The Godfather Trilogy

The multigenerational saga of the rise and fall of the Corleone crime family.

Essays
The Godfather Explained: Cinematography of Shadows
By The Take by ScreenPrism
The Godfather: Part II- Renegade Cut
By Renegade Cut
The Godfather and How to Stage Character
By Eyebrow Cinema
The Godfather - How To Develop Characters
By Jack's Movie Reviews
The Sopranos - Between Reality and Collective Consciousness
By Edoardo Spallazzi
Add Depth to your Film using Visual Subtext
By Film Riot
Andy Garcia On Working With Al Pacino In THE GODFATHER, PART THREE
By American Film Institute
Francis Ford Coppola On Casting Al Pacino in THE GODFATHER
By American Film Institute
Francis Ford Coppola – The Godfather of Cinematic Literature
By Carlos Rivera Fernandez
Hands in Movies: Grabbing Your Attention
By Now You See It
How Editing Affects The Meaning of a Scene | The Godfather Video Essay
By Good Filmmaking
In Defense of the Godfather Trilogy
By Jack's Movie Reviews
Sidney Lumet On THE GODFATHER
By American Film Institute
Sydney Pollack on THE GODFATHER
By American Film Institute
Talia Shire On Michael Corleone
By American Film Institute
Talia Shire On The Royal Corleone Family
By American Film Institute
The Godfather (1972) - Killing Sollozzo and McCluskey | Screenplayed
By Screenplayed
The Godfather (1972) - "Look how they massacred my boy." | Screenplayed
By Screenplayed
The Godfather | Don't Ever Take Sides Against the Family - Script to Screen
By Screenplayed
The Godfather | Opening Scene - Screenplayed
By Screenplayed
The Godfather Part 1, Killing Sollozzo Scene Analysis
By John Holser
The Godfather - Renegade Cut
By Renegade Cut
The Godfather: Solozzo’s Death - Script to Screen Analysis
By Glass Distortion
The Godfather - The Path To Self Destruction
By Nerd Soup
The Godfather | The Tragedy of Succession 
By Cinema Beyond Entertainment
The Godfather : Video Essay -Louis' Restaurant Scene
By Patryk Czekalski
William Friedkin on THE GODFATHER
By American Film Institute
William Friedkin on THE GODFATHER, PART II
By American Film Institute