leeched from him long ago.

Although there is light foul language, it is refreshing to see a film where one does not have to wince constantly from the onslaught of gutter language and unclothed people!

Danny Glover walked the high moral ground in this film as well and gave a stunning performance as always.

I was delighted to see the incomparable Teresa Wright as Miss Birdie, (catch her in "Mrs Miniver" starring Greer Garson and Walter Pidgeon from the B&W WWII movie years, what a treasure!) She played the part to perfection, "cut, cut, cut."

Claire Danes, an excellent actress for one so young, played the part of an abused young woman to a "T" with the low-key type personality so prevalent in one who has been cowed into submission way too many times. With an abusive childhood himself, Rudy had to save her. (Loved Danes in Les Miserables and Little Women!)

Mary Kay Place always shines, but her portrayal of a mom whose son is dying needlessly touches my mother's heart.

Funny Danny Devito, funny...

I give the Rainmaker high marks! If you like real life movies, watch this or you could be Great Benefit's next victim.

(Interesting that in the video tape version, there is no mention of Danny Glover in any of the credits!) ... Read more

Reviews (11)

Fairie Tale Theater rocks, especially Cinderella!
I love Fairy tales. The first time I saw this movie (and thisone Cinderella especially) I was enchanted and I loved it from thenon. Jean Stapleton gives this movie humor, Jennifer Beals gives it enchantment, and Matthew Broderick gives it a taste of what is still a celebrity in the late 90's! This movie ROCKS!

Faerie Tale Theatre: Cinderella
One of the most romantic episodes in the excellent Faerie Tale Theatre series, this one is the classic rags-to-riches story of Cinderella. Jennifer Beals beautifully portrays the role of Cinderella, and Matthew Broderick makes a delightfully witty Prince Henry. The appearances of Jean Stapleton as the fairy godmother and Eve Arden as the wicked stepmother are superb. The costumes, sets and music are truly divine in this wonderful faerie tale.

Happily Ever After start HERE!
What happens when you have Jennifer Beals playing Cinderella and Jean Stapleton as the fairy godmother? MAGIC!!! This is a wonderful film in the Faerie Tale Theatre series. Each actor/actress gives very memorable performances from Matthew Broderick playing the prince who is looking for love to Eve Arden who plays the unfair dictating stepmother. A perfect family film. A movie that no family or fan of fantasy should be without!

Amazing!
These videos were my absolute favorite as a kid, and at 20, I'm still watching them! They're all so beautifully done and have such wonderful actors! I'm saving all of my copies to show my children some day!

Great Movie
Wonderfully modernized version of the classic tale of Cinderella brought to life with wonderful actors. Great movie . Highly reccomend. ... Read more

Amazon.com essential video

Three views of life in the city of all cities comprise this film, with segments directed by Woody Allen, Francis Coppola, and Martin Scorsese.The best of the three is "Life Lessons," directed by Scorsese, about an artist (played by Nick Nolte) who uses his hypersuccess to lure beautiful young aspiring artists to serve as his assistant/lovers. The segment is an astute portrait of the nature of the New York art world. In "Life Without Zoe," Coppola portrays the life of the privileged Zoe, the daughter of a world-renowned flutist, whose adventures on the Upper East Side (in the upper echelons of society) play like something approaching a cartoon. Woody Allen finishes up the film with his "Oedipus Wrecks," a typical Allen number about a successful New York lawyer who's still hounded by his mother--the title tells you all you need to know. Though stronger segments to complement Scorsese's would have made this film much more interesting and enjoyable, it does provide an accurate glimpse into this wondrous city and is a must-see for anyone fascinated by New York. --James McGrath ... Read more

Reviews (15)

Scorsese Over All!
I didn't think much of the Woody Allen segment (although he's one of my favorite filmmakers) and I hated the Coppola piece but I'm still giving this one 5 stars because of "Life Lessons" which in the first of three short films in this collection. No other movie that I can think of better illustrates the creative thought processes of the artist (Nick Nolte) or their sense of lonely isolation. He cannot live without women and even hilariously tells his young assistant, and I quote from memory, "I don't know anything about love? I was married and divorced four times before you were even born!" Nolte is tortured by his desires and his isolation but even lust will not allow him to compromise his artistic integrity. When Arquette pleads with him concerning whether she has any talent or not, Nolte refuses to lie to appease her. Instead he elects not to answer her question which infuriates her even more. Although he is downtrodden throughout much of the film the ending is a happy one. I own the VHS and have seen the 40 minutes of "Life Lessons" at least seven times over the years. I highly recommend it.

2/3 of a good film
There are two-thirds of a good movie in this movie, as New York's three most famous directors each contributed a short film about an aspect of New York life. The opening short, "Life Lessons" by Martin Scorsese and starring Nick Nolte and Roseann Arquette is a unforgiving look at the competitive, abusive, almost cannibalistic world of a megalomaniacal painter. I read somewhere that this short is flawed because Nolte's character doesn't change. That is not a flaw; that's the point. The ego of a successful artist, according to Scorsese, will not soften, will not learn what a conscience is, will not admit that there are other artists in his/her world. Even when the artist recognizes talent in someone else, it is quickly dismissed. The ego lords over all.

The final short film, "Oedipus Wrecks" by Woody Allen is typical comic genius. The plot is simple. Woody takes his overbearing mother to a magic show, and the magician makes her disappear. Completely disappear. The magician himself doesn't know how he did it. When mom appears as an apparition in the clouds, and speaks to the entire population of Gotham about her son, the laughs are endless.

In between these two films is one directed by Francis Ford Coppola. I can't tell you what it's about. I have yet to sit through more than ten minutes of it.

They are all good, but...
I cast my vote Woody's way. I just love the interaction between the over-the-top characters, wonderfully portrayed by Allen, Julie Kavner, and yes, Mia is good too -- can't always say that...

The real gem here is one of the final performances by Mae Questel, who once upon a time played "Betty Boop." Soon after this performance she began to decline due to Alzheimers.

This is the zany, neurotic fun that made Allen's early comedies my favorite part of his opus. Once upon a time when I was a teacher, I used "Oedipus Wrecks" with my students as a "visual short story." I had them write the ending of the story before they saw it. We had great fun with it.

Second I'd vote for Coppola's "Life Without Zoe" based, again, on the performances, especially Heather McComb's debut. She hasn't done much of note since, but I really enjoyed her here.

Scorsese's "Life Lessons" felt flat to me, despite Nolte and Arquette, both of whom I usually really like. It seemed talky and more like some of Allen's later work. There is a germ of a good idea here -- sexual obsession versus art and getting on with one's life, but I felt the film just didn't deliver.

I skipped everything but Life Lessons.
But that is an absolutely amazing film. I lived in that world for a very long time, and then got out. The film is dead ON in its presentation of the art world during that era, but what struck me most was the absolute dispassionate fairness with which the two main characters, a famous painter and his young "assistant," are presented.

Here are two people using each other, and at the same time dazzled by each other, each in a completely different way. We are given just a glimpse of the tenderness they must have shared early in their relationship when the dazzlement would have been enough to make them believe that what they felt was love.

The same story could have been told about any of the other NYC worlds where people tend to love mostly their own ambitions and only secondarily the idea of someone else. You get the feeling, watching Nolte, that he's on to himself, but doesn't have a choice. As really none of us does, when it comes to being what we are, and whom we love.