SPOILER ALERT! The plot of the movie will be discussed.
All of my earnings will be donated to the Bryn Mawr Film Institute. It is a mystery for movie lovers, like its prequel, Out of the Picture. The new story deals with the double sexual standard and sexual abuse of women.
I would like to announce the publication of my new novel, The Bigger Picture. The link to Amazon is: https://www.amazon.com/Bigger-Picture-Augustus-Cileone/dp/0997096284/ref=sr_1_1?s=books&ie=UTF8&qid=1527711220&sr=1-1&keywords=cileonea
All of my earnings will be donated to the Bryn Mawr Film Institute. It is a mystery for movie lovers, like its prequel, Out of the Picture. The new story deals with the double sexual standard and sexual abuse of women.
I don't know if this 1972 film is
the greatest American motion picture, but it is my favorite, so please excuse
the length of this article. Being Italian American, I appreciate how Francis
Ford Coppola captured with so much detail and, appropriately, flavor the ethnic
culture in which I grew up. The world he presents to us in this movie is one of
contrasts, and those contrasts create a great deal of irony in the way the
individuals, and by extrapolation, American society, functions. (And, if I may,
a theme I tried to explore in my novel, Feast
or Famine).
The film sets up the analogy to the
United States as a whole in the first words we hear uttered by the funeral
director, Bonasera (Salvatore Corsitto) in his plea to Don Vito Corleone
(Marlon Brando) for revenge for the assault on his daughter. He says, “I
believe in America.” He is asking for what he considers justice from a powerful
enforcer, just as an American citizen would ask the country’s legal system for punishment
of a wrongdoer. But, Bonasera did not get his justice, because the so-called
legitimate, overt system of jurisprudence has become a compromised
disappointment, and his daughter’s attackers were set free by the issuance of a
“suspended sentence,” an action which is not consummated. When he says he
believes in America, he utters what most citizens feel, faith in a country of
ideals. But, unfortunately, it is a land which falls short of those principles
in practice many times. So, he seeks satisfaction in an alternate way, from his
tribe, those with blood ties to himself. How many of us would like to seek a
way around a nonresponsive system by way of vigilante justice?
The contrast between the bright
surface reality and the dark underbelly of society is demonstrated many times
in the setting, characters, and action of this film. The opening scene of the
wedding of Vito’s daughter, Connie (Talia Shire), on the Corleone estate is
shot in the bright light of day, and has friends and family laughing, eating,
and dancing in a joyful celebration. But, Coppola counters the shots of the
happy occasion by cutting to The Don’s office, photographed in shadows, where
The Godfather agrees to carry out unlawful activities because he must not deny
requests on the day his daughter marries. He perverts a well-meaning cultural
tradition by agreeing to physically harm Bonasera’s daughter’s attempted
rapists. Bonasera wants the men involved in the assault killed. Vito lectures
him by saying that is not justice, in the Biblical sense of an eye for an eye,
because his daughter still lives. This statement makes The Don appear to be a
person who understands fairness, but this outward appearance is undermined by
his act of agreeing to take the law into his own hands. According to The Annotated Godfather, which contains
the complete screenplay with background information, by Jenny M. Jones (Black
Dog and Leventhal Publishers, Inc, 2007), Coppola would communicate nonverbally
with Brando, sometimes providing the actor with props. He placed the cat in the
opening scenes in Brando’s lap. The playfulness between The Don and the kitten
becomes symbolic. Vito Corleone on the surface appears to be a gentle senior
citizen, but, just like the cuddly cat who has hidden claws and sharp teeth,
The Don is really a predator. The cinematographer, Gordon Willis, known as “The
Prince of Darkness,” made sure the lighting in the scenes left Brando’s eyes in
shadows, producing a sinister look. Coppola also stresses the duality of other characters
by showing the crime boss Barzini (Richard Conte) enjoying being a guest at the
wedding, but also depicting him ripping film out of a camera from a
photographer taking Barzini’s picture. This coupling of decorum and brutality
is echoed when Sonny (James Caan) smashes the camera of a man taking pictures
of cars parked at the wedding site, and then throws money at him to pay for the
damage. He says that the “Goddamn FBI, don’t respect nothing,” a statement
which turns the usual perception on its head, making it look as if the
legitimate law enforcers are the bad guys, disrespecting the gangsters at a
happy private family occasion.
