god father movie review times of india

We've detected your location as Mumbai . Do you want to switch?

Accurate city detection helps us serve more contextual content

• You are in (Delhi) Change City
• ETimes Home
• Web Series Trailers
• Movie Reviews
• Movie Listings

Visual Stories

• Did You Know?
• Bigg Boss 17
• Relationships
• Health & Fitness
• Soul Search
• Home & Garden
• Women's Day Special

Entertainment

• Music Awards
• Bhubaneshwar
• humburgerIcon humburgerIcon humburgerIcon

• Cast & Crew
• Movie Review
• Users' Reviews

The film, God Father directed by Mohan Raja featuring Chiranjeevi, Nayanthara, Satyadev Kancharana and Bollywood star Salman Khan in a cameo, proves to be a worthy remake. Chiranjeevi embodies the character of Brahma brilliantly and comes up with a charismatic performance. Engaging screenplay, exhilarating background score and neat camera work make this political drama a festive watch. It’s safe to say the boss is back!

God Father Movie Review: Chiranjeevi delivers a charismatic performance in this worthy remake

• Times of India

God Father - Official Trailer

God Father - Official Teaser

God Father - Official Hindi Teaser

God Father | Song - Najabhaja (Lyrical)

SUBSCRIBE NOW

Get reviews of the latest theatrical releases every week, right in your inbox every Friday.

Thanks for subscribing.

Please Click Here to subscribe other newsletters that may interest you, and you'll always find stories you want to read in your inbox.

Suhas Jinka 95 424 days ago

chiru sir gave a exclusive work and he suits the film and Salman sir played a gud role ,but climax was bad

Surya Manupati 429 days ago

Aeko Raja vishwaroopa dhaari, sashinche dharmachari. Anthe leni aadipatya shali.

deepu rockzz 5 468 days ago

Saysavalisyed 501 days ago.

Ub hff. Hg m no hi hi hi hi hu ��hu ki vasta rapu hu ki vasta rapu na hu ki vasta rapu na

Karthi User 502 days ago

Nothing apart from Chiranjeevi's performance. Can’t deliver justice to the original (Lucifer). Chiru sir matched the Charishma of Mohanlal but the modified script made it a little boring. Salman khan has a cameo but it’s too routine. One time watchable that too just for Chiranjeevi. Else you can skip it 

Isha Ambani to Demi Moore: Best jewellery selection at Met Gala 2024

​Inside pics; Prachi Singh's birthday bash​

10 foods that help promote healthy lungs naturally

Baby names starting with the letter 'D'

9 gentle ways to break up

How Alia Bhatt turned heads in a unique Sabyasachi sari at Met Gala 2024

Anupama Parameswaran looks priceless in her white saree

10 heartwarming pics of animal friendship

Kishen Bilagali's edgy style sets new fashion trends

How to make comforting Potato Masala Sandwich

• Entertainment /
• Movie Reviews /
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

Choose your reason below and click on the Submit button. This will alert our moderators to take action

• Foul language
• Inciting hatred against a certain community
• Out of context/Spam
• Copied from article

'God Father' movie review: Chiranjeevi is back with a bang

2022 had been a low year for Chiranjeevi, the actor, who isn’t prone to much criticism in his illustrious career. The Megastar of Telugu cinema has been caught in the eye of a storm for his choice of scripts after the debacle of Acharya. And then, we witness God Father, an official adaptation of Mohanlal’s 2019 Malayalam action drama Lucifer. The revenge drama, in a sense, is filled with high-octane action blocks and some solid surprises, including a crucial cameo from Bollywood superstar Salman Khan as Masoom Bhai.

Coming to the story, the death of Chief Minister PKR (Sarvadaman D Banerjee) has his party looking for his successor. PKR’s son-in-law and his party’s IT wing in charge Jayadev (Satyadev Kancharana) wants to lobby for the top chair by pooling funds, albeit illegally, and also wants to wrest power while pushing his vested interests with the help of the drug mafia based in Mumbai. However, there’s one man destined to shatter his dreams and stand as an obstacle — Brahma (Chiranjeevi).

Set in the backdrop of politics, God Father comes as a breath of fresh air for Chiranjeevi, who is known for his commercial potboilers. Chiranjeevi, with his inimitable style and swag, carries the film on his strong shoulders and delivers a knockout punch. Without actually throwing too much light on the demise of PKR, God Father —unlike its original —sharpens its focus by concentrating on the contemporary socio-political scenario. The first half clearly establishes the characters, with God Father’s refusal to bow down to the star image of its leading man. When the high-voltage action sequence or a mass moment arrives, Chiru does it so in his typical style, but his character arc saves it from being projected as an over-the-top tribute to his huge mass appeal.

When Brahma steps into the party meetings to share his opinion, he is confident and has pointers when it’s time for him to open up. It’s quite refreshing to see Chiranjeevi as Brahma because a star and someone who has thrashed a dozen guys barely a scene ago, but inside the party office meeting or inside the jail—an environment he has never expected to be a part of—he is perfectly Brahma, the once dreaded gangster Qureshi, who is as dangerous as a lion that’s waiting calmly for its prey.

