document_title: List of The Jetsons characters

question_text: what was the dog's name on the jetsons

question_tokens: what was the dog 's name on the jetsons

text: List of The Jetsons characters

text: The Jetsons family[edit]

text: George Jetson[edit]

text: George J. Jetson[1] is a fictional character and the 40-year-old head of the Jetson family. He is the husband of Jane Jetson and the father of teenage daughter Judy and elementary school aged son Elroy.[citation needed]

text: George resides with his family in the Skypad Apartments[2] in Orbit City, in a future with the trappings of science fantasy depictions of American life in the future, such as robot servants, flying saucer-like cars, and moving sidewalks. All the apartment buildings are set on giant poles, resembling Seattle's Space Needle; the ground is almost never seen, though in Jetsons: The Movie, it is suggested that the earth is extremely polluted, thus everyone lives in the sky.

text: When George was a kid he had to fly through ten miles of asteroid storms to go to Orbit High School, where he was the star pitcher of its Spaceball team. At Orbit High School, He was labeled as an outsider and a geek. George is now an employee at Spacely's Space Sprockets, a manufacturer of "sprockets" and other high tech equipment. His job title is "digital index operator."[3] His boss is Cosmo G. Spacely, noted for being short in both height and temper. Spacely usually treats his employees (particularly George) in a rather tyrannical fashion. George's job primarily requires him to repeatedly push a single button (or on occasion a series of buttons) on a computer (named RUDI {Short for: Referential Universal Digital Indexer} in the 1980s series of Jetsons episodes). Once, George complained of his heavy work load; having to push a button for one hour, one day of the week! Often, Mr. Spacely will fire George in a fit of anger, only to hire him back by the end of the same episode.

text: Physically, George is a rather slim man of average height with short red hair and a cartoonishly large nose. His personality is that of a well-meaning, caring father, but he is often befuddled and stressed out by the problems of both his work and family lives. As The Jetsons was partially based on the comic strip Blondie, George himself was probably based on that strip's lead character, Dagwood Bumstead.[citation needed] His wife Jane is voiced by Penny Singleton who played the movie version of Blondie in the 1930s to 1950s.[4]

text: George's most famous catchphrase is "Jane! Stop this crazy thing!" seen at the end credits of the 1960s Jetsons episodes, but is also known for frequently uttering the phrase "Hooba-dooba-dooba!" to express wonder or astonishment (probably inspired by Fred Flintstone's similar-sounding "Yabba Dabba Doo!!").

text: George O'Hanlon was the voice actor who did George's voice in both the sixties and eighties versions of the cartoon series; O'Hanlon was known for his portrayal of everyman characters in film and television. O'Hanlon once said of his character: "George Jetson is an average man. He has trouble with his boss, he has problems with his kids, and so on. The only difference is that he lives in the next century."[5] O'Hanlon last did the voice for George Jetson in Jetsons: The Movie, which was released posthumously.

text: The current voice of George Jetson is Jeff Bergman, who voiced George (and also Mr. Spacely) in some parts of the movie after O'Hanlon's death, and also voiced George in The Funtastic World of Hanna-Barbera and The Jetsons & WWE: Robo-WrestleMania! as well as for the cameo in the Harvey Birdman, Attorney at Law episode "Shaggy Busted" and Spümcø's two Jetsons cartoons: Father & Son Day and The Best Son.

text: In the Harvey Birdman, Attorney at Law episode "Back to the Present", George was voiced by Wally Wingert. In the episode, the Jetsons return to the past to sue the planet for causing global warming also in a cameo appearance on The Powerpuff Girls.

text: George Jetson also appears at the Cedar Fair Entertainment Company and formerly Universal Studios Florida as a meetable character seen in 1996 video called "Kids for Character".

text: He also appears on Kanye West's music video "Heartless". He is also seen along with his family, Rosie, and Mr. Spacely in a MetLife commercial that aired in 2012.

text: The inspiration for George's name sake (aside from its voice actor) is believed to be a tribute to the prolific Danish designer, Georg Jensen, who defined modern design in the early and mid twentieth century.

text: Jane Jetson[edit]

text: Jane Jetson: age 33 (self-reported in the first episode), is George's wife, mother of their two children, and a homemaker. Because she is so much younger than George she would have been only 17 at the time of Judy's birth. Jane is obsessed with fashion and new gadgetry. Her favorite store is Mooning Dales. She is also a dutiful wife who always tries to make life as pleasant as possible for her family. Although she is usually pleasant natured, she is quite protective of her family and she can be angered whenever they are threatened. She is also unafraid to stand up to Mr. Spacely, especially when he antagonizes her family and her husband.

text: Outside of the home, she is a member of the Galaxy Women Historical Society and is a fan of Leonardo de Venus and Picasso Pia. Although this wife of the future has both a robot maid and automated apartment appliances, even pushing buttons for housework gets to be too much for her and she has to take a vacation ("Dude Planet"). She has terrible driving skills, turning her driving instructor, a gangster and her husband into nervous wrecks ("Jane's Driving Lesson").

text: Jane appears, with Wilma Flintstone and Velma Dinkley, in a commercial for Dove shampoo. She even appears on Kanye West's music video "Heartless". In one episode of Animaniacs, a female space alien resembling Jane appears twice; once as a receptionist, and then again when a male alien trapped on a treadmill calls out the famous catchphrase "Jane! Stop this crazy thing!" where she comes to his aid.

text: Jane was voiced by Penny Singleton in all of her appearances up until the feature film. After Singleton's death, Jane has been voiced by a number of different actresses, including Laurie Fraser (The Jetsons: The Best Son), Diane Michelle (Harvey Birdman, Attorney at Law), Beth Littleford and D.D. Howard (Family Guy) and Grey Griffin (The Jetsons & WWE: Robo-WrestleMania!).

text: She was included in Yahoo!'s Top 10 TV Moms from Six Decades of Television.[6]

text: Judy Jetson[edit]

text: Judy Jetson is the 16-year-old daughter of George and Jane Jetson who acts just like a normal teenage girl only with more futuristic tastes.

text: Despite Judy still keeping modern-day "teenage girl" likes and dislikes, such as seemingly never-ending conversations on the telephone and shopping for futuristic outfits, she does not live exactly like a modern teenager, obviously because of the time the show takes place, because she enjoys taking advantage of the many gadgets at her grasp because of the technology (like controllable zero-gravity switches made for accomplishing popular dance moves of the show's time or for other uses). She also gives a summary of how her day went including her problems to a floating robotic diary, appropriately named, "DiDi" (voiced by Brenda Vaccaro).

text: Judy is also very fond of a futuristic rock singer named "Jet Screamer", whom George at first despised until Judy won a date with the heartthrob singer in a contest in which girls who wanted to win a date with Jet Screamer were to write songs, and the writer of the winning song would win the date. Judy won because George replaced her original song with her younger brother Elroy's secret code. George came along to try to stop the date but failed and wound up as the drummer for the song and soon took a liking for Jet Screamer and his music.

