Here’s the technical skinny on this new 50th Anniversary Edition of The Godfather:
“Certainly, Paramount’s remastered 1080p Blu-ray cannot match the might and majesty of the 2160p/Doby Vision UHD release of the film, but this presentation is certainly no slouch. While it is obviously the inferior of the two, it is still a very strong image and betters the long-ago released, and remastered, Blu-ray from 2008. This new picture boasts refined textures and superior clarity and grain management. The image is breathtakingly filmic. The grain is elegantly presented, balanced for the most part with only modest spikes in density here and there, inherent to the film stock rather than a fault of the Blu-ray transfer process. The grain is in support of beautifully managed textures that reveal the fine appointments around the Corleone home, for instance, and in other locations throughout film where wood panels, brick facades, and other environmental components delight for muscular definition and tactile intricacy. Likewise, the picture thrives in its ability to present complex skin textures with commanding ease and efficiency. Granted, again, these lag behind the UHD but are presented at the 1080p resolution with seemingly the most complexity available to the picture at this resolution. Fine lines and wrinkles, pores, hairs, and other elements are wonderfully rendered, bringing each character to life with extravagant ease. Clothing definition is wonderful, too, capturing the high visible yield of the period textures with satisfying depth and clarity.
“The color presentation is dynamic as well. Certainly, the film’s lower light and warm appearance plays very well here. The picture is not as darkly brooding and warmly intense as it is on the UHD, but the picture certainly captures the depth of Gordon Willis’ photography and lighting with brilliant stability and authenticity. Shadow details is wonderful, and blacks are stable and accurate; the Blu-ray is well capable of allowing the film’s tonal aesthetics to shine and delight within the full context of the intended presentation parameters. Likewise, whites are crisp and brilliant, yielding no push to creaminess, grayness, or flatness. Additional tones beyond warm woods and whites and blacks are solid, too. Things like blood, natural greens, floral bouquets, and other critical and supportive content hold stable and pure. Further considering the lack of print splotches and wear, not to mention encode flaws, this picture is about as perfect as the format can deliver.”
The Collector’s Edition version of set will include a bonus Blu-ray with new special features, three commissioned illustrated portraits, and a hardcover book that features “extensive photography and an introduction from Francis Ford Coppola, housed in a beautiful foil-embossed box.” Check out the other bonus features below:
New Bonus Content:
- The Godfather: Part III—newly remastered and restored versions of the original theatrical cut and Coppola’s 1991 cut (note: these are exclusive to the 4K Blu-ray Collections)
- Introduction to The Godfather by Francis Ford Coppola
- Full Circle: Preserving The Godfather—Paramount Pictures archivists detail the incredible restoration process with archival footage showing the evolution of the film through various home entertainment incarnations as picture and audio technologies make quantum leaps over the decades.
- Capturing the Corleones: Through the Lens of Photographer Steve Schapiro— In this reflective and frank discussion, special photographer Steve Schapiro shares his unique perspective and cherished memories as a witness to the making of this seminal film. Commentary on curated archival images makes for a fascinating, never-before-seen addition to the production’s history.
- The Godfather: Home Movies— An assortment of 8mm home movie footage shot in 1971 offers a candid glimpse into the production of The Godfather. Shot on location at the Norton family estate on Staten Island’s Emerson Hill, this is the first time it’s been made available to the public.
- Restoration Comparisons— Before and after highlights showcase extensive picture quality improvements to The Godfather.
“I am very proud of The Godfather, which certainly defined the first third of my creative life,” said Francis Ford Coppola. “With this 50th anniversary tribute, I’m especially proud Mario Puzo’s THE GODFATHER, Coda: The Death of Michael Corleone is included, as it captures Mario and my original vision in definitively concluding our epic trilogy. It’s also gratifying to celebrate this milestone with Paramount alongside the wonderful fans who’ve loved it for decades, younger generations who still find it relevant today, and those who will discover it for the first time.”
Are you a fan of The Godfather? GRADE: A
Who of us is not!
