The Annotated Godfather: 10 Times Art Imitates Life in Coppola’s Classic by David Conrad at Flickchart
This is a fascinating post connecting things in The Godfather to the real-life events that inspired them, or that they’re referencing. As a huge history buff, I eat this kind of stuff up, and I will likely appreciate The Godfather that much more next time I see it thanks to this kind of trivia.
Rumors of mob connections shadowed Frank Sinatra throughout his career. In the early 1940s the crooner wanted out of his contract with band leader Tommy Dorsey, who was skimming a third of all Sinatra’s earnings. As the story goes, Sinatra’s literal godfather was Willie Moretti, a member of the Genovese family — one of the real-life “Five Families” of New York City crime — and Moretti bought Sinatra’s contract from Dorsey for a fraction of what Dorsey knew it was worth. The incident was widely publicized, which itself is an indication that it might be at least partly a media fabrication. In any case, the story is the inspiration for the “offer he couldn’t refuse” story that Michael tells Kay at the beginning of The Godfather. At the time Sinatra was a teen idol, hence the young ages of the screaming girls who watch Johnny Fontane (Al Martino) perform at Connie Corleone (Talia Shire)’s wedding.
The Marvel-Industrial Complex by James Rocchi at Movie Mezzanine
Lots of stuff to chew on in this wide-ranging piece about Marvel movies and their implication for our larger culture and film industry.
This, then, is not a critique of the Marvel films, although it will discuss some of the intrinsic structural problems that plague all superhero films, and the Marvel movies specifically. Nor is it a discussion of whether or not “superhero fatigue” exists or not, although it will look at how, and where, money is spent on these films as they are bought and sold both domestically and internationally. The simple question which we have to ask—which we I think we’re obligated to ask—is: If these movies are the biggest thing in American pop culture, what does that say — openly, obliquely, or accidentally — about American culture itself?