In “Worst Best Picture” we search every single Best Picture Oscar winner of all time from 1927 to present to uncover the worst of them all. Conventional wisdom says that 2005’s winner Crash is the worst winner in history. We won’t stop until we’ve tested every last one. Read the the first, our review of Crash, here. Posts will be relatively spoiler free, but there may be some details revealed. Today’s installment is the 1972 winner The Godfather. Is it better than Crash?
Have you ever met someone who hated The Beatles? You meet those people every now and again, and it’s always a strange experience. Personally, I have to rationalize it by saying that they must just be rebelling against something that they’ve always been told to like. They must be responding to a world that says “this is the stuff we all like” by not liking it.
They’re wrong, of course, in the same way that anyone would be wrong if they hated The Godfather. If you ask anyone to make a list of the best American movies of the last 50 years, you can judge them harshly if they exclude The Godfather. Its place in the canon is secure.
It also holds up. It’s amazing even in 2014, mostly because the performances all play up to the source material. Everyone is complicated, which matters. Al Pacino shows how a man’s principles can be broken by extreme circumstances, and by the time he’s shooting a police chief with a gun stashed in a restaurant bathroom, you already believe his transformation from a simple son not looking for trouble into Michael Corleone. James Caan’s Sonny is the breathing example of “when all you have is a hammer, everything looks like a nail.” In The Godfather‘s world, where everyone has to constantly reaffirm their manhood, Sonny figures throwing a guy around in the street is as good a way as any to do so. It’s the contrast between Michael and Sonny that’s so fascinating, because that’s the contrast of human experience.
Is it better to be strong or to appear strong? At certain points of The Godfather, they’re both valuable. One of the many messages of the movie, though, is that you have to know which is more valuable in the moment. If you’re capable of both and of knowing which you should be in that situation, well, then you might be able to jump the line, even if you’re just some college kid. And to boot, Sonny is there to remind us that anger gets you what anger always gets you.
It is impressive that The Godfather still feels massive in 2014. It has the same electricity about it that Gone with the Wind and Casablanca do. You know you’re watching something special, even among a list of solely “special” movies. There are a million things going on in it that I haven’t touched on here, but this doesn’t exist as a full exploration of one of the greatest films of all time. This exists to wonder how it compares to Crash, which I’ll get into below. This also exists as a call to action. If you’re one of those people that hasn’t seen it, go shell out the three bucks and watch it online. If you have seen it, go watch it again. If you’re already watching it while you’re reading this, well, you should at least pay closer attention.
The Best Part: The ending montage is fantastic and iconic, but I’m going to go even simpler: Brando. My favorite Brando is still Stanley Kowalski from A Streetcar Named Desire, but Don Corleone is just about everything. He’s controlled rage, he’s measured response, he’s tough-but-fair counseling. He’s the heart of the movie, even as he’s confined to his sickbed. The sequel is all Pacino’s movie, but this one is all Brando.
The Worst Part: I’m going to save the discussion of gender for the sequel, which also won Best Picture, because it will make more sense there. For The Godfather itself, it’s hard to pick a “worst part. I suppose I’ll go with the scenes in Italy. It’s an important part of the plot, but it’s never been my favorite to watch when I watch The Godfather. Fine, you don’t like that, you tell me what the “worst” part of arguably the greatest Best Picture winner ever is, you’re so smart?
Is It Better or Worse than Crash? I’ve been doing a lot of thinking about Crash lately. As I get close to the halfway point, I’ve started to wonder if Crash deserves a rewatch. I’m going to give it one — reluctantly, angrily, with a heavy heart — and I’m going to try to not compare it to the dozens of incredible movies listed below. In this brief moment, however, I have to compare Crash to The Godfather. I suppose they both offer looks at worlds that aren’t enviable. The Godfather doesn’t offer a positive view of masculinity or the mob and Crash doesn’t offer a positive view of… Earth. The Godfather is about Michael’s decision to opt out of a violent life and then the external forces that compel him. I could just type “Marlon Brando” 45 times here, but I’d rather make the case that The Godfather is hopeful, because Michael gets so close. Crash offers only a brief hope at escape, and it essentially closes all of those doors on its characters. Michael nearly escapes with Diane Keaton. Isn’t that basically what we all want?
Worst Best Picture Archives: Crash | Terms of Endearment | Forrest Gump | All About Eve | The Apartment | No Country for Old Men | Gentleman’s Agreement |12 Years a Slave | The Last Emperor | The Silence of the Lambs | The Artist | A Man for All Seasons | Platoon | The Lord of the Rings: The Return of the King | The King’s Speech | Rain Man | The Departed | The Bridge on the River Kwai | Marty | Gigi | It Happened One Night | Driving Miss Daisy | Shakespeare in Love | Wings | Midnight Cowboy | Rocky | Gone with the Wind| Chicago | Gladiator | Cavalcade | The Greatest Show on Earth | You Can’t Take It With You | The Best Years of Our Lives | The Godfather
Alex Russell lives in Chicago and is set in his ways. Disagree with him about anything at firstname.lastname@example.org or on Twitter at @alexbad.