Patti, fans of CITIZEN KANE insist THE GODFATHER is inferior to the Orson Welles classic. I’m on the side of THE GODFATHER.
Neither CITIZEN KANE nor THE GODFATHER PART 2 are the inarguable best film of all time, but KANE did pioneer and refine even more useful language for film. That said, good films, and G 1 & 2 prime examples of films better than their source novels. Odd that they tack 3 onto 1, but make sure they can still get an extra package out of 2, at least.
Me.
Wasn’t VERTIGO on top for a while? When you’re considering filmmaking on the level of THE GODFATHER, VERTIGO, and CITIZEN KANE, petty arguments about which is “best” are silly and futile. I love them all.
Michael, I agree with you. Senseless competition about which is “Best” seems silly to me. They’re all great movies!
CASABLANCA has its defenders too. And some say THE GODFATHER 2 is superior.
I’m with Casablanca as the best, though Vertigo and Citizen Kane are also among my favourites.
Wolf, movie fans argue about which movie is the Best…but I enjoy most of the candidates!
I just bought this on 4K but have yet to watch it. I prefer The Godfather 1 and 2 over Citizen Kane. It was a Sight and Sound magazine poll that put Vertigo at number 1. Personally, I don’t even find Vertigo to be the best Hitchcock fil much less best of all time. Casablanca and The Shawshank Redemption also have their supporters. I have a friend who opts for Forrest Gump, a film I dislike.
SHAWSHANK is not even in the top ten thousand, by me. GUMP even worse, but not by too much.
Some screw up here. Typos on my part but it is going to moderation before posting. Wish their was a way to delete a post and start all over again.
My mistake-I just saw that I typed in my name section rather than the comment section.
Steve, WORDPRESS in inflexible when it comes to editing comments.
What Patti said (up top). Great movie, and yes, I agree with you about the second one being better, mainly because of the De Niro scenes. That’s why we like the watch the chronological version, starting with his boyhood in Sicily, the move to Little Italy, the first “offer he can’t refuse” etc. Didn’t like GODFATHER III (Michael was unbearable by then) and quit after the first two movies.
And yes, I still love CASABLANCA.
Jeff, CASABLANCA is in a category of greatness all of its own.
I don’t know or care what is the “best” movie, only what are my favorite movies. They are CASABLANCA and DON’T LOOK NOW.
Did you buy one of the new versions of GODFATHER, or just pass on the information? Your illustration and text don’t seem to match, which has confused me.
I’m always happy to see another admirer of DON’T LOOK NOW, my own favorite on most days. On other days it’s MULLHOLLAND DRIVE or RIO BRAVO.
Michael, most people don’t know DON’T LOOK NOW was adapted from the 1971 short story by Daphne du Maurier.
Most, George? I’d say most informed film-fans. These days I imagine a lot of people don’t know about Puzo.
Todd, if film-fans watch THE OFFER, they will see a Buffalo, NY actor–Patrick Gallo-playing the role of Puzo.
That is, most informed film-fans know the source material of DON’T LOOK NOW is by du Maurier.
FictionMags Index notes but doesn’t document a 1966 first publication for “Don’t Look Now” the novella, while citing the 1970 magazine publication as the first one with source, so Now That will buzz in my ears for a while:
Don’t Look Now, (na) 1966
Ladies’ Home Journal December 1970
Todd, sorry for the buzz in your ears!
Love Don’t Look Now and Mullholland Drive. I have too many problems with Rio Bravo-Ricky Nelson couldn’t act and I always thought Dean Martin looked out of place in westerns. He always had that sleazy lounge singer look.
Steve, Dean Martin not only looked out of place in westerns, he looked out of place in the Matt Helm spy movies, too!
Jeff, I have the 50th Anniversary Edition, but when I tried to copy the cover, I got this one.
There is no “greatest” movie. It’s in the mind of the beholder, obviously.
Rick, some people love to prioritize things like movies. I’m with you, it’s all a matter of taste.