text: Judy is depicted wearing a deep pinkish-purple, futuristic outfit and, like a few other Hanna-Barbara cartoon characters (such as Bamm-Bamm Rubble from The Flintstones and some background characters in various cartoons) has white hair that is colored to resemble platinum blonde or bleached blonde hair, which she wears in a ponytail on top of her head. She attends Orbit High School, which her father had also attended.

text: Judy was also the star character of the 1988 made-for-television film Rockin' with Judy Jetson. She was voiced by Janet Waldo in all appearances except Jetsons: The Movie. Although Waldo finished recording her lines for the movie, Waldo's voice track was erased and completely rerecorded by pop singer Tiffany.[7][8] Judy went unvoiced in her appearance in Harvey Birdman, Attorney at Law, due to the fact a voice actress could not be secured for her (Waldo by this point was in her 90s and retired from voice acting). In The Jetsons & WWE: Robo-WrestleMania!, she's voiced by Danica McKellar.

text: Elroy Jetson[edit]

text: Elroy Jetson: age 6 and a half (self-reported in the first episode), is the younger of the two children in the Jetson family. He is highly intelligent and an expert in all space sciences. Elroy attends Little Dipper School where he studies space history, astrophysics and star geometry. He is a mild mannered and good child. Elroy was voiced by Daws Butler until his death in 1988; for the movie Patric Zimmerman took over. Throughout the years, Zimmerman continued to voice Elroy, with the exception of Harvey Birdman: Attorney at Law, where Tom Kenny performed the role and The Jetsons & WWE: Robo-WrestleMania!, where he's voiced by Trevor Devall.

text: Jetson family household[edit]

text: Astro[edit]

text: This section relies too much on references to primary sources. Please improve this section by adding secondary or tertiary sources. (December 2007) (Learn how and when to remove this template message)

text: Astro is a canine character on the Hanna-Barbera cartoon, The Jetsons. He was designed by Iwao Takamoto, and originally voiced by Don Messick. Despite the stress he tends to cause him, George often regards Astro as his genuine best friend. Astro, despite being clumsy and dim-witted, was very loyal (to a fault) to the Jetsons, particularly George and Elroy. He was more advanced than present-day dogs, in that he had a rudimentary grasp of the English language. In a recurring gag, while George is walking Astro on a gravity-suspended treadmill, Astro begins chasing a cat that stumbles onto it, eventually forcing it to go at speeds too fast for George to keep up with, trapping him. This led to George's trademark phrase "Jane! Stop this crazy thing!".

text: Don Messick would usually give Astro a speech pattern involving replacing the first letter of any word with an R, such as "I love you, George" becoming "I ruv roo, Reorge". This is similar to Scooby-Doo in the cartoon Scooby-Doo, Where Are You!; which was also voiced by Messick (of the two voices, Astro's was slightly higher and raspier than Scooby's).[9] In the Harvey Birdman, Attorney at Law episode "Back to the Present", Astro was voiced by Wally Wingert, while in The Jetsons & WWE: Robo-WrestleMania!, he's voiced by Frank Welker.

text: Astro was introduced in the season one episode, "The Coming of Astro". When Jane, Judy, and Elroy proposed keeping him to George, he was against it, claiming an apartment is no place for a dog. In an effort to make his family happy, he gets an electronic dog, 'Lectronimo. Through mishaps, 'Lectronimo fails to catch a burglar whom Astro inadvertently stops. The family gives 'Lectronimo to the police and keeps Astro. In episode 15, millionaire J.P. Gottrockets shows up and claims to be Astro's former owner, saying the dog's original name was "Tralfaz". Seeing how much Elroy and Astro have bonded with each other, Gottrockets gives Astro to the Jetsons. Despite this, Astro makes an appearance in the ending credits prior to the episode. Astro makes five cameo appearances as a portrait in the music video for the 2008 Kanye West song "Heartless", which takes place in West's actual apartment den. Astro was also in 11 episodes of a 1981 spin-off called Astro and the Space Mutts.

text: Rosey aka Rosie[edit]

text: Rosey[10] or Rosie[11] the maid is a humanoid robot fictional character in The Jetsons animated television series of the 1960s and 80s.[12] She is the title family's maid and housekeeper. Jean Vander Pyl provided the voice for Rosie. Rosie is depicted as wearing a frilly apron, and was often seen using a separate vacuum cleaner. Her torso is mounted atop a single leg and she rolls about on a set of caster wheels. She frequently calls George Jetson "Mr. J".

text: Rosie was an old demonstrator model hired by the Jetson family from U-Rent a Maid. The series' first episode, "Rosey the Robot", gives her model number as XB-500. She was in fact outdated when introduced, and her obsolescence was the focus of several episodes focused on her. In the episode "Rosie's Boyfriend," we learn she has a boyfriend, the robot Mac, a helper for Henry Orbit. Rosie clearly cares a great deal for Mac, but is obviously the more intelligent between them, often chiding him for his childish behavior.

text: She was spoofed in the Futurama movie Bender's Game, with a robot that looked like her saying "Everything must be clean. Very clean. That's why the dog had to die. He was a dirty dog. Also that boy Elroy. Dirty. Dirty."[13] She was voiced by Tress MacNeille in this parody, becoming later her official voice actress in The Jetsons & WWE: Robo-WrestleMania!.

text: In the recent[vague] Jetsons comic published by DC Comics, Rosie is re-imagined as George's mother who was placed in a robotic body by Nexlyfe.[14] She only informed Judy that she was going through with the procedure prior to it.

text: Orbitty[edit]

text: Orbitty: is the 2nd pet of the Jetson family. Orbitty is an alien with spring-like legs and suction-cup feet. He has the ability to express his emotions by changing color. He is also excellent in fixing and repairing things. This character was introduced in the 1980s version of the series but didn't appear in the third season (aside from one cameo) or any of the movies that came after it. Orbitty was voiced by Frank Welker.

text: George Jetson's workplace[edit]

text: Mr. Spacely[edit]

text: Cosmo G. Spacely is George's moneygrubbing and arrogant boss, originally voiced by Mel Blanc. Frank Welker voiced a teenage version of Mr. Spacely in the Jetsons Christmas Carol and Jeff Bergman voiced Spacely in some scenes in Jetsons: The Movie (and would later reprise the role in The Jetsons & WWE: Robo-WrestleMania!) after Blanc's death, as Blanc died during the production of Jetsons: The Movie. This means the character has the distinction of being the last character to be voiced by legendary voice actor Blanc.

