"I think the last one would have to be The Godfather because it was such a powerful story. There was lots of violence in it but I could take it because I thought there was a reality to it. It wasn't gratuitous, it was just these guys' story"
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Farrelly is doing something slyly defensive here: he’s justifying his appetite for screen violence by laundering it through “reality” and “story.” Coming from a director best known for broad comedies, the choice of The Godfather reads like a claim to adult taste, a way of saying: I’m not here for the blood, I’m here for the craft. That distinction matters in American pop culture, where enjoying violence is tolerated so long as you can argue it’s narratively earned.
His key move is reframing brutality as biography: “just these guys’ story.” It’s an ethical alibi disguised as empathy. If the violence belongs to “these guys,” then the viewer is positioned as a witness rather than a consumer. That’s the enduring trick of prestige crime: it turns harm into atmosphere, consequence, even anthropology. Farrelly’s line about not being “gratuitous” quietly reveals the anxiety underneath. He’s acknowledging the charge that violence is often spectacle, then insisting The Godfather avoids it because it feels inevitable, almost mundane. “I could take it” is telling; he’s not celebrating gore, he’s describing a threshold of tolerance that story can raise.
Context-wise, this tracks with how The Godfather became a cultural permission slip. It’s not just a gangster movie; it’s a template for making moral compromise look like realism, and making audiences feel sophisticated for staying seated. Farrelly taps that prestige to separate meaningful cruelty from meaningless cruelty, even as the film’s own elegance is part of what makes its violence so palatable.
His key move is reframing brutality as biography: “just these guys’ story.” It’s an ethical alibi disguised as empathy. If the violence belongs to “these guys,” then the viewer is positioned as a witness rather than a consumer. That’s the enduring trick of prestige crime: it turns harm into atmosphere, consequence, even anthropology. Farrelly’s line about not being “gratuitous” quietly reveals the anxiety underneath. He’s acknowledging the charge that violence is often spectacle, then insisting The Godfather avoids it because it feels inevitable, almost mundane. “I could take it” is telling; he’s not celebrating gore, he’s describing a threshold of tolerance that story can raise.
Context-wise, this tracks with how The Godfather became a cultural permission slip. It’s not just a gangster movie; it’s a template for making moral compromise look like realism, and making audiences feel sophisticated for staying seated. Farrelly taps that prestige to separate meaningful cruelty from meaningless cruelty, even as the film’s own elegance is part of what makes its violence so palatable.
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| Topic | Movie |
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