Coppola emphasizes the disparity
between the benign and malevolent aspects of the characters and their
backgrounds by showing the way love of the family and cultural traditions
contrasts with aggressive behavior against those they view as being in
opposition to familial and business interests. In the same opening scenes in The
Godfather’s office, we have The Don requiring respect and friendship from
Bonasera, since Vito’s wife is godmother to the funeral director’s daughter, before
complying with Bonasera’s violent request. Later, Vito at one moment seems
serene, and then violently yells at singer Johnny Fontane (Al Martino), telling
him “You can act like a man!” when the celebrity appears weak. The Don then
lectures his philandering son, Sonny, indirectly, about how a man is not a real
man unless he spends time with his family. He makes this upstanding point,
ironically, just before telling Fontane that he will use violent intimidation
to get the singer a film role by making the movie producer “an offer he can’t
refuse.” (The infamous decapitated horse’s head scene which persuades film
producer Woltz (John Marley) to give Fontane the part is symbolically a
castration message sent to the movie mogul, since Woltz boasted about his
sexual conquests, and the horse was scheduled to be put out to stud. In
addition, the horse is a beautiful creature which is desecrated by the ugliness
of the Corleone brutality. And, as Jones mentions in her book, the name of the
horse, Khartoum, refers to a British commander of the city of that name who was
decapitated by rebels when he tried to evacuate Egyptian forces from the area
in 1885).
A couple of the best scenes that
emphasize the irony in this contrast between the Italian American affection for
the domestic and the propensity for violence involve Pete Clemenza (Richard
Castellano), one of the high ranking men in the Corleone organization. He
utters the famous line, “Leave the gun. Take the cannoli,” right after the
shooting of Paulie (John Martino) who betrayed The Don. This line and the
subsequent scene where he shows Vito’s son Michael Corleone (Al Pacino) how to
prepare a meal for a large group perfectly show the marriage between the bringing
together of loved ones with food, but how that sentiment is undermined by
violence. During the dinner preparation scene, Clemenza is not making a meal
for family members but instead for gangster soldiers. And, after stirring in
his sausage and meatballs into his sauce, he informs Sonny that he won’t be seeing
Paulie anymore. (When backing out of the driveway, on the way to killing
Paulie, Clemenza warns the future victim to watch out for the kids. The killer
is also a family man, worrying about children, which again shows the dual
nature of the Italian American gangster world, and, by extrapolation American
society. Coppola uses the innocent image of children in other scenes to contrast
the two aspects of this culture: children run into The Don’s study while the
hitman Brasi is there; Michael and his father plot against Barzini while
talking about Michael’s son reading the “funny papers;” Michael reunites with
Kay, desiring marriage and offspring, amid a group of children, appearing like
a dark snake in a suburban Garden of Eden).
Coppola heightens the evil underlying
society by inserting violence and fear against settings of benevolence. Gruesome
and threatening action occurs at Christmas time, when there is supposed to be
peace on earth. Michael and his girlfriend Kay (Diane Keaton) carry Christmas
gifts just before the audience watches scary Corleone thug Luca Brasi (Lenny
Montana) stabbed and garroted, and The Don peacefully buys some fruit from a
vendor on a New York City street when thugs sent by Sollozzo (Al Lettieri) shoot
him. (There is a quick foreshadowing of Brasi’s fate when he enters the club
where he is killed: the glass doors of the establishment, a place where one
enjoys life by eating seafood, has fishes swimming on it, linking the image to
the later scene of fish in Brasi’s bullet-proof vest, and the line that he
“sleeps with the fishes.” Also, the kissing of The Godfather’s hand, a sign of
almost religious devotion, the way a Pope’s ring is kissed, can lead that
loyalty here to death, symbolized by Sollozzo’s driving a knife into Brasi’s
hand in a demonic version of crucifixion). Corleone family attorney Tom Hagen
(Robert Duvall) carries a child’s sled (a reference to Citizen Kane?), presumably a holiday gift for his child, when
Sollozzo kidnaps him, interrupting his happy seasonal gift shopping, so he can
negotiate business involving drugs with the Corleone family. While he enters
Sollozzo’s car we see a dancing Santa in a store window, again providing an
ironic contrast. Michael and Kay come out of a movie theater, after enjoying an
escape into the joy of a holiday film (as we would try to do when we go to the
movies?), and have their tranquility torn away when they see the newspaper headline
informing them of the shooting of Michael’s father. Michael goes to visit his
wounded father at the hospital, a place where we expect healing and protection.