text: Spacely is president and owner of 'Spacely Space Sprockets', where George Jetson works. He frequently yells at George for perceived poor work performance, or just when he feels like it. A typical videophone call from Spacely starts with him yelling "JETSON!!!" He attempts to fire George for the slightest offense (his bombastic "YOU'RE FIRED!!" has since been copied by Vince McMahon[citation needed], Hank Azaria as Mr. Costington in The Simpsons and Donald Trump in The Apprentice)[citation needed] , though Spacely gives George his job back at the end of the episode or the beginning of the next episode. Though money is often the sole objective of his life, Spacely is not completely heartless, and will at times empathize or go out of his way to help genuinely help George (albeit rarely). Spacely also often finds excuses to get involved in George's personal life. Spacely's wife is Mrs. Petunia Spacely (voiced by Jean Vander Pyl), whom he loves, but lives in constant fear of. He also has a son named Arthur (Voiced by Dick Beals in earlier episodes and Catherine Thompson in season 3) who is extremely snobbish and is a rival to Elroy.

text: Mr. Cogswell[edit]

text: Mr. Cogswell (voiced by Daws Butler): is Spacely's big competitor. He owns Cogswell's Cosmic Cogs company and causes a lot of trouble for Spacely and George. To a lesser extent, Cogswell is another of the series' antagonists. He and Spacely are always finding ways to bring each other's businesses down. Cogswell has often tried to steal Spacely's ideas and make them his own to gain an advantage (only for it to backfire on both bosses). Just like Spacely, he is also cheap and greedy and not above firing his employees when any little thing goes wrong. Mr. Cogswell's first name of "Spencer" is revealed in the 1980s version of The Jetsons. He bears something of a resemblance to Mr. Flintstone's boss, Mr. Slate.

text: R.U.D.I.[edit]

text: R.U.D.I.: is George's work computer as well as his best friend in the workplace. R.U.D.I. is sentient, free thinking and openly fond of George, recognizing his value as an employee and friend. His name is an acronym for Referential Universal Digital Indexer. He has a human personality and is a member of the Society Preventing Cruelty to Humans. Though capable and loyal, R.U.D.I is implied to be antiquated technology, as George mentions his model is no longer made.

text: In the episode "Family Fallout" the Jetsons are up against the Spacelys on a game show. The last question to come up was "what does R.U.D.I. stand for?" George's response was Referential Universal Differential Indexer – this was accepted by the game show host as the correct answer, even though earlier episodes had it as Digital instead of Differential.

text: Henry Orbit[edit]

text: Henry is the apartment janitor and supervisor of the Skypad Apartments. He has an assistant robot M.A.C.C. who is also dating Rosie the Jetson's housekeeper robot. He is known for giving George advice and is a part-time inventor, although both more often than not tend to backfire on him.


document_title: The Godfather

question_text: what was the full name of the godfather

question_tokens: what was the full name of the godfather

root

text: The Godfather

text: Plot

text: In 1945, at his daughter Connie's wedding, Vito Corleone hears requests in his role as the Godfather, the Don of a New York crime family. Vito's youngest son, Michael, who was a Marine during World War II, introduces his girlfriend, Kay Adams, to his family at the reception. Johnny Fontane, a famous singer and Vito's godson, seeks Vito's help in securing a movie role; Vito dispatches his consigliere, Tom Hagen, to Los Angeles to persuade studio head Jack Woltz to give Johnny the part. Woltz refuses until he wakes up in bed with the severed head of his prized stallion.

tag: p

text: Shortly before Christmas, drug baron Virgil "The Turk" Sollozzo, backed by the Tattaglia crime family, asks Vito for investment in his narcotics business and protection through his political connections. Wary of involvement in a dangerous new trade that risks alienating political insiders, Vito declines. Suspicious, Vito sends his enforcer, Luca Brasi, to spy on them. Brasi is garroted during his first meeting with Bruno Tattaglia and Sollozzo. Later Sollozzo has Vito gunned down in the street, then kidnaps Hagen. With Corleone first-born Sonny in command, Sollozzo pressures Hagen to persuade Sonny to accept Sollozzo's deal, then releases him. The family receives fish wrapped in Brasi's bullet-proof vest, indicating that Luca "sleeps with the fishes." Vito survives, and at the hospital Michael thwarts another attempt on his father; Michael's jaw is broken by NYPD Captain Marc McCluskey, Sollozzo's unauthorized bodyguard. Sonny retaliates with a hit on Bruno Tattaglia. Michael plots to murder Sollozzo and McCluskey: on the deception of settling the dispute, Michael arranges to meet them in a Bronx restaurant. There, retrieving a planted handgun, he kills both men.

text: Despite a clampdown by the authorities, the Five Families erupt in open warfare and Vito fears for his sons' safety. Michael takes refuge in Sicily and Fredo is sheltered by Moe Greene in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister and threatens to kill him if it happens again. When it does, Sonny speeds to their home, but is ambushed at a highway toll booth and riddled with submachine gun fire. While in Sicily, Michael meets and marries Apollonia Vitelli, but a car bomb intended for him takes her life.

text: Devastated by Sonny's death and realizing that the Tattaglias are controlled by the now-dominant Don Emilio Barzini, Vito attempts to end the feud. He assures the Five Families that he will withdraw his opposition to their heroin business and forgo avenging Sonny's murder. His safety guaranteed, Michael returns home to enter the family business and marry Kay, promising her that the business will be legitimate within five years. Kay gives birth to two children by the early 1950s, and with his father at the end of his career and his brother too weak, Michael takes the family reins.  He insists Hagen relocate to Las Vegas and relinquish his role to Vito because Tom is not a "wartime consigliere"; Vito agrees Tom should "have no part in what will happen" in the coming battles with rival families. Michael travels to Las Vegas to buy out Greene's stake in the family's casinos. Michael is dismayed to see that Fredo has fallen under Greene's sway.

text: In 1955, Vito suffers a fatal heart attack. At the funeral, Tessio, a Corleone capo, asks Michael to meet with Don Barzini, signalling the betrayal that Vito had forewarned. The meeting is set for the same day as the christening of Connie's baby. While Michael stands at the altar as the child's godfather, Corleone assassins murder the other New York dons and Moe Greene. Tessio is executed for his treachery and Michael extracts Carlo's confession to his complicity in setting up Sonny's murder for Barzini. A Corleone capo, Clemenza, garrotes Carlo with a wire. Connie accuses Michael of the murder, telling Kay that Michael ordered all the killings. Kay is relieved when Michael finally denies it, but, when the capos arrive, they address her husband as Don Corleone, and she watches as they close the door on her.

