Word: coppolas
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Pity the artist who achieved success at an early age; if he stays around long enough, he'll see an endless recycling of his old work while his later work goes ignored. Francis Ford Coppola's first two Godfather films, in 1972 and '74, are among the most revered, and unquestionably the most influential, grownup films of the past half-century. Add The Conversation and his Vietnam movie, Apocalypse Now, and Coppola had one decade, the '70s, as artistically productive as almost any other filmmaker's in history. Yet in his later years, Coppola had trouble getting film financing...
...comes Tetro, Coppola's first original script since The Conversation 35 years ago, and what seems a very personal work: a story about an Italian family with rancor and secrets galore - think The Godfather, but with artists instead of gangsters. The great news is that at 70, this unquestioned giant of American cinema is still making independent-minded movies. (He finances them largely through the profits of his very productive vineyard.) The bad news is that he made this one. (See a gallery of iconic images from Coppola's films...
...hear clear echoes of the Godfather films, for which Coppola, who knew nothing about real gangsters, has said he appropriated much of his own family dynamic - the scenes of eating and arguing. There are also hints of another 1974 classic, Chinatown, in the family mystery peeled layer by layer. And like Youth Without Youth, the new film boasts an exceptionally sensitive performance by a young actor - here Ehrenreich, who looks like a missing Sheen brother and plays the callow Bennie as if innocence and ignorance were the coolest qualities a teenager could possess...
...Tetro (Francis Ford Coppola; in theaters 6/11) Members of an Italian family fight and unite, but this ain't The Godfather. The glorious black-and-white imagery can't rescue Coppola's film from a fatal case of dramatic inertia...
...start of the modern era was particularly good for Italian and American cinema: Italian films took home the award four times straight, from 1966 to 1972, and twice again in 1977-78. Italian-American heavyweights Martin Scorsese (Taxi Driver, 1976) and Francis Ford Coppola (Apocalypse Now, 1979) took the glory for the U.S. and even Bob Fosse joined in at the start of the 1980s with All That Jazz. But critics would snipe that truly great films (and directors) were being overlooked: there would be no Cannes love for Rainer Werner Fassbinder (Ali: Fear Eats the Soul),Werner Herzog (Every...