However, in this world, the medical facility seems all but abandoned except for
one nurse, and Michael must use his wits to defend his father against criminals
and the compromised police, who instead of shielding a citizen against harm,
even though he is a gangster, are more dangerous threats since they pretend to
be protectors.
Michael is the real main character
in this tale, and it is through his story that we see the decline of idealism
and the submergence into the dark side of the human soul. When we first
encounter him, he is clothed in legitimacy in his military uniform at the
wedding, a war hero. After relenting to Kay’s questions about the monster-like
Luca Brasi, he relates the horrifying story of how his father, accompanied by
Brasi, assured a band leader that his signature or his brains would be on the
contract releasing Fontane. He then says to her, “That’s my family Kay; it’s
not me.” No more ironic words have ever been spoken in film history. After he
sees his father looking defenseless in the hospital bed he says to The Don,
“I’ll take care of you now. I’m with you now. I’m with you.” It is at this
moment that Michael reverses his path away from his family and returns to its
embrace. Blood is definitely the thicker liquid. When he is outside in front of
the hospital, pretending to be a bodyguard as an ominous car rolls by, waiting
for men to come and guard his father, he looks at his own hands holding a
cigarette lighter. The hands are rock steady. At that moment, in this context,
Michael realizes he can be cold-blooded, and he is his father’s son. We see
Michael holding the lighter in his hands in scenes in the final third of the
film, which reminds him, and us, of how dispassionate he can be. That is why
the soldier, who killed defending his country in war, can now kill Sollozzo and
the corrupt Captain McCluskey (Sterling Hayden), another example of the inauthenticity
of appearances, for his family at war on U. S. soil between competing business
factions. After McCloskey breaks his jaw, a wound sustained in this new war,
Pacino’s face swells, and he takes on some of his father's jowly appearance, and of Brasi’s, becoming more
grotesque, revealing on the outside his uglier inner nature. Where does he
murder his enemies? – in a seemingly sedate, safe family restaurant. Again, the
setting, where food is served, a place which is supposed to sustain life, is
the place where life violently ends.
Michael’s escape to Sicily is
necessary until the family can manipulate the political system and have him
return to America. But, it is also a symbolic interlude in the story. Michael
returns to his Italian roots, and his marriage to the Sicilian Apollonia
(Simonetta Stefanelli) is also indicative of Michael joining with his Italian
heritage. The beautiful land that we see has its negative connotations. In the
town of Corleone Michael asks where are all the men, and he is told they are
all dead from vendettas. The island’s inherent violence stands side by side
with its surface beauty and family traditions. Visually, Coppola makes this
point when he has Michael and Apollonia walking seemingly safe alone on a back
road. But, then we see the people from her village following them like
chaperones. After that, Michael’s bodyguards take up the rear of this Italian
procession, their guns strapped over their shoulders. One of these men, Calo
(Franco Citti), tells Michael that in Sicily, “women are more dangerous than
shotguns.” So, underneath Apollonia’s outward beauty, just like the country she
comes from, resides the threat of danger. Michael cannot escape that threat,
and he has to be moved for protection, but treachery is everywhere. Fabrizio
(Angelo Infanti), supposedly one of his bodyguards, betrays Michael, and puts a
bomb in his car. But, Apollonia wants to drive the car, and is blown up, thus
welding the contrasting aspects of love of family and culture with violence in
one image.