text: Cast

text:
Marlon Brando as Vito Corleone
Al Pacino as Michael Corleone
James Caan as Sonny Corleone
Robert Duvall as Tom Hagen
Diane Keaton as Kay Adams
John Cazale as Fredo Corleone
Talia Shire as Connie Corleone
Gianni Russo as Carlo Rizzi
Richard Castellano as Peter Clemenza
Abe Vigoda as Salvatore Tessio
Al Lettieri as Virgil "The Turk" Sollozzo
Sterling Hayden as Captain Mark McCluskey
Lenny Montana as Luca Brasi
Richard Conte as Emilio Barzini
Al Martino as Johnny Fontane
John Marley as Jack Woltz
Alex Rocco as Moe Greene
Morgana King as Carmela Corleone
Corrado Gaipa as Don Tommasino
Franco Citti as Calò
Angelo Infanti as Fabrizio
Johnny Martino as Paulie Gatto
Victor Rendina as Philip Tattaglia
Tony Giorgio as Bruno Tattaglia
Simonetta Stefanelli as Apollonia Vitelli-Corleone
Richard Bright as Al Neri

tag: ul

text: Production

text: Development

text: The film is based on Mario Puzo's The Godfather, which remained on The New York Times Best Seller list for 67 weeks and sold over nine million copies in two years.[6][7][8] Published in 1969, it became the best selling published work in history for several years.[9] Paramount Pictures originally found out about Puzo's novel in 1967 when a literary scout for the company contacted then Paramount Vice President of Production Peter Bart about Puzo's unfinished sixty-page manuscript.[7] Bart believed the work was "much beyond a Mafia story" and offered Puzo a $12,500 option for the work, with an option for $80,000 if the finished work were made into a film.[7][10] Despite Puzo's agent telling him to turn down the offer, Puzo was desperate for money and accepted the deal.[7][10] Paramount's Robert Evans relates that, when they met in early 1968, it was he who offered Puzo the $12,500 deal for the 60-page manuscript titled Mafia  after the author confided in him that he urgently needed $10,000 to pay off gambling debts.[11]

text: In March 1967, Paramount announced that they backed Puzo's upcoming work in the hopes of making a film.[7] In 1969, Paramount confirmed their intentions to make a film out of the novel for the price of $80,000,[N 1][10][12][13][14] with aims to have the film released on Christmas Day in 1971.[15] On March 23, 1970, Albert S. Ruddy was officially announced as the film's producer, in part because studio executives were impressed with his interview and because he was known for bringing his films in under budget.[16][17][18]

text: Direction

text: Evans wanted the picture to be directed by an Italian American to make the film "ethnic to the core".[19][20] Paramount's latest mafia based movie, The Brotherhood, had been a box office bomb;[8][21] Evans believed that the reason for its failure was its almost complete lack of cast members or creative personnel of Italian descent (the director Martin Ritt and star Kirk Douglas were both Jewish).[11] Sergio Leone was Paramount's first choice to direct the film.[22][23] Leone turned down the option to work on his own gangster film Once Upon a Time in America.[22][23] Peter Bogdanovich was then approached but he also declined the offer because he was not interested in the mafia.[24][25][26] In addition, Peter Yates, Richard Brooks, Arthur Penn, Costa-Gavras, and Otto Preminger were all offered the position and declined.[27][28] Evans' chief assistant Peter Bart suggested Francis Ford Coppola, as a director of Italian ancestry who would work for a low sum and budget after the poor reception of his latest film The Rain People.[29][19] Coppola initially turned down the job because he found Puzo's novel sleazy and sensationalist, describing it as "pretty cheap stuff".[11][30] At the time Coppola's studio, American Zoetrope, owed over $400,000 to Warner Bros. for budget overruns with the film THX 1138 and when coupled with his poor financial standing, along with advice from friends and family, Coppola reversed his initial decision and took the job.[28][31][32] Coppola was officially announced as director of the film on September 28, 1970.[33] Paramount had offered twelve other directors the job with The Godfather before Coppola agreed.[34] Coppola agreed to receive $125,000 and six percent of the gross rentals.[35][36]

text: Coppola and Paramount

text: Before The Godfather was in production, Paramount had been going through an unsuccessful period.[8] In addition to the failure of The Brotherhood, the studio had usurped their budget for their recent films: Darling Lili,[17] Paint Your Wagon, and Waterloo.[8][21] The budget for the film was originally $2.5 million but as the book grew in popularity Coppola argued for and ultimately received a larger budget.[N 2][27][37][39] Paramount executives wanted the movie to be set in then modern-day Kansas City and shot in the studio backlot in order to cut down on costs.[27][17][37] Coppola objected and wanted to set the movie in the same time period as its eponymous novel, the 1940s and 1950s;[27][32][17][33] Coppola's reasons included: Michael Corleone's Marine Corps stint, the emergence of corporate America, and America in the years after World War II.[33] The executives eventually agreed to Coppola's wish as the novel became increasingly successful.[37][17] The studio heads subsequently let Coppola film on location in New York City and Sicily.[42]

text: Gulf & Western executive Charles Bluhdorn was frustrated with Coppola over the number of screen tests he had performed without finding a person to play the various roles.[40] Production quickly fell behind because of Coppola's indecisiveness and conflicts with Paramount, which led to costs being around $40,000 per day.[40] With the rising costs, Paramount had then Vice President Jack Ballard keep a close eye on production costs.[43] While filming, Coppola stated that he felt he could be fired at any point as he knew Paramount executives were not happy with many of the decisions he had made.[27] Coppola was aware that Evans had asked Elia Kazan to take over directing the film, because he feared that Coppola was too inexperienced to cope with the increased size of the production.[44] Coppola was also convinced that the film editor, Aram Avakian, and the assistant director, Steve Kestner, were conspiring to get him fired. Avakian complained to Evans that he could not edit the scenes correctly because Coppola was not shooting enough footage. Evans however was satisfied with the footage being sent to the west coast, and authorized Coppola to fire them both. Coppola later explained: "Like the godfather, I fired people as a preemptory strike. The people who were angling the most to have me fired, I had fired."[45] Brando threatened that he would quit if Coppola were fired.[27][43]

text: Paramount wanted The Godfather to appeal to a wide audience and threatened Coppola with a "violence coach" to make the film more exciting. Coppola added a few more violent scenes to keep the studio happy. The scene in which Connie smashes crockery after finding out Carlo has been cheating was added for this reason.[32]

text: Writing

text: On April 14, 1970, it was revealed that Puzo was hired by Paramount for $100,000, along with a percentage of the film's profits, to work on the screenplay for the film.[46][47][18] Working from the book, Coppola wanted to have the themes of culture, character, power, and family at the forefront of the film, whereas Puzo wanted to retain aspects from his novel[48] and his initial draft of 150 pages was finished on August 10, 1970.[46][47] After Coppola was hired as director, both Puzo and Coppola worked on the screenplay, but separately.[49] Puzo worked on his draft in Los Angeles, while Coppola wrote his version in San Francisco.[49] Coppola created a book where he tore pages out of Puzo's book and pasted them into his book.[49] There, he made notes about each of the book's fifty scenes, which related to major themes prevalent in the scene, whether the scene should be included in the film, along with ideas and concepts that could be used when filming to make the film true to Italian culture.[49][43] The two remained in contact while they wrote their respective screenplays and made decisions on what to include and what to remove for the final version.[49] A second draft was completed on March 1, 1971, and was 173 pages long.[46][50] The final screenplay was finished on March 29, 1971,[47] wound up being 163 pages long,[49][46] 40 pages over what Paramount had asked for.[51] When filming, Coppola referred to the notebook he had created over the final draft of the screenplay.[49][43] Screenwriter Robert Towne did uncredited work on the script, particularly on the Pacino-Brando garden scene.[52] Despite finishing the third draft, some scenes in the film were still not written yet and were written during production.[53]