The confrontation scenes between Brahma-Jayadev/Brahma-Narayana Varma (Murli Sharma) and the skirmish between Brahma and an honest investigative journalist Govardhan (Puri Jagannadh) display a confident Chiranjeevi, something that we haven’t seen in his last project. When a mass hero like Chiranjeevi talks less and acts with his eyes, then the sky’s the limit and it is where director Mohan Raja has succeeded to the fullest.

In stark contrast to Brahma is his nemesis Jayadev, whose character is pretty much an embodiment of evil. Satyadev is undoubtedly loud, but in a few scenes, he has outshined Chiranjeevi that we hate him. It would be an exaggeration to say that all the characters and all the scenes in the film have a purpose and have worked like a charm. There is attention to the smallest details in God Father, like the art direction, the lighting, and particularly Nirav Shah’s intuitive camera that knows just how to capture the lovely yet sombre mood of a few scenes. S Thaman’s beautiful songs and captivating background score add another layer of feeling to the riveting revenge drama here. It’s a film that’s so close to perfection with small lapses that come as convenient coincidences in the plot.

All the actors delivered pitch-perfect performances. But it was Chiranjeevi’s show all the way. The way he carried his own charisma, energy, swag, and mass appeal is just brilliant. Murli Sharma deftly marries a power-hungry politician’s vulnerability with the naivety of a helpless leader who believes he is entitled to become the Chief Minister of the state. Satyadev, playing a power-obsessed antagonist and unyielding in equal measure is a delight to watch.

He springs a surprise with his adept performance but has to work more on his diction as we find it difficult to understand his dialogues in a few instances. Shifting seamlessly from feisty to fragile to bitter, Nayanthara delivers a deeply heartfelt performance that feels mature beyond her years. Salman Khan makes an impact in his limited screen time. Overall, God Father is a feast for Chiranjeevi fans, who have been longing to watch the actor in him for years now. Watch it definitely for the Megastar, who delivers enough bang for your buck!

Cast: Chiranjeevi, Nayanthara, Satyadev, Salman Khan

Director: Mohan Raj

Rating: 3.5/5 stars

Follow The New Indian Express channel on WhatsApp  

Download the TNIE app to stay with us and follow the latest

Related Stories

• India Today
• Business Today
• Reader’s Digest
• Harper's Bazaar
• Brides Today
• Cosmopolitan
• Aaj Tak Campus
• India Today Hindi

GodFather Movie Review: Chiranjeevi turns ‘boss of bosses’ in Lucifer remake with Salman for company

Godfather, starring chiranjeevi and salman khan, is an action-packed remake of mohanlal’s lucifer. the telugu movie proves to be a treat for megastar’s fans, says our review..

Listen to Story

• GodFather features Chiranjeevi in the titular role.
• The film is directed by Mohan Raja,
• GodFather opened in theatres on October 5.

Mohanlal's Lucifer wasn't exactly a masterpiece or an example of brilliant storytelling. The narrative felt a bit cliched despite several rousing moments. Also, most of the twists were quite predictable. The film, however, proved to be a treat for Lalettan's fans as it gave the Complete Actor ample scope to showcase his abilities. The same pretty much applies to GodFather, its Telugu remake. The Chiranjeevi-led political thriller, however, is massier and more action-packed than the Malayalam version.

GodFather revolves around Brahma (Chiranjeevi), a mass leader with a mysterious past, who influences his state's political discourse despite being in 'exile'. He returns to politics following his mentor and the sitting Chief Minister PKR's death. He soon realises that the state is in political turmoil as many individuals with nefarious intentions are eager to occupy the CM's chair. As the film progresses, we learn more about his equation with Sathyapriya (Nayanthara). This sets the stage for a deadly showdown between him and his foes.

The basic storyline has pretty much everything - right from action scenes to punch dialogues - that one expects from a film headlined by a mass hero. The plot reaches its potential due to the solid packaging. Each scene manages to build an aura around Chiranjeevi's character.

GodFather opens with a series of slow yet intense scenes which establish the film's world. These sequences work as they have a sense of urgency, which makes it easier for the viewers to relate to the reel action. They do a pretty good job of setting the stage for Chiranjeevi’s massy entry. The actor’s introduction scene is subdued compared to the ones we saw in SS Rajamouli’s RRR and the Nandamuri Balakrishna-led Legend. It, however, packs a punch mainly because of Chiranjeevi’s stellar screen presence. The action scenes again do justice to the veteran actor’s ‘Boss of the Bosses’ image and come across as extremely stylish without being over-the-top.

There are a couple of twists here and there. They, however, don’t work any better than they did in Lucifer. That said, they might appeal to those who aren’t familiar with the original.

