The novel delves deeper into the characters’ internal struggles and motivations, particularly Michael Corleone’s transformation. The film excels in its visual storytelling, portraying the opulent world of the Mafia and the brutality of their actions with iconic scenes like the horse’s head and the restaurant shooting.
The book follows the Corleones over a longer period, including Sonny’s rise and fall, Kay’s deeper involvement, and Tom Hagen’s loyalty struggles. The film condenses the timeline, focusing primarily on Michael’s journey, streamlining the narrative for cinematic impact.
The novel presents a more nuanced portrayal of the characters, blurring the lines between good and evil. The film simplifies some characters, making the Corleones appear more sympathetic and the enemies more villainous. This shift emphasizes the film’s moral conflict but sacrifices some of the novel’s ambiguity.
Purists seeking complete immersion might miss deeper character explorations and storylines from the book, like Sonny’s full arc, Tom Hagen’s internal conflicts, and Kay’s initial denial of the Corleones’ true nature. Conversely, the film offers iconic scenes absent from the book, like the baptism montage and Michael’s chilling line, “It’s not personal, Sonny. It’s strictly business.”

The Godfather, directed by Francis Ford Coppola in 1972, is a movie adaptation of Mario Puzo’s novel of the same title, originally published in 1969. The stellar cast includes Marlon Brando, Al Pacino, James Caan, Richard S. Castellano, Robert Duvall, Sterling Hayden, among others.
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Storyline
The offspring of the head of New York’s most influential Mafia dynasty returns from war with a resolve to forge his own path, only to find himself drawn into a conflict between his father’s entrenched traditions and the encroaching rivals endangering the family’s enterprise.
Movie vs Book
movie vs book
Key differences
• The movie condenses the story, focusing on key events and characters
• The movie compresses Michael’s journey into darkness
• Many characters and subplots from the novel are omitted for time constraints
• The novel offers a sprawling and detailed world, but with less narrative tightness
• The film downplays the overt racism prevalent in the novel’s depiction of New York
Comparison
The novel delves deeper into the characters’ internal struggles and motivations, particularly Michael Corleone’s transformation. The film excels in its visual storytelling, portraying the opulent world of the Mafia and the brutality of their actions with iconic scenes like the horse’s head and the restaurant shooting.
The book follows the Corleones over a longer period, including Sonny’s rise and fall, Kay’s deeper involvement, and Tom Hagen’s loyalty struggles. The film condenses the timeline, focusing primarily on Michael’s journey, streamlining the narrative for cinematic impact.
The novel presents a more nuanced portrayal of the characters, blurring the lines between good and evil. The film simplifies some characters, making the Corleones appear more sympathetic and the enemies more villainous. This shift emphasizes the film’s moral conflict but sacrifices some of the novel’s ambiguity.
Purists seeking complete immersion might miss deeper character explorations and storylines from the book, like Sonny’s full arc, Tom Hagen’s internal conflicts, and Kay’s initial denial of the Corleones’ true nature. Conversely, the film offers iconic scenes absent from the book, like the baptism montage and Michael’s chilling line, “It’s not personal, Sonny. It’s strictly business.”

Year
1972
Minutes
175
Movie Rate
9.20
Source: IMDb
Movie
The Godfather
Director: Francis Ford Coppola
Country: USA
Year: 1972
Length: 2h55m
*Provided by Amazon

Year
1969
Pages
448
Book Rate
8.72
S: Goodreads
Book
The Godfather
Author: Mario Puzo
Country: USA
First published in: 1969
Length: 448 pages
Genre: Fiction
Book series: The Godfather
Other screen adaptations of the book
Movie by Francis Ford Coppola
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“As an author, you can’t expect a movie to be an illustration of the book. If that’s what you hope for, you shouldn’t sell the rights.”
BERNARD SCHLINK (Writer)




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