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Seeing the rituals of christenings and marriages compared with the killings necessary to secure the family's success in crime.

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Hearing loyal aide Clemenza discoursing on the proper way to make pasta with meatballs for a house full of the family's soldiers, hiding out in the middle of a gang war. Seeing the bright pageantry of Connie Corleone's wedding, contrasted with the dark backroom dealings of her father The Don – who must consider requests made at his daughter's nuptials. For me, watching The Godfather brought those two thrills into sharp focus. But it's also a coming-of-age story about youths choosing their paths in life and facing the consequences of their choices – something lots of people can understand. John Singleton's 1991 film Boyz n the Hood tells an authentic tale about young Black men navigating gang violence and poverty in South Central Los Angeles. Secondly, there is always a human dimension that comes through that cultural specificity that anyone can relate to. If you know the subculture, you're drawn in by identifying with the story - assuming the storytellers get the details right. First, you get to know a subculture you might not know well, enticed by watching the kind of people you might never meet in real life reveal themselves in ways they likely never would in person.

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There's a dynamic that happens in TV and film, where more culturally specific and authentic stories can impact the audience in two ways.

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We've seen Robert DeNiro and Joe Pesci in Goodfellas De Niro in Mean Streets James Gandolfini leading a whos who of Italian and Italian-American actors in a TV show considered one of the best series ever made, The Sopranos. These days, we take it for granted that Mafia movies and TV shows are filled with Italian-American culture, made by Italian filmmakers and actors. Movies Imagine 'The Godfather' with a completely different cast? Could've happened Indeed, when Coppola, author Mario Puzo and producer Al Ruddy were working on casting the film, non-Italian actors like Laurence Olivier, Ryan O'Neal and Robert Redford were floated as possibilities for the cast – old school thinking from a different time.

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According to Evans, gangster films had failed in the past, in part, because studios cast actors like Kirk Douglas – performers who didn't look the part or know the culture (Douglas had, in fact, starred in a bomb of a gangster movie for Paramount in 1968, The Brotherhood, cited as the reason why the studio hadn't made a Mafia movie in years). You can smell the spaghetti.' That's Robert Evans, who was head of production at Paramount Pictures in 1972, explaining in the film version of his memoir The Kid Stays in the Picture why they hired Italian-American director Francis Ford Coppola to direct The Godfather, with a mandate to bring an authentic-feeling culture to the film. 'We're going to make a picture that's going to be Sicilian to the core. Even an 11-year-old Black kid watching TV in Gary, Indiana knew about the Mob boss who made people offers they couldn't refuse. The ASPCA's after me about this horse thing.') That was a measure of how much The Godfather had already permeated pop culture by 1976. Laraine Newman was decked out in a blond wig and Valley Girl accent for the sketch from SNL's first season, dubbed 'Godfather Therapy,' telling Belushi's Corleone, 'please reach out, man!' (One of my favorite lines from that sketch: 'Now the feds are watching me.investigating me. John Belushi did an amazing impression of Marlon Brando as Corleone, and he was playing the Don in a group therapy session with Elliot Gould as the therapist. The first time I saw The Godfather's Don Corleone, it wasn't in a movie theater. Silver Screen Collection/Hulton Archive/Getty Images

Bonasera asks Don Corleone to avenge the brutal rape of his daughter. From left to right, Salvatore Corsitto as Bonasera, James Caan as Santino 'Sonny' Corleone and Marlon Brando (1924 - 2004) as Don Vito Corleone in 'The Godfather', 1972.