It is, however, the track involving Chiranjeevi and Nayanthara that helps GodFather soar above Lucifer. Their emotional scenes feel more organic and natural than the ones featuring Mohanlal and Manju Warrier in the original version. Short and effective punch dialogues are widely regarded as the hallmark of a Mohan Raja movie. Thani Orvan, for example, featured memorable one-liners like ‘‘I love Deals’ and ‘kill at first betrayal’, which had tremendous situation appeal. GodFather is no exception. It boasts punchlines such as ‘yeh family matter hai’ and ‘ I can’t be away from politics’, which amps up its recall value.

Coming to performances, Chiranjeevi is the heart and soul of GodFather. The veteran acts with his eyes, adding depth to each scene he appears. His intensity is personified in his scenes with his foes. The star is equally impressive in the softer sequences, which are an integral part of the narrative. His expressions in a scene where he sees his mentor’s dead body are worth their weight in gold. Nayanthara is top-notch in a role that requires her to be aggressive yet vulnerable in equal measure. Her introduction scene does justice to her standing in the industry.

Satyadev is sincere but doesn’t quite measure up to Vivek Oberoi, who played a similar character in Lucifer. That said, this is a step in the right direction for him and may pave the way for bigger films in the near future.

Murali Sharma breathes life into a character that could have been reduced to a caricaturish sidekick. His effortless performance, however, helps him stand out. Puri Jagannadh springs a surprise with his work in GodFather. While he isn’t able to hold his own against Chiranjeevi, it is refreshing to see the Liger director try something different.

It is, however, Salman Khan who proves to be GodFather’s biggest surprise package. The film does justice to his action hero image. Bhai sets the screen on fire (quite literally) in his scenes. The Tiger 3 star’s ‘main kanoon ki bhi nahi sunta’ line is a treat for those who liked his work in Wanted, a remake of Mahesh Babu’s Pokiri.

Editing by Marthand K Venkatesh is up to mark even though a scene involving a ‘movie screening’ feels a bit unnecessary as it breaks the film’s flow. The rousing background score by S Thaman adds a larger-than-life feel to the hero elevation scenes. The songs, however, are a total letdown. Not one of them does justice to the standards that Thaman set for himself with his work in Allu Arjun’s Ala Vaikunthapurramuloo. The other technical aspects have been handled with competence.

To conclude, GodFather is a grand celebration of the brand Chiranjeevi that proves to be a treat for the veteran hero’s ardent fans.

3 out of 5 stars for GodFather. Published By: K Janani Published On: Oct 5, 2022 --- ENDS --- ALSO READ | Chiranjeevi’s GodFather title track out. New song from Mohan Raja’s film celebrates a mass leader

• Cast & crew
• User reviews

After the death of a political leader, a mysterious man steps in to ascend the throne. After the death of a political leader, a mysterious man steps in to ascend the throne. After the death of a political leader, a mysterious man steps in to ascend the throne.

• Lakshmi Bhupala
• Murali Gopy
• Chiranjeevi
• Salman Khan
• 54 User reviews
• 12 Critic reviews
• 1 win & 2 nominations

• Brahma Teja …

• Vettavaliyan Masoom Bhai

• Sathyapriya Jaidev
• Businessman

• Bharath Naidu

• Agent Simon

• Item number

• (as Sriram Reddy)

• All cast & crew
• Production, box office & more at IMDbPro

More like this

Did you know

• Trivia First time megastar Chiranjeevi and Salman Khan come to gather in a film.
• Connections Remake of Lucifer (2019)
• Soundtracks Thaar Maar Thakkar Maar (Telugu) Music by S. Thaman Lyrics by Anantha Sriram Performed by Shreya Ghoshal

Technical specs

• Runtime 2 hours 37 minutes

Related news

Contribute to this page.

• See more gaps
• Learn more about contributing

More to explore

Recently viewed

Subscribe Now! Get features like

• Latest News
• Entertainment
• Real Estate
• DC vs RR Live Score
• HP Board Result 2024 Live
• Lok Sabha Election 2024 Voting Live
• Lok Sabha Election 2024
• Election Schedule 2024
• DC vs RR Live
• IPL 2024 Schedule
• IPL Points Table
• IPL Purple Cap
• IPL Orange Cap
• The Interview
• Web Stories
• Virat Kohli
• Mumbai News
• Bengaluru News
• Daily Digest

GodFather Twitter reviews: Fans react to Chiranjeevi’s Telugu remake of Mohanlal’s Lucifer, call it 'blockbuster'

Godfather movie reviews on twitter praised chiranjeevi’s film. the telugu drama is the remake of malayalam hit film lucifer, which starred mohanlal in the lead role..

