What can I say about a movie that I have seen countless times, repeatedly, of which I never tire of? A masterpiece in cinema that gives me enjoyment with each viewing. A lot has been written about Francis Ford Coppola’s grand, magnificent, crime opus, “The Godfather”. It is a movie that reinvented the gangster movie into something akin to high art. Iconic, beautiful, and thrilling all packaged into a movie that is almost perfect.
“The Godfather” is the first, and probably the best, of Coppola’s crime family trilogy based on extremely popular novels written by Mario Puzo (although Part 2 gives it excellent competition). A sweeping saga set at the turn of the last century, about an Italian immigrant who created a criminal empire from nothing other than inner strength, intelligence, and charm. This, the first part of the Saga, ignores the beginning of the story as it centers its tale in the period between 1945 – 1955, after the family has consolidated its power in New York, and as it’s legendary leader (the Godfather himself), is aging. Like all great movies dealing in kingdoms, the story revolves around the passing of power to the next generation. By centering its theme on this generational passing of the baton, its story becomes somehow universal and relevant to many people.
Marlon Brando is Vito Corleone, the Italian immigrant who rose to power within the criminal underworld. If he is to be believed, in early 20th century America, crime was the only way for an immigrant to grow into a position of power. The main theme of the movie and the entire saga is how power corrupts. A theme easily visualized in the dark world of organized crime. As Vito, Brando creates a larger-than-life legendary character. A man that not only represents great danger but is also enveloped in such overpowering charm and intelligence, that he leaves people in awe of his presence. One cold-hearted killer is so agitated when he meets him face to face, he can hardly speak and stutters like a nervous virgin during his very first date. None of this would be possible to convey without the towering presence that is Brando. In portraying a much older man (Brando was only 48 when he made the movie), he overcame the limitations of makeup and current technology as he almost effortlessly embraced the older man in a way that, when the movie first came out, many people believed he was at least 65 years old. In 1972, when the movie first came out, Brando had nearly disappeared from the screen, and most people, remembering him from his old Black and White movies from the 50’s, believed he was older than he was.
Not to be undone, the entire cast of “The Godfather” are excellent. From James Caan as the hot-headed Sonny, Robert Duval as the adopted Irish Son Tom, Talia Shire as the spoiled sister, Diane Keaton as the Wasp wife, the legendary Sterling Hayden as the corrupt police captain, and the performance that, in my opinion, even outshines or is equal to Brando’s, Al Pacino in his star making role as Michael, the youngest and smartest son who inherits the throne vacated by Vito. There are others in the cast who also give great performances. Like Leone, Coppola was interested in the faces of his cast, and the deep-weathered looks of the hit men, Sicilian peasants and hypocritical priests added to the biting performances and gritty realism felt throughout the movie. In 1972, this was very rare for a Hollywood gangster film.
As Michael Corleone, Pacino has the most screen time, and his character, very young at the beginning, grows before our eyes as it becomes clear that he is the natural successor to the throne of the underworld, Don. Michael had just returned to civilian life after serving in the US Army during World War 2. He returns as a war hero, so his ability to be violent and perform under stress has already been proven to himself. Even if his family do not know this yet. At the start of the movie, he is a returning veteran and war hero and enjoys the glowing societal acceptance that this status includes. At one point, he gets his jaw broken by Haden’s corrupt cop, and one of the accompanying policemen remarks that he is a war hero, or in other words, he does not deserve to get hit by the police. It is that same pivotal scene along with the scene just before it that the movie uncovers not only the steady rock of strength that is Michael, but also his love of power that this strength can give him. Then, by the end of the movie, Pacino, who was relatively unknown at the time, lets his character engulf this power through subtle changes in body language and tone of voice. What is stunning about this performance is how believable it is. In my books, Pacino never had a better performance.
Francis Ford Coppola made a couple of quality small films before he was given the reign of bringing Puzo’s best seller to the silver screen. The production of the movie came during the new wave Hollywood cinema movement of the early 70’s, when the new rating system allowed directors freedom in making harsher and more realistic movies. Coppola embraced this freedom with open arms, and, along with Puzo, constructed his script to pace and emphasize grand set pieces of operatic violence and pomp. “The Godfather” is full of beautiful violence, or stylistic cruelty. There are many unforgettable scenes in the movie. From the severed horse’s head to the final score-settling massacre, everything is set to lush music and golden cinematography. This is not a classic Noir gangster film living in the shadows. While the movie opens with a scene in the back shadows of the Don’s working den that he (Brando) uses to grant people favors while his daughter is being married outside, the movie quickly reverts to a different pallet with a dominant color of gold and red. The criminal world shown is golden and bloody. The rosy, red color of blood also takes front and center stage in many scenes of carnage. In 1972, people were in awe at the sheer spectacle of the style of all this killing and violence. The beauty of it is that none of the harsh scenes are exploitative. They all have a reason within the plot and are vital in moving this plot along to its un-Hollywood-like ending. The movie has an ending that, while not typical of the movies of the time, hits the power and corrupts themes with emphasis and panache.
It is not surprising to hear that many real-life gangsters love this movie. “The Godfather” romanticizes the criminal underworld like no movie before it, or after it, for that matter. Vito is an admired figure in the film. It does not matter that he makes his living by ruining other people’s lives through gambling and prostitution. He is a charismatic, smart, strong family man and the envy of all men watching the film. That Michael does his best to emulate him at the film’s end is not surprising. Is it a good thing that the movie glorifies gangsters? Probably not, but I watch movies to be entertained and have enough intelligence to make up my own mind about what is real. “The Godfather” is one of the most entertaining movies ever made, which is why I will never get tired of watching it.
1001 Movies before you die 