text: The Italian-American Civil Rights League wanted all uses of the words "mafia" and "Cosa Nostra" to be removed from the script, in addition to feeling that the film emphasized stereotypes about Italian-Americans.[15][54][55][56] The league also requested that all the money earned from the premiere be donated to the league's fund to build a new hospital.[55][56] Coppola claimed that Puzo's screenplay only contained two instances of the word "mafia" being used, while "Cosa Nostra" was not used at all.[55][56] Those two uses were removed and replaced with other terms, which Coppola felt did not change the story at all.[55][56] The league eventually gave its support for the script.[55][56]

text: Casting

text: Puzo was first to show interest in having Marlon Brando portray Don Vito Corleone by sending a letter to Brando in which he stated Brando was the "only actor who can play the Godfather."[57] Despite Puzo's wishes, the executives at Paramount were against having Brando, partly due to the poor performance of his recent films and also his short temper.[58][37] Coppola favored Brando or Laurence Olivier for the role,[59][60] but Olivier's agent refused the role claiming Olivier was sick;[61] however, Olivier went on to star in Sleuth later that year.[60] The studio mainly pushed for Ernest Borgnine to receive the part.[59] Other considerations were George C. Scott, Richard Conte, Anthony Quinn, and Orson Welles.[62][59][63]

text: After months of debate between Coppola and Paramount over Brando, the two finalists for the role were Borgnine and Brando,[64] the latter of whom Paramount president Stanley Jaffe required to perform a screen test.[65][66] Coppola did not want to offend Brando and stated that he needed to test equipment in order to set up the screen test at Brando's California residence.[66][67] For make-up, Brando stuck cotton balls in his cheeks,[64] put shoe polish in his hair to darken it, and rolled his collar.[68] Coppola placed Brando's audition tape in the middle of the videos of the audition tapes as the Paramount executives watched them.[69] The executives were impressed with Brando's efforts and allowed Coppola to cast Brando for the role if Brando accepted a lower salary and put up a bond to ensure he would not cause any delays in production.[64][69][70]

text: From the start of production, Coppola wanted Robert Duvall to play the part of Tom Hagen.[15][71][72] After screen testing several other actors, Coppola eventually got his wish and Duvall was awarded the part of Tom Hagen.[71][72] Al Martino, a then famed singer in nightclubs, was notified of the character Johnny Fontane by a friend who read the eponymous novel and felt Martino represented the character of Johnny Fontane.[19] Martino then contacted producer Al Ruddy, who gave him the part.[19] However, Martino was stripped of the part after Coppola became director and then awarded the role to Italian singer Vic Damone.[19] Damone eventually dropped the role because he did not want to play an anti-Italian American character, in addition to being paid too little.[73] According to Martino, after being stripped of the role, he went to his godfather and crime boss Russ Bufalino who then orchestrated the publication of various news articles that talked of how Coppola was unaware of Ruddy giving Martino the part; that, when coupled with pressure from the mafia who felt Martino deserved the role, led Damone to quit as Fontane.[19] Either way, the part of Johnny Fontane ended up with Martino.[19][73]

text: Robert De Niro originally was given the part of Paulie Gatto.[74][64] A spot in The Gang That Couldn't Shoot Straight opened up after Al Pacino quit the project in favor of The Godfather, which led De Niro to audition for the role and leave The Godfather after receiving the part.[74][75] After De Niro quit, Johnny Martino was given the role of Gatto.[19] Coppola cast Diane Keaton for the role of Kay Adams due to her reputation for being eccentric.[76] John Cazale was given the part of Fredo Corleone after Coppola saw him perform in an Off Broadway production.[76] Gianni Russo was given the role of Carlo Rizzi after he was asked to perform a screen test in which he acted out the fight between Rizzi and Connie.[77]

text: Nearing the start of filming on March 29, Michael Corleone had yet to be cast.[78] Paramount executives wanted a popular actor, either Warren Beatty or Robert Redford.[79][64][80] Producer Robert Evans wanted Ryan O'Neal to receive the role in part due to his recent success in Love Story.[80][81] Pacino was Coppola's favorite for the role as he could picture him roaming the Sicilian countryside, and wanted an unknown actor who looked like an Italian-American.[32][80][81] However, Paramount executives found Pacino to be too short to play Michael.[15][19] Dustin Hoffman, Martin Sheen, and James Caan also auditioned.[76] Caan was well received by the Paramount executives and was given the part of Michael initially, while the role of Sonny Corleone was awarded to Carmine Caridi.[19] Coppola still pushed for Pacino to play Michael after the fact and Evans eventually conceded, allowing Pacino to have the role of Michael as long as Caan played Sonny.[82] Evans preferred Caan over Caridi because Caan was seven inches shorter than Caridi, which was much closer to Pacino's height.[19] Despite agreeing to play Michael Corleone, Pacino was contracted to star in MGM's The Gang That Couldn't Shoot Straight, but the two studios agreed on a settlement and Pacino was signed by Paramount three weeks before shooting began.[83]

text: Coppola gave several roles in the film to family members.[19] He gave his sister, Talia Shire, the role of Connie Corleone.[84][85] His daughter Sofia played Michael Francis Rizzi, Connie's and Carlo's newborn son.[19][86] Carmine Coppola, his father, appeared in the film as an extra playing a piano during a scene.[87] Coppola's wife, mother, and two sons all appeared as extras in the picture.[19] Several smaller roles, like Luca Brasi, were cast after the filming had started.[88]

text: Filming

text: Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration.[89] Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts.[90][91] The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; however snow never materialized and a snow machine was used.[91] Principal filming in New York continued until July 2, 1971.[92][93] Coppola asked for a three-week break before heading overseas to film in Sicily.[92] Following the crew's departure for Sicily, Paramount announced that the release date would be moved from December to spring 1972.[94]

text: Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him.[96][82] After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses.[97] Willis and Coppola chose to use a "tableau format" of filming to make it seem if it was viewed like a painting.[97] He made use of shadows and low light levels throughout the film to showcase psychological developments.[97] Willis and Coppola agreed to interplay light and dark scenes throughout the film.[40] Willis underexposed the film in order to create a "yellow tone."[97] The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes.[98]

text: One of the film's most shocking moments involved an actual, severed, horse's head.[32][99] Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film.[100]  On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Mineola, where three tollbooths were built, along with guard rails, and billboards to set the scene.[101] Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes.[102][103] The scene took three days to film and cost over $100,000.[104][103]