Chiranjeevi’s GodFather released in theatres on October 5. Many on Twitter are sharing their opinion after watching the Telugu remake of the Mohanlal -starrer Lucifer. The Malayalam had film released in 2019 and was a box office hit. Apart from Chiranjeevi, GodFather stars Nayanthara, Satya Dev, and Puri Jagannadh, among others. Actor Salman Khan is also seen in an extended cameo in the film; he also promoted his Telugu debut alongside Chiranjeevi at recent events. Mohan Raja has directed the film. Also read: Chiranjeevi says he wasn’t satisfied with Lucifer, leaves Mohanlal fans upset

How are fans reacting to the Chiranjeevi ’s latest Telugu film on social media? While some praised GodFather for being a faithful remake of Lucifer, others said Chiranjeevi had done a good job. Salman’s cameo was also appreciated by fans. One person tweeted, “Perfect, pure mass and family entertainer. Chiranjeevi’s swag is next level. Sallu bhai (Salman Khan) did his role perfectly.” The music from S Thaman was also praised. One tweet read, “A good political action-thriller that is a faithful remake, which sticks true to the core but has changes that keep the proceedings engaging. Megastar (Chiranjeevi) and Thaman show all the way. Fine job of making changes without spoiling the core. Good one.”

One Twitter user also lauded the film for making just the right amount of changes to the original Malayalam film, Lucifer. “Full credit to Mohan Raja (director) for making the changes to the original and for making it very engaging. The film has a very good first half and good second half with quite a few whistle-worthy moments. Overall, a hit movie,” read a tweet. Comparing GodFather with Lucifer, one person tweeted, “Godfather is way better than Lucifer. One word review: blockbuster.”

However, one movie-goer was not too happy with the GodFather’s second half. He tweeted, “A brilliant first half followed by a very unhappy second half. This film is completely dependent on the cast’s performance rather than story…”

GodFather revolves around Brahma, played by Chiranjeevi, who returns to his hometown after two decades. Earlier, while speaking at the Hindi trailer launch of the film, Chiranjeevi had hinted at GodFather 2, and said, "I was talking to Prithviraj Sukumaran, the original director and he said that L2 (Lucifer 2) is coming very well. If you are interested, hear the subject. So, possibilities are there to make GodFather (sequel)."

Dedicated professionals who write about cinema and television in all their vibrancy. Expect views, reviews and news. ...view detail

• Chiranjeevi
• Telugu Cinema

IPL 2024 Coverage

Join Hindustan Times

Create free account and unlock exciting features like.

• Terms of use
• Privacy policy
• Weather Today
• HT Newsletters
• Subscription
• Print Ad Rates
• Code of Ethics

• Karnataka Election 2024 Live in Bengaluru
• IPL Live Score
• T20 World Cup Schedule
• IPL 2024 Auctions
• T20 World Cup 2024
• Cricket Teams
• Cricket Players
• ICC Rankings
• Cricket Schedule
• T20 World Cup Points Table
• Other Cities
• Income Tax Calculator
• Budget 2024
• Petrol Prices
• Diesel Prices
• Silver Rate
• Relationships
• Art and Culture
• Taylor Swift: A Primer
• Tamil Cinema
• Board Exams
• Exam Results
• Competitive Exams
• BBA Colleges
• Engineering Colleges
• Medical Colleges
• BCA Colleges
• Medical Exams
• Engineering Exams
• Horoscope 2024
• Festive Calendar 2024
• Compatibility Calculator
• The Economist Articles
• Lok Sabha election 2024 voting live
• Lok Sabha States
• Lok Sabha Parties
• Lok Sabha Candidates
• Explainer Video
• On The Record
• Vikram Chandra Daily Wrap
• EPL 2023-24
• ISL 2023-24
• Asian Games 2023
• Public Health
• Economic Policy
• International Affairs
• Climate Change
• Gender Equality
• future tech
• Daily Sudoku
• Daily Crossword
• Daily Word Jumble
• HT Friday Finance
• Explore Hindustan Times
• Privacy Policy
• Terms of Use
• Subscription - Terms of Use

• తెలుగు

Godfather Movie Review: Tailormade Remake

Movie: Godfather Rating: 2.75/5 Banner: Mega Supergood Films, Konidela Productions Cast:  Chiranjeevi, Salman Khan, Nayanthara, Puri Jagannadh, Satya Dev, Murali Sharma, Samuthirakani, Sunil and others Music: Thaman S Director of Photography: Nirva Shah Editor: Marthand K Venkatesh Action: Ram-Laxman, Anl Arsu Producer: RB Choudary and NV Prasad Directed by: Mohan Raja Release Date: October 5, 2022

Any Chiranjeevi starrer evokes curiosity. “Godfather” has created more interest as Bollywood superstar Salman Khan played a guest role. The film marks Salman Khan’s Telugu debut.

Let’s find out whether the film lives up to the expectations.

Story: When Chief Minister PKR passed away, his daughter Satya Priya (Nayanthara) and his son-in-law Jaidev (Satya Dev) decided to take the reins of the party and the government. Not aware of her husband's true nature, Satya Priya proposes Jaidev's name as the new president, which is rejected by MLAs and party men as they follow Brahma (Chiranjeevi), the stepson of the deceased CM.

Satya Priya hates Brahma and wants to keep him away from the party. Jaidev wants to buy all the MLAs with the money from a Mumbai don. The Mumbai mafia don, in return, seeks the permission to set up a drugs production company in the state when Jaidev becomes CM of the state.