When Michael returns to America, he
brings this duality with him. He wants to be a family man, and he succeeds. He
marries Kay and they have children. But, he now is the head of the criminal
Corleone family, with his ailing father his counselor. When he goes to Las
Vegas, he rejects the party girls offered to him by his brother Fredo (John
Cazale), respecting his marriage to Kay. He must honor the pledge made by his
father that there will be no breaking of the peace between the five gangster
families in New York while The Don still lives. But then Vito dies, again in a
very ironic scene. He is in his garden (references to Eden?), with his innocent
young grandchild. Vito appears as a playful, doting grandfather. But what kind
of game does he play? He puts an orange peel in his mouth, grunts like a
monster, and scares the child, causing him to cry. Again, we see how his love
of family and his threatening nature live side by side inside the man. After
Vito dies, Michael carries out the executions of the heads of the family’s
rivals in one of the most powerfully ironic pieces of film editing in motion
picture history. The camera cuts back and forth as Michael renounces Satan, standing
as the godfather for Connie’s baby (the infant Sofia Coppola playing the part) in
church during the administering of the Catholic sacrament of baptism, and we
see the murders he has ordered. The holy actions of the priest are placed in
counterpoint to the killers going through their rituals of assembling their
weapons and preparing for their deadly activities. There is irony within irony
here, as Clemenza hides his lethal rifle inside a flower box. We again see the
evil hiding underneath a benign exterior, as is the case with the lives of
these people. The hit-man Neri (Richard Bright) dresses as a police officer, a
symbol of law and justice, to get close to Barzini’s car, and then guns him
down on the steps of what is actually the New York County Supreme Court
building in Manhattan. The very symbols of what we call civilization turn out
to be phony facades, like fake buildings on a movie back-lot. Even worse, they
are propped up on a foundation of corruption and violence.
In addition to the above, the film
employs other images and words to make its argument that what is going on here
is not restricted to mobsters. The characters many times say that what they are
doing is just what other businessmen do. Sollozzo tells Tom Hagen that he is a
businessman and the violence part is really a big expense, sort of like a boss
talking about the costs incurred by operating a company. Hagen and Michael talk
about carrying out their affairs without passion, saying it’s not personal,
“it’s strictly business.” When Vito Corleone meets with the other criminal
leaders, it resembles a conference of corporate CEO’s (and in The Godfather, Part II, a similar scene
takes place, only then it has evolved into a meeting of actual business heads
gathering together, with Michael as one of them, reflecting by association their
complicity in nefarious activity). When Tessio (Abe Vigoda) tells Hagen that
his betrayal of Michael was only business, that he always liked him, the
translation is that making money off of people trumps caring about them. The
most damning statement of the trappings of legitimacy comes from Michael. Kay
says he is naïve about comparing his father to men in high political office
because a senator or a president doesn’t have men killed. His response is, “Oh,
whose being naïve, Kay?”
In the scene where Paulie is shot
in the car, the camera films the killing at a distance. In the upper left hand
section of the screen is The Statue of Liberty. The shot recalls Bonasera’s
believing in the idea of what America stands for. But the statue is way in the
distance, implying that the ideals of the United States are receding into the
background, and the unjust acts are now in the foreground. When Michael learns
about the shooting of his father, he goes to a phone booth to contact Sonny.
But, he shuts the booth’s door on Kay, cutting her off from knowing what is
actually going on. When The Don comes home from the hospital, his subordinates
close the door of his bedroom, isolating their mobster discussion from the
family members preparing food to celebrate his return. The movie ends with
Michael in his office as he accepts his ascension to power as the new Don
Corleone. Neri closes the door on Kay, showing how the evil part of Michael
creates a divide, cutting him off from the love of family that his father, and
his heritage, supposedly cherished. In essence, he is shutting the door on the
redeeming hope that America represents.
The next movie is Inherit the Wind.
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