text: Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs,[105][106] using over 120 distinct locations.[107] Several scenes were filmed at the Filmways Studio in East Harlem.[108] The remaining portions were filmed in California, or on-site in Sicily, except for the scenes set in Las Vegas because there were insufficient funds to travel there.[109][105] Savoca and Forza d'Agrò were the Sicilian towns featured in the film.[110] The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras.[106][111] The house used as the Corleone household and the wedding location was at 110 Longfellow Road in the Todt Hill neighborhood of Staten Island.[111][112] The wall around the Corleone compound was made from styrofoam.[111] Scenes set in and around the Corleone olive oil business were filmed on Mott Street.[107][113]

text: After filming had ended on August 7,[114] post-production efforts were focused on trimming the film to a manageable length.[115] In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences.[116] In September, the first rough cut of the film was viewed.[115] Many of the scenes removed from the film were centered around Sonny, which did not advance the plot.[117] By November, Coppola and Ruddy finished the semi-final cut.[117] Debates over personnel involved with the final editing remained even 25 years after the release of the film.[118] The film began to be shown to Paramount staff and exhibitors in late December and going into the new year.[119]

text: Music

text:
Love theme from The Godfather

The famous theme, composed by Larry Kusic and Nino Rota.
Problems playing this file? See media help.

tag: table

text: Coppola hired Italian composer Nino Rota to create the underscore for the film, including the main theme, "Speak Softly Love".[120][121] For the score, Rota was to relate to the situations and characters in the film.[120][121] Rota synthesized new music for the film and took some parts from his Fortunella score, in order to create an Italian feel and evoke the tragic film's themes.[122] Paramount executive Evans found the score to be too "highbrow" and did not want to use it; however, it was used after Coppola managed to get Evans to agree.[120][121] Coppola believed that Rota's musical piece gave the film even more of an Italian feel.[121] Coppola's father, Carmine, created some additional music for the film,[123] particularly the music played by the band during the opening wedding scene.[121][122]

text: There are a total of nine instances within the film where incidental music can be heard,[122] including C'è la luna mezzo mare and Cherubino's aria, Non so più cosa son from Le Nozze di Figaro. There was a soundtrack released for the film in 1972 in vinyl form by Paramount Records, on CD in 1991 by Geffen Records, and digitally by Geffen on August 18, 2005.[124] The album contains over 31 minutes of music coming from the film, with most being composed by Rota, along with a song from Coppola and one by Johnny Farrow and Marty Symes.[125][126][127] Allmusic gave the album five out of five stars, with editor Zach Curd saying it is a "dark, looming, and elegant soundtrack."[125] An editor for Filmtracks believed that Rota did a great job of relating the music to the core aspects.  [127]

text: Release

text: The world premiere for The Godfather took place in New York City on March 14, 1972, almost three months after the planned release date of Christmas Day in 1971,[128][129] with profits from the premiere donated to The Boys Club of New York.[130] Before the film premiered, the film had already made $15 million from rentals from over 400 theaters.[37] The following day, the film opened in New York at five theaters.[131][19][129] Next was Los Angeles at two theaters on March 22.[132] The Godfather was commercially released on March 24, 1972, throughout the rest of the United States.[131][129] The film reached 316 theaters around the country five days later.[133]

text: Box office

text: The Godfather was a blockbuster, breaking many box office records to become the highest grossing film of 1972. It earned $81.5 million in theatrical rentals in the USA and Canada during its initial release,[134] increasing its earnings to $85.7 million through a reissue in 1973,[135] and including a limited re-release in 1997 it ultimately earned an equivalent exhibition gross of $135 million.[131] It displaced Gone with the Wind to claim the record as the top rentals earner, a position it would retain until the release of Jaws in 1975.[132][136] News articles at the time proclaimed it was the first film to gross $100 million in North America,[132] but such accounts are erroneous; this record belongs to The Sound of Music, released in 1965.[137] The film repeated its native success overseas, earning in total an unprecedented $142 million in worldwide theatrical rentals, to become the highest net earner.[138] Profits were so high for The Godfather that earnings for Gulf & Western Industries, Inc., which owned Paramount, jumped from 77 cents per share to $3.30 a share for the year, according to a Los Angeles Times article, dated December 13, 1972.[132] To date[when?], it has grossed between $245 million and $286 million in worldwide box office receipts,[139] and adjusted for ticket price inflation in North America, ranks among the top 25 highest-grossing films.[140]

text: Critical response

text: The Godfather has received critical acclaim and is seen as one of the most influential films of all time, particularly in the gangster genre.[141][142] On Rotten Tomatoes, the film has a 98% rating based on 88 reviews, with an average rating of 9.3/10. The website's critical consensus reads, "One of Hollywood's greatest critical and commercial successes, The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema".[143] Metacritic assigned the film an average score of 100% based on 14 reviews from mainstream critics, considered to be "universal acclaim".[142] The film is ranked at the top of Metacritic's top 100 list,[144] and is ranked 7th on Rotten Tomatoes' all-time best list (100% "Certified Fresh").[145]

text: Roger Ebert of the Chicago Sun Times praised Coppola's efforts to follow the storyline of the eponymous novel, the choice to set the film in the same time as the novel, and the film's ability to "absorb" the viewer over its three-hour run time.[146] While Ebert was mainly positive, he criticized Brando's performance, saying his movements lacked "precision" and his voice was "wheezy."[146] The Chicago Tribune's Gene Siskel gave the film four out of four stars, commenting that it was "very good."[147] The Village Voice's Andrew Sarris believed Brando portrayed Vito Corleone well and that his character dominated each scene it appeared in, but felt Puzo and Coppola had the character of Michael Corleone too focused on revenge.[148] In addition, Sarris stated that Richard Castellano, Robert Duvall, and James Caan were good in their respective roles.[148]

text: Desson Howe of The Washington Post called the film a "jewel" and wrote that Coppola deserves most of the credit for the film.[149] Writing for The New York Times, Vincent Canby felt that Coppola had created one of the "most brutal and moving chronicles of American life" and went on to say that it "transcends its immediate milieu and genre."[150] Director Stanley Kubrick thought the film had the best cast ever and could be the best movie ever made.[151] Stanley Kauffmann of The New Republic wrote negatively of the film in a contemporary review, claiming that Pacino "rattles around in a part too demanding for him," while also criticizing Brando's make-up and Rota's score.[152]

text: Previous mafia films had looked at the gangs from the perspective of an outraged outsider.[153] In contrast, The Godfather presents the gangster's perspective of the Mafia as a response to corrupt society.[153] Although the Corleone family is presented as immensely rich and powerful, no scenes depict prostitution, gambling, loan sharking or other forms of racketeering.[154] Some critics argue that the setting of a criminal counterculture allows for unapologetic gender stereotyping, and is an important part of the film's appeal ("You can act like a man!", Don Vito tells a weepy Johnny Fontane).[155]

