The Art Of Adapting Classics For The Silver Screen: Celebrating Must-see Book Adaptations – Posted by nighthawk4486 under Best Adapted Screenplay: 1974 Academy Awards , Eric , Movies , Lists , Literature | Tags: Academy Awards , Adapted Screenplay , Billy Wilder , Coppola , Film , Golden Globes , Kurosawa , List , Literature , Mel Brooks , Robert Altman , Sidney Lumet |
This scene is not in the original novel even though it takes place in the period of the novel. The novel also doesn’t say that Don’s birthday is December 7th. This is pure cupola.
The Art Of Adapting Classics For The Silver Screen: Celebrating Must-see Book Adaptations
Note: If you look at my original Nighthawk Awards, you will see nine films listed. But, looking back
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, which I needed to review anyway because it was a WGA nominee, I was reminded that it should be first on my list because the script is actually quite good.
Note: Five films were eligible for Best Screenplay nominations at the original 1974 BAFTA (
Like the first movie, I saw this movie with Veronica who saw it for the first time. He was impressed by the scope of the film and the performances of Pacino and De Niro. Although his constant refrain through the movie is, “Oh my God, Fredo, you’re so dumb.” It’s a great movie, definitely one of the best sequels of all time, if not the best. But it’s not the best movie of the year (it will be
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I have written about my novel based on the original 1972 film. The part of the book used for the film is Book III of the book (includes pages 183-214), although it is true that only pages 183-199 are used to cover the period at the end of the flashback scene in this film and before the action begins in the first film. .
“From the beginning, Coppola was enticed by the possibility of telling two stories in the film, the first featuring Vito Corleone as a young man who will become the most powerful crime family on the East Coast; The other depicts his son Michael at the same age, presiding over the same household, now isolated and lose its effect. (
“There was very little unused material that he could work into a new film, and he had ideas for small parts of the novel – flashback scenes in Little Italy – that he planned to use.” (Schumacher, p. 162)
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“Most of the events of the modern story were invented by Coppola. Some of them were suggested by contemporary newspaper accounts. . . . Flashbacks to young Vito’s life in New York ‘Little Italy’ are drawn from material left over from Puzzo’s novel-the historical background of the first film has no space, in fact, the third book of the novel is a thirty-page account of the Mafia’s roots in Sicily and Vito Corleone’s subsequent rise to power as Mafia leader to his immigration. United States (The Godfather: The Intimate Francis Ford Coppola, Jean D. Phillips, page 115)
All of them are accurate – although some scenes have been overdrawn and filled into the film when they are not in the book (unlike the original film, where most of the scenes come directly from the book), almost all of De Niro’s parts. the film comes from the original novel, with some significant changes: the one who was expelled by his mother (not to mention his brother who was not killed), in the novel “he changed his name to preserve some ties to his home village near Corleone. instead it was changed by an immigration official in Ellis Island, who The gun is not covered with a towel that catches fire when Fanucci is killed, and there is no more trip to Sicily to avenge the man who killed his father. Michael’s scene is not in the novel and is simply an extension of the main character, although all The actions of the characters (Connie (except Bade, who turned out to be a better character in this movie) are cute. Consistent with how they were presented in the novel and the first movie.
Produced and directed by Francis Ford Coppola. Screenplay by Francis Ford Coppola and Mario Puzo. Based on the novel The Godfather by Mario Puzo.
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There are jokes about how to pronounce the title character’s name, a silly line about arriving at Transylvania Station (after a train ride that seems to start in New York), a line about knockers, and a recurring gag about the way horses act. The name of a powerful conman who runs the palace. Nothing listed here is like a catalog of the funniest movies ever made. What’s more, it’s not just a great cacophony of laughs, it’s one of the most brilliant, innovative comedies ever made. It is not only unbearably cute but well made.
Outside of Woody Allen, there are two great names in comedy movies in the 1970s and in 1974, they made two movies together: Mel Brooks and Gene Wilder. The film was Wilder’s baby, an idea he revolved around the idea of a grandson who was ashamed of what his famous grandfather had done (Wilder would, a year later, make his directorial debut with another script that took his great love of literature. show:
, to work with Brooks again in this film if Brooks did not star in the film (he thought that stripping him would break the mood that Wilder wanted to establish). Wilder had the right idea and it’s not only one of Brooks’ best films (and many would say his best), but the director’s most beautiful work. Not only will it have the Brooks stamp of parodying the genre and so funny you think you can die, but also first-class cinematography, set and sound. It took the old Universal horror films and their look and feel (ironically, since it was a 20th Century Fox film) and combined them with Brooks/Wilder’s sense of humor.
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The premise of the film, a poor doctor who wants to escape from his family history only to adopt, is funny enough. The film work is amazing. Wilder’s performance was funny and brilliant, but somehow he was not nominated for a Golden Globe despite being nominated for the category of Best Actor – Comedy / Musical. But perhaps what really makes the film stand out is all the supporting performances. From Marty Feldman as Igor with the hump to Terry Garr as the most interesting lab assistant ever to Madeleine Khan, Cloris Leachman, Kenneth Mars and especially Peter Boyle, bringing comic timing, humor, pathos and even a sense of power. Sing and dance like a monster.
Not one of the five best films of the year. But this year, 1974, is my year, the year in which you must choose
, where you earned the nomination of both Truffaut and Bergman, and both lost It’s a great year and as great as this movie is, it can’t enter the top five amazing.
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I’ve reviewed the novel once before, when I wrote about James Whale’s 1931 production here (back in 2013 – the project is long overdue now). It’s a great novel, one that’s in my top 200 and would be considered one of the best horror novels of all time if you wanted to categorize it. But you don’t have to (read more about that in the original review).
One thing I didn’t make clear is that there is a cheaper version of the novel available, but it is the best version
(Image on the right). The original version is out of print, but it should be easy to use (although not necessarily cheap), it’s actually done, by the same author.
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. But, like many of the original annotated books, there are now new editions that you can find.
Because it’s a visual parody and sequel (“We’ve been through this five times before”), even if it doesn’t match the book, it takes parts of the book as well as parts of the previous film and gives them. humorous twist. We got the original creation scene, based more on the first movie than the novel. We have a scene with a blind man, from the original novel (and the second film) played out as the funniest scene on film (“I’m going to make espresso”). The scene with the little girl from the first movie was moved and given a lighter ending. Very few lines come from the original
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