How Brahma plays his game and saves his sister Satya Priya and the state from the schemes of Jaidev forms the rest of the story.

Artistes’ Performances: Megastar Chiranjeevi has played a role that suits his age and image. The appearance is also closer to his real life. Chiranjeevi is quite effective when he speaks less and does the acting with his body language. This is the first time that the megastar played a role without a female interest in the film. 

Bollywood superstar Salman Khan in his Tollywood debut gets a raw deal. His entry into the film and his subsequent scenes look superficial.

Satyadev steps in the role played by Vivek Oberoi. Satyadev has put in his best efforts, but his role lacks evilness as Vivek showed in the original. He doesn’t pose as a strong villain to the mighty Chiranjeevi.

Nayanthara is dignified in her role. Sunil is okay. Murali Sharma shines. Puri Jagannadh as a journalist is impressive.

Technical Excellence: Nirav Shah’s cinematography is striking. Many shots in the film show his master touch. The sequences filmed on Necklace Road’s tricolor flag area are beautiful. Thaman’s music is a letdown. Lakshmi Bhupal’s dialogues are pale and normal. 

Highlights: Chiranjeevi’s act and style The first half

Drawback: Weak villain The climax portions Changes to the original story

Analysis “Godfather” is the official remake of the Malayalam blockbuster “Lucifer” featuring Mohanlal. The Malayalam version is a commercial film and a blockbuster. The film was narrated in a gripping manner. It was one of the best political thrillers. 

The basic storyline of “Godfather” is the same as that of “Lucifer”, but director Mohan Raja has made many changes that have diluted the impact.

Until the interval bang, the film is as gripping as the original. While certain changes worked for the image of Chiranjeevi, the other crucial changes, especially the removal of the brother’s character, have changed the course of the drama. 

The protagonist is the son of the deceased chief minister and that is never explicitly told in the original movie. It is only implied with the ‘silence’ of the main character. This angle has given room for suspense in the story. In “Godfather”, at the very beginning, it is revealed that Chiranjeevi is the son of the deceased Chief Minister. So, the drama about the identity of “Lucifer” or “Brahma” goes missing. Then the arrival of the Chief Minister’s younger son is quite dramatic in "Lucifer". In the “Godfather”, the role is completely chopped off. 

What “Godfather” gets right is it doesn’t spoil the spirit of the original. The first half is narrated in a gripping manner. Plus, additional sequences like adding a heroine to Chiranjeevi or songs are not incorporated. This is a major relief. 

The political dialogues used by Chiranjeevi are in ok with the story, there is no forced additional political track. Puri Jagannadh’s journalist role and the sequences have also come out well. 

Even after the interval, the film goes as per the story for a few sequences. But thereafter, it turned into a complete ‘Telugu commercial film’. 

Satya Dev’s character lacks the evilness of Vivek Oberoi’s. In turn, Satya Dev looks like a meek person in front of Chiranjeevi, who is called the boss of the bosses. And We don’t get any high moments when Chiranjeevi and Salman Khan appear together. In the original, the same sequences filmed on Mohanlal and Prithviraj Sukumar provide goosebumps. 

Having said that, “Godfather” is a better action drama compared to recent masala movies. When it sticks to the original, it works big time, when it deviates, it goes down. If we stop comparing it with the original, it looks interesting. However, Chiranjeevi’s charisma and his swag, and certain portions bring joy to his fans. For others, it is a strictly okay watch. It is difficult for the audience who watched 'Lucifer' to relish this film. But those who didn't watch the original may like it. This is the tailormade remake for Chiranjeevi. 

Bottom line: For fans

• Prasanna Vadanam Review: Thriller with Formula Elements
• 'Aa Okkati Adakku' Review: Poor Film With Hit Title
• Rathnam Review: Cliched Masala

Tags: Godfather Godfather Review Godfather Movie Review Godfather Rating Godfather Movie Rating Godfather Telugu Movie Review

ADVERTISEMENT

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, the godfather.

Now streaming on:

We know from Gay Talese’s book Honor Thy Father that being a professional mobster isn’t all sunshine and roses. More often, it’s the boredom of stuffy rooms and a bad diet of carry-out food, punctuated by brief, terrible bursts of violence. This is exactly the feel of “The Godfather,” which brushes aside the flashy glamour of the traditional gangster picture and gives us what’s left: fierce tribal loyalties, deadly little neighborhood quarrels in Brooklyn, and a form of vengeance to match every affront.

The remarkable thing about Mario Puzo ’s novel was the way it seemed to be told from the inside out; he didn’t give us a world of international intrigue, but a private club as constricted as the seventh grade. Everybody knew everybody else and had a pretty shrewd hunch what they were up to.

The movie (based on a script labored over for some time by Puzo and then finally given form, I suspect, by director Francis Ford Coppola ) gets the same feel. We tend to identify with Don Corleone’s family not because we dig gang wars, but because we have been with them from the beginning, watching them wait for battle while sitting at the kitchen table and eating chow mein out of paper cartons.