text: Remarking on the fortieth anniversary of the film's release, film critic John Podhoretz praised The Godfather as "arguably the great American work of popular art" and "the summa of all great moviemaking before it".[156] Two years before, Roger Ebert had written in his journal that it "comes closest to being a film everyone agrees... is unquestionably great."[157]

text: Accolades

text: The Godfather was nominated for seven awards at the 30th Golden Globe Awards: Best Picture – Drama, James Caan for Best Supporting Actor, Al Pacino and Marlon Brando for Best Actor – Drama, Best Score, Best Director, and Best Screenplay.[158] When the winners were announced on January 28, 1973, the film had won the categories for: Best Screenplay, Best Director, Best Actor – Drama, Best Original Score, and Best Picture – Drama.[159][160] The Godfather won a record five Golden Globes, which was not surpassed until 2017.[161]

text: Rota's score was also nominated for Grammy Award for Best Original Score for a Motion Picture or TV Special at the 15th Grammy Awards.[162][163] Rota was announced the winner of the category on March 3 at the Grammys' ceremony in Nashville, Tennessee.[162][163]

text: When the nominations for the 45th Academy Awards were revealed on February 12, 1973, The Godfather was nominated for eleven awards.[164][165] The nominations were for: Best Picture, Best Costume Design, Marlon Brando for Best Actor, Mario Puzo and Francis Ford Coppola for Best Adapted Screenplay, Pacino, Caan, and Robert Duvall for Best Supporting Actor, Best Film Editing, Nino Rota for Best Original Score, Coppola for Best Director, and Best Sound.[164][165][166] Upon further review of Rota's love theme from The Godfather, the Academy found that Rota had used a similar score in Eduardo De Filippo's 1958 comedy Fortunella.[167][168][169] This led to re-balloting, where members of the music branch chose from six films: The Godfather and the five films that had been on the shortlist for best original dramatic score but did not get nominated. John Addison's score for Sleuth won this new vote, and thus replaced Rota's score on the official list of nominees.[170] Going into the awards ceremony, The Godfather was seen as the favorite to take home the most awards.[159] From the nominations that The Godfather had remaining, it only won three of the Academy Awards: Best Actor, Best Adapted Screenplay, and Best Picture.[166][171]

text: Brando, who had also not attended the Golden Globes ceremony two months earlier,[169][172] boycotted the Academy Awards ceremony and refused to accept the Oscar, becoming the second actor to refuse a Best Actor award after George C. Scott in 1970.[173][174] Brando sent American Indian Rights activist Sacheen Littlefeather in his place, to announce at the awards podium Brando's reasons for declining the award which were based on his objection to the depiction of American Indians by Hollywood and television.[173][174][175] In addition, Pacino boycotted the ceremony. He was insulted at being nominated for the Academy Award for Best Supporting Actor award, noting that he had more screen time than his co-star and Best Actor winner Brando and thus he should have received an Academy Award nomination for Best Actor.[176]

text: The Godfather had five nominations for awards at the 26th British Academy Film Awards.[177] The nominees were: Pacino for Most Promising Newcomer, Rota for the Anthony Asquith Award for Film Music, Duvall for Best Supporting Actor, and Brando for Best Actor, the film's costume designer Anna Hill Johnstone for Best Costume Design.[177] All of The Godfather's nominations failed to win except for Rota.[177]

text:
Awards and nominations received by The Godfather

Award

Category

Nominee

Result

45th Academy Awards

Best Picture

Albert S. Ruddy

Won

Best Director

Francis Ford Coppola

Nominated

Best Actor (refused)

Marlon Brando

Won

Best Supporting Actor

James Caan

Nominated

Robert Duvall

Nominated

Al Pacino

Nominated

Best Adapted Screenplay

Mario Puzo, Francis Ford Coppola

Won

Best Costume Design

Anna Hill Johnstone

Nominated

Best Film Editing

William Reynolds, Peter Zinner

Nominated

Best Sound

Bud Grenzbach, Richard Portman, Christopher Newman

Nominated

Best Original Dramatic Score

Nino Rota

Revoked

26th British Academy Film Awards

Best Actor

Marlon Brando (Also for The Nightcomers)

Nominated

Best Supporting Actor

Robert Duvall

Nominated

Most Promising Newcomer to Leading Film Roles

Al Pacino

Nominated

Best Film Music

Nino Rota

Won

Best Costume Design

Anna Hill Johnstone

Nominated

25th Directors Guild of America Awards

Outstanding Directorial Achievement in Motion Pictures

Francis Ford Coppola

Won[citation needed]

30th Golden Globe Awards

Best Motion Picture - Drama

Won

Best Director - Motion Picture

Francis Ford Coppola

Won

Best Motion Picture Actor - Drama

Marlon Brando

Won

Al Pacino

Nominated

Best Supporting Actor - Motion Picture

James Caan

Nominated

Best Screenplay

Mario Puzo and Francis Ford Coppola

Won

Best Original Score

Nino Rota

Won

15th Grammy Awards

Best Original Score Written for a Motion Picture or TV Special

Nino Rota

Won

25th Writers Guild of America Awards

Best Drama Adapted from Another Medium

Mario Puzo and Francis Ford Coppola[178]

Won

text:
1990 Selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[179]
1998 Time Out conducted a poll and The Godfather was voted the best film of all time.[180]
1999 Entertainment Weekly named it the greatest film ever made.[181][182][183]
2002 Sight & Sound polled film directors voted the film and its sequel as the second best film ever;[184] the critics poll separately voted it fourth.[185]
2002 The Godfather was ranked the second best film of all time by Film4, after Star Wars Episode V: The Empire Strikes Back.[186]
2005 Named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).[187][188]
2006 The Writers Guild of America, West agreed, voting it the number two in its list of the 101 greatest screenplays, after Casablanca.[189]
2008 Voted in at No. 1 on Empire magazine's list of The 500 Greatest Movies of All Time.[190]
2012 The Motion Picture Editors Guild listed The Godfather as the sixth best-edited film of all time based on a survey of its membership.[191]

text: American Film Institute recognition

text:
1998 AFI's 100 Years...100 Movies – No. 3[192]
2001 AFI's 100 Years...100 Thrills – No. 11[193]
2005 AFI's 100 Years...100 Movie Quotes:
"I'm going to make him an offer he can't refuse." – No. 2[194]
2006 AFI's 100 Years of Film Scores – No. 5[195]
2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 2[196]
2008 AFI's 10 Top 10 – No. 1 Gangster Film[197]

text: Cultural influence

text: Although many films about gangsters preceded The Godfather, Coppola's heavy infusion of Italian culture and stereotypes, and his portrayal of mobsters as characters of considerable psychological depth and complexity was unprecedented.[198] Coppola took it further with The Godfather Part II, and the success of those two films, critically, artistically and financially, opened the doors for numerous other depictions of Italian Americans as mobsters, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos.  A comprehensive study of Italian American culture on film, conducted from 1996 to 2001 by the Italic Institute of America,[199] showed that close to 300 movies featuring Italian Americans as mobsters (mostly fictitious) have been produced since The Godfather, an average of nine per year.[200]

