Easy Riders, Raging Bulls: The Godfather, Part II (1974)

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My history with the Godfather trilogy isn’t that of your typical movie buff…and by that I mean I’m not a ginormous fan of The Godfather. The first time I saw it several years ago I really wasn’t a fan – I disliked Marlon Brando’s mumbling, I thought it was overlong with not much interesting happening, I didn’t like how it ended, I just…didn’t get it. I rewatched it a few months ago and appreciated it a lot more – I like the ending now, for example, and I can handle the pacing better, though I’m still not really a big fan of Brando (not just in this film, I’m not a Brando fan in general), and I still don’t particularly care for the way the Italy-set section plays out. But I can definitely understand now why people do like it, and I’m prepared to give it props for the many, many things it does beautifully. Anyway, from what I’d heard I was hoping to like The Godfather Part II a bit better. And I did, quite a bit better.

While The Godfather focuses on the changing of the guard from Vito Corleone to his son Michael and how Michael deals with becoming the leader of a family business he’d once hoped to escape, The Godfather Part II has a two-pronged story – alternating segments tell the story of Vito Corleone’s emigration to America as a boy and how he became a Mafia boss, and the continuing story of Michael as he tries to manage the family in the years after his father’s death. Perhaps predictably, given my ambivalent feelings towards the first film, I still found myself a little uninterested in Michael’s problems, but every single scene in the Vito story had me totally rapt.

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Easy Riders, Raging Bulls: New Hollywood Marathon

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My largest and most glaring gap of cinematic knowledge, at least of American film, is easily the 1970s. I grew up watching the films of the Hollywood studios’ golden era, the 1930s-1950s, and of my own generation, the 1990s-current, but have only sporadically caught the films in between. Given that many of the greatest and most iconoclastic American films of all time come from the 1970s, I have decided that enough is enough, and this year I am going to eliminate my New Hollywood list of shame, which includes: The Godfather Part II, M*A*S*H, The Exorcist, Five Easy Pieces, McCabe and Mrs. Miller, Badlands, Apocalypse Now, Raging Bull, and others.

easy-riders-raging-bulls.jpgBecause my knowledge of the whole era is a little superficial, I’m reading Peter Biskind’s book Easy Riders, Raging Bulls: How the Sex & Drugs & Rock & Roll Generation Saved Hollywood to give myself a background in the history and temperament of the era, and watching the films he discusses while I’m reading. And I figured, might as well share my journey through New Hollywood as I go. The list of films you’ll find after the cut is culled from Biskind’s book and Wikipedia’s entry on New Hollywood, leaving out some that I have already seen.

One thing that has fascinated me as I worked on creating this master list is how varied the films are – drama, comedy, action, satire, war, crime, romance, horror, western, science fiction, concert film and period piece are all among the genres represented. What they have in common: 1) a willingness to push the boundaries of what cinema was allowed to do and to explore themes of sexuality, antiheroism, and isolation that were previously taboo, 2) a sense of brashness and raw vitality brought by the eager young filmmakers wresting the reins from entrenched studios, 3) a tendency to focus on character and script rather than plot, and 4) a knowledge of and appreciation for cinema itself, from the masters of Golden Age Hollywood to the imports coming from Europe and Japan.

This quote from Biskind’s introduction I think sums it up nicely:

[The 1970s were] the last time Hollywood produced a body of risky, high-quality work — work that was character-, rather than plot-driven, that defied traditional narrative conventions, that challenged the tyranny of technical correctness, that broke the taboos of language and behavior, that dared to end unhappily. […] In a culture inured even to the shock of the new, in which today’s news is tomorrow’s history to be forgotten entirely or recycled in some unimaginably debased form, ’70s movies retain their power to unsettle; time has not dulled their edge, and they are as provocative now as they were the day they were released. […] The thirteen years between Bonnie & Clyde in 1967 and Heaven’s Gate in 1980 marked the last time it was really exciting to make movies in Hollywood, the last time people could be consistently proud of the pictures they made, the last time the community as a whole encouraged good work, the last time there was an audience that could sustain it.

And it wasn’t only the landmark movies that made the late ’60s and ’70s unique. This was a time when film culture permeated American life in a way that it never had before and never has since. In the words of Susan Sontag, “It was at this specific moment in the 100-year history of cinema that going to the movies, thinking about movies, talking about movies became a passion among university students and other young people. You fell in love not just with actors but with cinema itself.” Film was no less than a secular religion.

A few Row Three contributors have already shown an interest in writing about some of these as well; if you’d like to watch and share your thoughts about any of them, please do! See also the list at the bottom, which includes several films I’ve already seen and don’t intend to rewatch and write about, but someone else certainly could. If you’re not a R3 contributor and would like to join in, just email me and I’ll post your reviews with credit.

 

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