“The Godfather” himself is not even the central character in the drama. That position goes to the youngest, brightest son, Michael, who understands the nature of his father’s position while revising his old-fashioned ways. The Godfather’s role in the family enterprise is described by his name; he stands outside the next generation which will carry on and, hopefully, angle the family into legitimate enterprises.

Those who have read the novel may be surprised to find Michael at the center of the movie, instead of Don Corleone. In fact, this is simply an economical way for Coppola to get at the heart of the Puzo story, which dealt with the transfer of power within the family. Marlon Brando , who plays the Godfather as a shrewd, unbreakable old man, actually has the character lead in the movie; Al Pacino , with a brilliantly developed performance as Michael, is the lead.

But Brando’s performance is a skillful throwaway, even though it earned him an Academy Award for best actor. His voice is wheezy and whispery, and his physical movements deliberately lack precision; the effect is of a man so accustomed to power that he no longer needs to remind others. Brando does look the part of old Don Corleone, mostly because of acting and partly because of the makeup, although he seems to have stuffed a little too much cotton into his jowls, making his lower face immobile.

The rest of the actors supply one example after another of inspired casting. Although “The Godfather” is a long, minutely detailed movie of some three hours, there naturally isn’t time to go into the backgrounds and identities of such characters as Clemenza, the family lieutenant; Jack Woltz, the movie czar; Luca Brasi, the loyal professional killer; McCluskey, the crooked cop; and the rest. Coppola and producer Al Ruddy skirt this problem with understated typecasting. As the Irish cop, for example, they simply slide in Sterling Hayden and let the character go about his business. Richard Castellano is an unshakable Clemenza. John Marley makes a perfectly hateful Hollywood mogul (and, yes, he still wakes up to find he’ll have to cancel his day at the races).

The success of “The Godfather” as a novel was largely due to a series of unforgettable scenes. Puzo is a good storyteller, but no great shakes as a writer. The movie gives almost everything in the novel except the gynecological repair job. It doesn’t miss a single killing; it opens with the wedding of Don Corleone’s daughter (and attendant upstairs activity); and there are the right number of auto bombs, double crosses, and garrotings.

Coppola has found a style and a visual look for all this material so “The Godfather” becomes something of a rarity: a really good movie squeezed from a bestseller. The decision to shoot everything in period decor (the middle and late 1940s) was crucial; if they’d tried to save money as they originally planned, by bringing everything up-to-date, the movie simply wouldn’t have worked. But it’s uncannily successful as a period piece, filled with sleek, bulging limousines and postwar fedoras. Coppola and his cinematographer, Gordon Willis , also do some interesting things with the color photography. The earlier scenes have a reddish-brown tint, slightly overexposed and feeling like nothing so much as a 1946 newspaper rotogravure supplement.

Although the movie is three hours long, it absorbs us so effectively it never has to hurry. There is something in the measured passage of time as Don Corleone hands over his reins of power that would have made a shorter, faster moving film unseemly. Even at this length, there are characters in relationships you can’t quite understand unless you’ve read the novel. Or perhaps you can, just by the way the characters look at each other.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Now playing

LaRoy, Texas

Robert daniels.

The Old Oak

Matt zoller seitz.

Kim's Video

Brian tallerico.

Catching Fire: The Story of Anita Pallenberg

Marya e. gates.

We Were the Lucky Ones

Film credits.

The Godfather (1972)

175 minutes

Marlon Brando as Don Vito Corleone

Richard Costellano as Clemenza

Robert Duvall as Tom Hagen

Alex Rocco as Moe Green

James Caan as Sonny Corleone

Al Pacino as Michael Corleone

Sterling Hayden as McClusky

John Cazale as Fredo Corleone

John Marley as Jack Woltz

Diane Keaton as Kay Adams

Richard Conte as Barzini

Talia Shire as Connie Rizzi

Gianni Russo as Carlo Rizzi

Lenny Montana as Luca Brasi

Marlon Brando as Vito Corleone

Al Martino as Johnny Fontane

Tony Giorgio as Bruno Tattaglia

Al Lettieri as Sollozzo

Morgana King as Mamma Corleone

John Martino as Paulie Gatto

Sterling Hayden as McCluskey

Talia Shire as Connie

Abe Vigoda as Tessio

Alex Rocco as Moe Greene

Richard S. Castellano as Clemenza

Rudy Bond as Cuneo

Cinematography by

• Gordon Willis

Produced by

• Albert S. Ruddy

Screenplay by

• Francis Ford Coppolla

Based on the novel by

Directed by.

• Francis Ford Coppola
• Peter Zinner
• William Reynolds

Photographed by

Latest blog posts.

The Ross Brothers Made a Road-Trip Movie. They Didn’t Come Back the Same.

Book Excerpt: The World is Yours: The Story of Scarface by Glenn Kenny

Doctor Who Travels to Disney+ For a Lavish, Fun New Regeneration

The 10 Best Start-of-Summer-Movie-Season Films of the 21st Century

• Change Password
• Top 20 Songs
• Top 100 Movies

God Father (U/A) 05/Oct/2022 Action, Thriller 2hrs 37mins

Critics Review

God father - boss is back.