text: The Godfather epic, encompassing the original trilogy and the additional footage Coppola incorporated later, is by now thoroughly integrated into American life and, together with a succession of mob-theme imitators, has led to a highly stereotyped concept of Italian American culture. The first film had the largest impact and, unlike any film before it, its depiction of Italians who immigrated to the United States in the early decades of the 20th century is perhaps attributable to the Italian American director, presenting his own understanding of their experience. The films explain through their action the integration of fictional Italian American criminals into American society. Though the story is set in the period of mass immigration to the U.S., it is rooted in the specific circumstances of the Corleones, a family that lives outside of the law. Although some critics have refashioned the Corleone story into one of universality of immigration, other critics have posited that it leads the viewer to identify organized crime with Italian American culture. Released in a period of intense national cynicism and self-criticism, the American film struck a chord about the dual identities inherent in a nation of immigrants.[201] The Godfather increased Hollywood's negative portrayals of immigrant Italians in the aftermath of the film and was a recruiting tool for organized crime.[202]

text: The concept of a mafia "Godfather" was an invention of Mario Puzo's and the film's effect was to add the fictional nomenclature to the language. Similarly, Don Vito Corleone's unforgettable "I'm gonna make him an offer he can't refuse"—voted the second-most memorable line in cinema history in AFI's 100 Years... 100 Movie Quotes by the American Film Institute—[203] was adopted by actual gangsters.[citation needed] In the French novel Le Père Goriot, Honoré de Balzac wrote of Vautrin telling Eugene: "In that case I will make you an offer that no one would decline."[204]

text: Real-life gangsters responded enthusiastically to the film, with many of them feeling it was a portrayal of how they were supposed to act.[205] Salvatore "Sammy the Bull" Gravano, the former underboss in the Gambino crime family,[206] stated: "I left the movie stunned ... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way." According to Anthony Fiato after seeing the film, Patriarca crime family members Paulie Intiso and Nicky Giso altered their speech patterns closer to that of Vito Corleone's.[207] Intiso would frequently swear and use poor grammar; but after the movie came out, he started to articulate and philosophize more.[207]

text: Television

text: John Belushi, appearing in a Saturday Night Live sketch as Vito Corleone in a therapy session expressing his inner feelings towards the Tattaglia Family, says, "Also, they shot my son Santino 56 times".[208]

text: In the television show The Sopranos, Tony Soprano's topless bar is named Bada Bing, echoing the line in The Godfather when Sonny Corleone says, "You've gotta get up close like this and bada-bing! You blow their brains all over your nice Ivy League suit."[209]

text: The film has been parodied several times on the animated television series The Simpsons. In the season three episode "Lisa's Pony" Lisa wakes up to find a horse in her bed and starts screaming. The music and the scene itself resemble the famous "horse's head" scene in The Godfather. In the season four episode "Mr. Plow", the scene in which Sonny Corleone is shot at the tollbooth is mimicked when Bart Simpson is pelted with snowballs.[210][211] The scene is again parodied in the season sixteen episode "All's Fair in Oven War", which includes James Caan as himself in a guest voice role. In the season eighteen episode "The Mook, the Chef, the Wife and Her Homer", the film's final scene is mimicked with a door being closed on Lisa Simpson.[212]

text: Home media

text: The theatrical version of The Godfather debuted on American network television on November 16, 1976, on NBC, and again two days later, with only minor edits.[213] The television airings attracted a large audience and helped generate anticipation for the upcoming sequel.[213] The next year, Coppola created The Godfather Saga expressly for American television in a release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that toned down the violent, sexual, and profane material for its NBC debut on November 18, 1977.[214] In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities.[214] The Godfather Trilogy was released in 1992, in which the films are fundamentally in a chronological order.[215]

text: The Godfather Family: A Look Inside was a 73-minute documentary released in 1991.[216] Directed by Jeff Warner, the film featured some behind the scenes content from all three films, interviews with the actors, and screen tests.[216] The Godfather DVD Collection was released on October 9, 2001, in a package that contained all three films—each with a commentary track by Coppola—and a bonus disc containing The Godfather Family: A Look Inside.[217] The DVD also held a Corleone family tree, a "Godfather" timeline, and footage of the Academy Award acceptance speeches.[217]

text: The Godfather: The Coppola Restoration

text: During the film's original theatrical release, the original negatives were worn down due to the reel being printed so much to meet demand.[218][219] In addition, the duplicate negative was lost in Paramount archives.[219] In 2006 Coppola contacted Steven Spielberg—whose studio DreamWorks had recently been bought out by Paramount—about restoring The Godfather.[218][219] Robert A. Harris was hired to oversee the restoration of The Godfather and its two sequels, with the film's cinematographer Willis participating in the restoration.[220][221] Work began in November 2006 by repairing the negatives so they could go through a digital scanner to produce high resolution 4K files.[218][219] If a negative were damaged and discolored, work was done digitally to restore it to its original look.[218][219] After a year and a half of working on the restoration, the project was complete.[219] Paramount called the finished product The Godfather: The Coppola Restoration and released it to the public on September 23, 2008, on both DVD and Blu-ray Disc.[220][221] Dave Kehr of The New York Times believed the restoration brought back the "golden glow of their original theatrical screenings".[220] As a whole, the restoration of the film was well received by critics and Coppola.[218][219][220][221][222] The Godfather: The Coppola Restoration contains several new special features that play in high definition, along with additional scenes.[222]

text: Video game

text: The game is based upon this film and tells the story of an original character, Aldo Trapani, whose rise through the ranks of the Corleone family intersects with the plot of the film on numerous occasions.[223][224] Duvall, Caan, and Brando supplied voiceovers and their likenesses,[225] but Pacino did not.[225] Francis Ford Coppola openly voiced his disapproval of the game.[226]


document_title: This Is My Country

question_text: who wrote the song this is my country

question_tokens: who wrote the song this is my country

text: This Is My Country

text:
"This Is My Country"

Song

Written
1940

Genre
Patriotic song

Composer(s)
Al Jacobs

Lyricist(s)
Don Raye

text: "This Is My Country" is an American patriotic song composed in 1940. The lyrics are by Don Raye and the music is by Al Jacobs.[1] Fred Waring and His Pennsylvanians were the first to record the song, in 1942. The song is played at the end of Walt Disney World and Disneyland fireworks shows.[1]

text: Lyrics[edit]

text: The folk song begins slowly, opening with:

text: It then swings into a march tempo for the verse.

text: The song is made notable by the fact that it honors both native-born Americans and immigrants. The first verse reads:

text: While the second verse (sung on a repeat, as the introduction is not repeated) instead reads:

text: Both versions join together at the ending: