Nostalgia Movie Weekend

 

There is no greater tribute to the quality of a film than the fact that it resonates with audiences many years after it was first shown to them. The Screening of "The Godfather" that I attended on Friday, is basically a commercial for the 4K transfer and Blu-ray that is being released next month. This year marks the fiftieth anniversary of the film and it continues to be among the finest movies ever made, if not in fact the best film ever made. Our screening was packed. That's right, a fifty year old film, that is available on multiple platforms and formats, is still able to draw an audience to a movie theater and that is the miracle of this movie. 

Five years ago, at a similar screening, I offered thoughts on the film that mentioned two scenes that again stood out. I will let you go back to that post for those details, instead let me offer two other moments to focus on for this screening. The very first scene with Brando is spellbinding. He speaks in a passive voice and he is not really focused on the supplicant who wants him to do murder, he is fondling a cat. Famously, this was not scripted but was a result of the stray animal being on the set and Brando improvising. It fits in perfectly with the persona of Don Corleone, who is only half listening to the undertaker seeking vengeance, but is also confident enough to hide his thoughts in this playful moment. 

Later, when he is taking the meeting with Sollozzo, he looks like a mildly interested man who wants the meeting to be done with but is polite enough to be slightly more attentive. When he moves over to speak to Sollozzo more intimately, he dusts off his conversation partner's knee in a familiar fatherly gesture, even at the moment he is turning down the proposal. It is clear that Vito Corleone has a personal charisma that is not loud and overpowering but rather soft and subdued. The only time we hear him raise his voice is when he is mocking Johnny Fontaine, his Godson, and most of that volume is exaggerated for their relationship, not real anger. This is a man who knows how to influence people and woo them to his patronage. That it fails him with the "Turk" is just a catalyst for the story. 

Once again, anyone who has not seen this film on the Big Screen is missing a marvelous chance to be absorbed into one of the greatest films of all time.

The very next night, we also traveled back to a critically acclaimed Best Picture winner, that I have loved since I first saw it when I was nine or ten. 

Just as the Godfather experience I wrote about above had a five year precursor screening, it has been five years since we had the same sort of performance for "West Side Story". This was not your typical screening but rather a presentation of the film with a live orchestral accompaniment. Back in 2017, we saw the film with the Los Angeles Philharmonic at the Disney Concert Hall in Los Angeles. Having relocated to the Austin area almost 18 months ago,  it was taking me a while to get back to live Orchestra performances. Two weeks ago we saw the Austin Ballet Company perform "A Midsummer Nights Dream" it was a lot of fun but the orchestra was in a pit and the focus was on the dance.  Last night the stage was filled with a hundred plus musicians and a large screen above them for the movie to play on. 

I found the Austin Symphony Orchestra to be a powerful  ensemble who played excellently. There was not a dominant section that stood out because all the instruments were solid and the scoring matched the design of the film. I was happy to be listening to live concert music and it simply doubled the pleasure that it was with a great movie.

Again, I will refer you to the earlier post for a complete discussion of the film, but for this post I do want to take time to talk about a couple of things. All props to Rita Moreno and George Chakiris who deserved their awards back in 1961, but it is frequently overlooked as to how effective Natalie Wood was in the role of Maria. It is true that she did not do her own singing and she was not of Puerto Rican heritage, but she looks wonderful on screen. Woods dances elegantly in several of the numbers that require her to be light on her feet, and her visual performance in close ups is completely in keeping with the character.

Live Music, a classic film musical, and the recent Spielberg remake to stoke interest was enough to get me out for this. 

TCM/Fathom Events: 45th Anniversary of The Godfather

Sometimes you just have to sit in awe of what great film makers are able to achieve in the hot spot of their careers. For the ten years between 1969 and 1979, Francis Ford Coppola was the undisputed king of American Cinema. Four of his films were nominated for the Academy Award for Best Picture, two of them won the award, and a third film that he wrote also was named Best Picture. This evening I celebrated in 45 years of basking in his masterpiece, "The Godfather". I surreptitiously read the book when I was fourteen years old. I know my parents would not have approved but it was something everybody was talking about so I took a paperback copy with me around the corner from our apartment building and sat on a curb, devouring it for several days. Sure I memorized the racy bits, I was 14, but I also could tell this was a tremendous story and it should make a heck of a film. I'm not sure how I managed to talk my Dad into taking me to see it, but I know we went that Spring, when the lines were long and saw it in the Alhambra Theater. I was maybe a little self conscious sitting next to my old man when the nude scene showed up, but the rest of the film was so powerful that such discomfort never detracted from the experience. That was 1972.

I'm sure I saw the film a couple more times in the following two years as I awaited the sequel, a concept that up to that point was largely the realm of genre films.  One of the first dates I had with my future bride involved dragging her to a double feature of the two Godfather films, one where it turned out they decided to skip an intermission between movies. So my girlfriend and I sat there for six and a half hours straight, and she still married me a few years later. The film was one of the first acquisitions I made when VHS tapes came along. Before the price points dropped in the mid-80s to create a sell through market, most films were only available for $70 or $80 bucks, and this was more than thirty years ago. I pulled that trigger as soon at I could. It was a substantial commitment for a young married couple, and I was trying to get by on part time teaching. That's how important as a piece of art and culture it was and is to me.

I've seen it several more times over the years, on the big screen. The last time was two years ago when it was accompanied by a live orchestra performing the score for three hours as the film played for nearly six thousand people in what was at the time the Nokia Theater in Los Angeles. Tonight's screening was nothing so fancy. It was a 4K projection at a Chain Complex on a Wednesday night. There were maybe twenty people there, but when it was all over several of us spoke to one another about what a wonderful experience it was. There was applause at the end of the movie, and the somber silence that always comes when that door gets closed on Kay's face.

I tried to watch things that I did not always focus on in prior screenings. There are two exceptional moments when the camera slowly takes in what is happening in front of us and lets the anticipation occur without fanfare. The reveal of exactly what it is that Jack Woltz has in his bed is horrifying enough. We watch as he turns in his sleep ever so slightly, then the satin sheet gets pulled down from his face fairly slowly. He feels the dampness but hesitates just a moment, the right amount of time before he throws down the bedclothes past his waist, and then, there is the quick reveal of Khartoum and the lingering horrified cry of fear and anguish from the movie producer, which extends in a echo as the scene shifts to Don Corleone with just the slightest of smiles on his face. The whole scene is iconic but watch how the pacing builds it so well. The second spot I distinctly remembered is in the restaurant before Solozzo and Captain McClusky make their exits from the story. We know what the plan is, we can see tension on Michael's broken face but we have to sit still as the waiter, brings a bottle of wine, shows it opens it with an old fashioned corkscrew that takes some time, and then pours a small amount into a glass that Solozo then extends to Michael. Waiting for the waiter to go through that whole ritual, without any dialogue, just the characters sitting there waiting themselves, it is something you don't see in movies anymore. 

There are a hundred other moments that deserve some attention, but that will have to wait for another time. Everyone reading this has almost certainly seen this film and if you haven't what the hell is going on? Make an effort to share this experience with a group of strangers in a dark theater. Be prepared to try and catch your breath as it is stolen from you by the brutal poetry of this story and film. There is a reason that many consider it the greatest film ever, it is visual and emotional perfection.