Godfather is an impressive political thriller narrated in a sensible manner. A new age and mature Chiranjeevi, solid performance by Satyadev and Nayanthara and fun cameo by Salman Khan are basic assets of the film. When compared to the original Lucifer, drama is missing a bit but that (more)

Source: 123 Telugu, 123telugu.com

Chiranjeevi delivers a charismatic performance in this worthy remake

God Father proves to be a worthy remake of the Malayalam film Lucifer, and Chiranjeevi embodies the character of Brahma brilliantly and comes up with a charismatic performance. Engaging screenplay, exhilarating background score by Thaman S and neat camera work make this political drama a festive watch. It�s safe to say the boss is back! (more)

Source: TOI, Times Of India

Chiranjeevi-Salman Khan starrer is a satisfying watch

Mohan Raja has also steered clear of unnecessary distractions in the form of parallel comedy tracks or special dance numbers. He has only kept those things that serve the main plot and within that space, he has indulged the superstardom of Chiranjeevi and Salman Khan for the amusement of their fans. In the middle of a gunfight, Salman�s Masoom Khan pushes an overturned car just with his shoulder, all the while firing a shotgun to create a safe passage for Chiranjeevi�s Brahma to get out of the car. The action scenes are too ridiculous to take them seriously. And Mohan knows it. But, he�s also aware that this kind of stunts will do the job of amusing fans. (more)

Source: Manoj Kumar, Indian Express

Tailormade Remake

aving said that, �Godfather� is a better action drama compared to recent masala movies. When it sticks to the original, it works big time, when it deviates, it goes down. If we stop comparing it with the original, it looks interesting. However, Chiranjeevi�s charisma and his swag, and certain portions bring joy to his fans. For others, it is a strictly okay watch. It is difficult for the audience who watched 'Lucifer' to relish this film. But those who didn't watch the original may like it. This is the tailormade remake for Chiranjeevi. (more)

Source: Greatandhra, greatandhra.com

Play Trailer

• entertainment
• Arjun Kapoor reviews 'Article 370', praises Yami Gautam and Priyamani: Hold fort in a genre defined by testosterone

Arjun Kapoor reviews 'Article 370', praises Yami Gautam and Priyamani: Hold fort in a genre defined by testosterone

'Article 370' Public Review | Yami Gautam, Arun Govil, Priyamani

India’s Master of Nostalgia Takes His Sweeping Vision to Netflix

Sanjay Leela Bhansali’s films are known for splendor, grandiosity and obsessive attention to light and detail. Will that translate to smaller screens?

Supported by

By Mujib Mashal

Photographs and Video by Atul Loke

Mujib Mashal and Atul Loke reported this story from the set of the new Netflix show “Heeramandi” in Mumbai, India.

• May 1, 2024

In the small Bombay theater that showed big films, his father brought him — over and over again — to see the biggest of them all.

With every one of his 18 viewings of “Mughal-e-Azam,” a hit 1960 musical about a forbidden romance between a prince and a courtesan, the young boy fell more in love. The rays of light, beamed in black and white, opened to him a world at once majestic and lost. The dialogue, crisp and poetic, lingered in his thoughts. The music swept him to places that only later in life would he fully understand.

Bombay would eventually change, to Mumbai. India, cinema and music — they would all change, too. But more than half a century later, Sanjay Leela Bhansali — now 61 and a rare remaining master of the grand old style of Indian filmmaking — has not let go of his seat at that small cinema, Alankar Talkies, on the hem of the city’s red-light district.

His mind remains rooted there even as his work moves beyond the theater walls. His latest project, released on Wednesday, is an eight-episode musical drama on Netflix that gives a “Game of Thrones” treatment to an exalted milieu of courtesans in pre-independence India.

The show, “Heeramandi,” affords more space for Mr. Bhansali’s expansive and exacting approach than any two-hour movie. But it also presents a tricky challenge. How, with big-budget texture and color, do you bring the splendor and grandiosity of royalty — in his imagination, the courtesans lived like queens — to an audience that, at least in his home country of India, will largely be watching on tiny mobile screens?

One answer is technical: more close-up shots. The other is personal: a vision all his own. With his decades of commercial success, he has the license to hold tight to the kind of cinema — song-filled nostalgia mixed with obsessive attention to light and detail — he fell in love with early, and forever.

“I am still in Alankar Talkies,” he said in an interview last summer, between shoots. “I am seeing it on that big screen over there.”

‘Big Scale’

Outside, Mumbai was drenched in monsoon rains.

Inside, under the hangar that covered the three-acre set, Mr. Bhansali was lost in a city born as much of imagination as research.

Hundreds of workers had toiled for nearly 10 months to create his Lahore of the early 1900s. The furniture was vintage. The curtains and the miniature patterns on the corridor walls were hand-painted, then aged. The slogans on the city walls, the store signs — all calligraphy, aged and faded.

