It’s Al Pacino’s birthday. Hollywood’s godfather and his five paintings are as loud as a bullet

The appearance of one of the three Hollywood actor-predators – Jack Nicholson, Robert de Niro and Al Pacino – means danger to me. But the first is constantly joking, and their predatory demeanor is illuminated with humor. The latter is probably the warmest of the trio – and his signature smile can melt the hearts of many viewers (and no matter how many foes Robert de Niro has beaten before that). But as for the unblinking gaze of the third, such a cold fire glows that you immediately understand: don’t expect mercy. Al Pacino became an instant star after the movie “The Godfather” (1972) and then went on to brilliantly play criminals, cops, and the military. But the shadow of Michael Corleone was always present in them – even in beauty.

“The Godfather” / The Godfather (1972): from a soldier to heirs to a crime family

Mario Puzo’s novel The Godfather came out in 1969 and made a lot of noise. It described the life of a powerful mafia clan in the United States, an American-Italian family dominated by Don Corleone. Mario Puzo’s book is inspired by the public statement of gangster Joe Valachi, which aired on television in the early 1960s. The mafia novel instantly hit the bestseller list.

The Godfather is directed by Francis Ford Coppola. After seeing Don Corleone as a drug addict in the not-so-famous Panic in Needle Park, the second of Pacino’s career, he invited Al Pacino to play the role of Don Corleone’s son.

All the bosses of the Paramount studio and the producers of the film were against it: a small actor, expressionless. But Coppola reached over the battlement and won.

In the story, Don Vito marries the daughter of Corleone. Meanwhile, his beloved son Michael returns from the war. Secondly, the delinquent doesn’t want him to have anything to do with the family business, but an attempt is made against Vito Corleone. And Michael gets involved in a tough game, wanting to avenge his father.

The peculiarity of the picture is in one thing: Michael, from a noble (seemingly) war veteran, transforms into the ruthless new leader of a criminal clan. His moment of transformation came when, at a restaurant meeting with the plotters of the assassination attempt on his father, he shot them in the head at close range.

My father, a professor, doctor of technical sciences, was at the festival screening of “The Godfather” in the 1970s (the tape was not widely distributed in the USSR). And the father, his eyes wide with excitement, said to his younger son (i.e. me): “There, a man pulls out a pistol and shoots the enemy right in the forehead.” I still remember this “movie story” today. This is not surprising: this difficult scene entered the annals of world cinema and became the point of no return for Michael Corleone, who was punishing both foreign apostates and his own apostates more and more mercilessly.

What the “eye for an eye” law follows is already clear in the sequels of the first movie: “The Godfather 2” (1974) and “The Godfather 3” (1990).

“Serpico” / Serpico (1973): a warrior on the field

Like “The Godfather”, “Serpico” is based on true events described in the book. Here, Al Pacino plays the role of an honest cop who stands up to his corrupt colleagues who cover up the drug trade. The actor with a thick beard and mustache here is like the prototype of his role – Frank Serpico.

There is a close range shot in this story as well. But on the contrary: Serpico himself is the victim. During the shootout between Serpico and the drug dealer, a police officer was shot at close range with a gunshot wound: the bullet hit Serpico in the cheek, injuring his upper jaw. It wasn’t his colleagues who saved Frank from injury, but other people more interested in helping him survive.

In the movie, the protagonist has the following conversation with one of the upper echelons of the police:

– We do not take the dirty laundry out of the shed

– That’s the problem.

Al Pacino has invited Frank Serpico, the prototype of his character, to live in his New York home. When Al Pacino asks Frank why he took such a risky step to expose the highest echelons of police, he replied, “Well, Al, I don’t know. If I didn’t do that, what would I be?” listen to music?”

Apparently, music for him is something like the Lord God.

It was not in vain that Al Pacino asked Frank in such detail: for this role, the actor first received a Golden Globe. The film was directed by the master of the socially savvy detective Sidney Lumet (“12 Angry Men”).

“Scarface” / Scarface (1983): true to himself until the end

But Al Pacino did not enjoy “good” roles for long – he was again allowed to appear as a criminal Cuban in the remake of the classic gangster action movie Scarface (1932). It was directed by Brian De Palma for this film, which was first defamed by the critics and then considered a classic. From where? Probably to romanticize a gangster.

Cuban criminal Tony Montana arrives in Miami in the early eighties. He wants to start a new life, but soon becomes involved again in shady dealings involving drugs and murder. Tough character and quick wit enable Tony to rise to the very top of the underworld. Its motto is “I am brave and have a word”.

Among other things, Tony is driven upwards in anger, but one day pitying the children does not kill the intended victim. From that moment on, a hunt was declared about him. It exists only according to the principle: you can kill me, but you cannot defeat me.

Al Pacino calls this role his favourite.

Scent of Women (1992): Gentleman’s Code

The role of the blind lieutenant colonel is a step up in Al Pacino’s career: He finally got an Oscar for it. The painting is a worthy remake of an outstanding Italian film.

Pacino’s hero is blind, rich and charismatic. Student Charlie gets a part-time job: he has to take care of blind retired soldier Frank Slade while his relatives are away for Thanksgiving. It turns out that Frank never planned to stay at home. The heroes embark on a strange and exciting journey that will change their lives. It is a pleasure to listen to their dialogues.

“You are very fond of women, Colonel. Ah, more than anything. But then, far away, in second place – “Ferrari” …

You’re honest, Charlie. I don’t know if I should shoot you or adopt you?

There is nothing worse than a soulless man. After all, the soul has no prosthesis.

– Women… You live as long as you feel them.

Charlie and the Colonel return to New Hampshire. The school is preparing a disciplinary committee meeting, reminiscent of judicial retaliation. Charlie’s classmate hesitated and ratted on his friends under pressure from his wealthy father. Charlie doesn’t give up. Seeing that Charlie has no intention of surrendering, the director threatens to fire him from the organization. The lieutenant colonel attending the meeting gives the brightest speech and turns the public opinion in favor of his companion. Al Pacino’s speech is the code of courtesy.

“Fight” / Heat (1995): scythe on a stone

Eventually, the paths of two monsters, Al Pacino and Robert de Niro, cross on screen in a detective thriller: Al Pacino as the cop and Niro as the gangster. The actors have already acted together in the second part of The Godfather, but later the paths of their heroes diverged. And here – I found a scythe on a stone.

In the Nick McCauley gang there are former comrades who always help each other, and therefore all their robberies are successful. They are taken by Los Angeles’ top detective, Vincent Hanna, for their capture.

Of course, this classic action movie wasn’t without a headshot. Not just from afar, not at close range. And in this case, Al Pacino shot the gunman who took the girl hostage. Pacino’s hand did not tremble.