When his friend Moin Beg brought him a 14-page concept for the project about 20 years ago, Mr. Bhansali sat on it. There were too many characters, too many things going on, for a feature film.

In the years that followed, Mr. Bhansali felt as if he was training himself “to handle big scale.” He made successful films — more recently in a shrinking environment for artistic expression that made him the subject of violent attack — that dealt with dancing girls and royal courts. A consistent theme was complex, powerful, beautiful women.

Another big step: He began creating the music for his own movies.

Some of his deepest artistic questions since childhood were triggered by music. Through music came a belief that any artist is a 200-year-old or 300-year-old soul. The artistic process is a slow discovery of what the soul already knows.

Inside Alankar Talkies, the boy would forget about the actors on the screen and be transported by the voice of the Indian singer Bade Ghulam Ali Khan.

“Somewhere, the soul started responding to it,” he said, “‘that I kind of understand this, I know where my father is trying to take me because I’ve traveled somewhere in the past .’”

His heart was set on “Heeramandi” because so much came together in one world: refined taste, classical music and dance, power politics and powerful women.

Before independence in 1947, India was a collection of princely states under British rule. Elite patronage had given rise to quarters of courtesans, and an ecosystem of music, dance and fashion grew around them.

Heeramandi was one such place in the city of Lahore, which after India’s partition became part of Pakistan. The Urdu-language writer Shorish Kashmiri described Heeramandi even in its decline as “an art gallery where the nights remain awake and the days sleep.”

The Netflix series captures a Heeramandi where the courtesans know they are the last of their kind.

But in Mr. Bhansali’s vision, their end is not a slow march to nothingness. He merges the women into the whirlwind of India’s freedom movement.

“I always grant my characters a lot more than they actually deserved in life,” he said. “I wanted them to be bathed in fountains — big corridors and big mirrors, so that the reflections seem larger than life.”

On his sets, it is complete surrender to a vision that keeps changing in Mr. Bhansali’s head. Some actors have described his process as torturous, his temper difficult. Others have likened it to film school.

“What my role started as, and what it became — a lot of it happened on paper, and a lot of it happened on the set,” said Sonakshi Sinha, a lead actress in the series.

Ms. Sinha was shooting two small segments that day.

First was the final bit of a song. In its climax, Ms. Sinha’s character sways through a crowd of party guests in her drawing room, toward her veranda, drink in hand. She stares at a rival madam across the street, raises her glass and tosses it down.

In take after take, Mr. Bhansali drove a point home: Every move, every gesture, had to be done so that the eyes, the glare, remained the focus.

“If you arrive and just pour, then there is no joy,” he told Ms. Sinha. “Take a beat.”

The segment they shot next demonstrated how Mr. Bhansali thinks, and how he obsesses.

It was supposed to be simple: Ms. Sinha’s character would put out some candles, symbolizing a closing down at Heeramandi so the courtesans could join the freedom fight.

During a bathroom break, Mr. Bhansali walked past a chandelier. As he stood at the urinal, he had a new vision: Ms. Sinha’s character would use a pulley to pull up the chandelier, wrapped in a drape, then walk away as the lights went out.

It took five hours to light and complete the shot, for a 10-second scene.

Frustrated that it was not quite right, Mr. Bhansali turned to what helps connect him to his abstraction: music. He asked an assistant to play an old song, a ghazal, on an iPad. The voice softly filled the air — then another take.

When his father, a producer who never made it, was on his deathbed, he had a peculiar request: He dispatched his son to get a cassette of a tribal singer who, after India was split, had ended up on the other side, where their own family had roots.

He wanted to hear the song “Hayo Raba” by Reshma — a voice raw, untrained.

By the time young Sanjay returned with the cassette, his father was unconscious. He stood there watching his dilated eyes — a scene that still plays out in his mind.

“He had gone into a coma,” Mr. Bhansali said. “I had no place to play ‘Hayo Rabba,’ and my mother kept saying, ‘Play “Hayo Rabba”!’”

Why that song? The closest he comes to an answer is that in his father’s state of hallucination, he was connecting with his ancestors.

“Life is so fascinating,” he said. “Can films ever capture this?”

He has spent his life seeing if it can.

When he was about 6, his father took him to a film set. He told him to wait in a corner while he talked to his friends.

A cabaret was being shot.

“A skimpily dressed woman was eating an apple and throwing it on a semi-naked man,” he recalled.

As he looked up — to the catwalk with hanging ropes and lights and screens — he was lost in wonderment.

“I realized I don’t want to be on the cricket ground, I don’t want to be in school, I don’t want to be anywhere. I want to be here. This is my place,” he said.

“That woman biting that apple, throwing it on the man — I think that kid was seduced.”

Mujib Mashal is the South Asia bureau chief for The Times, helping to lead coverage of India and the diverse region around it, including Bangladesh, Sri Lanka, Nepal and Bhutan. More about Mujib Mashal

Advertisement