To list the many accolades of Francis Ford Coppola's masterpiece would take up the entire review. Well established as one of the greatest movies ever made, the tale of family and crime is an epic, yet intimate portrait of the corrupting nature of power and the value of family versus business. Besides being a grand drama, the film is effortlessly entertaining, driven by iconic performances and a gripping storyline. To call the film a genre picture would be accurate, but it's one of those wonderfully rare films that is firmly part of its genre, but finds a way to rise above it as well.
Vito Corleone (Marlon Brando, ON THE WATERFRONT) is the don of one of the top New York crime families. It's the wedding day of his daughter Connie (Talia Shire, ROCKY). His whole family has gathered for the event, as well as some of the other heads of other families including Emilio Barzini (Richard Conte, THE GREATEST STORY EVER TOLD). Guests come to him and ask for favors, which is an old Sicilian custom that he cannot refuse. He eagerly awaits the arrival of his youngest son Michael (Al Pacino, HEAT), who is a celebrated war hero, who tells his girlfriend Kay (Diane Keaton, ANNIE HALL) that he wants nothing to do with his family's business. But when Don Corleone rejects an offer from up-and-coming gangster Virgil "The Turk" Sollozzo (Al Lettieri) to help with the drug trade, a war breaks out between the families and Michael is drawn into the world of crime.
Giving the Corleone family levelheaded advice is Vito's adopted son Tom Hagen (Robert Duvall, APOCALYPSE NOW), the family lawyer who serves as Vito's top adviser, his consigliere. The rash and violent side of the family is Vito's oldest son Sonny (James Caan, BRIAN'S SONG). The black sheep is the insecure middle brother Fredo (John Cazale, DOG DAY AFTERNOON), who has a way of playing the big shot and embarrassing himself in the process.
The rich family dynamic between the brothers and their father underlines a great deal of what happens in the film. Watch how Sonny disregards Michael, because he's not interested in the family's affairs. How ironic that Sonny's love for his sister combined with his impetuousness is deadly? Vito sees drugs are the future, but finds them dirty and something that will destroy families. He has high hopes for Michael in the legitimate world, but crime has a way of sucking you back in. When Connie confronts Michael at the end, has he chosen business over family, or are they one and the same? These are the universal and eternal ideas that THE GODFATHER plays with. Tragic irony drips from every episode that unfolds.
Mario Puzo and Coppola's screenplay is one the best ever written in how it so easily and effortlessly lays out its epic story filled with nuance. At nearly three hours, there isn't a single extraneous scene; everything serves the story. Because of this the film flies by while you're watching it. Bringing more artistry to the production is Gordon Willis' shadowy and deep-framed cinematography. The backroom dealings that drip with blood are dark and moody, while Michael's happiest times in Italy are bathed in rustic golden sunshine. This shows how the settings help drive the look giving the story subtle weight and poetry.
Brando's performance is remarkable. He is mannered, but believable. He's a reasonable man in an increasingly unreasonable business. He got into it to provide the best for his family, but it has led to a great deal of heartache as well. Pacino, in one of his finest and most subtle performances, makes Michael torn between the love for his family and his repulsion for their business. Watch Pacino's reactions to his brothers. He's the smartest character in the film, but possibly the most revengeful too. Caan's hotheaded Sonny is a loose canon and seeks overt retribution, while Pacino's Michael is icy cold.
I could write a whole book on the parallels between the characters and the irony in their choices and fates. The large tapestry that Coppola works on allows for viewers to pick up on new subtle touches each time they watch it. A true test of a great film is its ability to stay fresh over repeated viewings. From its ironic moments (Brando in tux stroking the cat, horse's head, restaurant meeting, toll booth shooting, the baptism montage, the door closing at the end) to its amazing cast to its universal storyline, the film is unforgettable in so many ways. Its popularity is simply a testament to good storytelling. For the themes of family and corrupt business, Puzo found a perfect genre in the gangster tale to tell his story in. Coppola made that epic story cinematic with perfect direction and striking visuals. Filmmaking is a complex multi-pieced puzzle. Most films look like some pieces don't fit, but you can still be impressed with the picture that you see. Coppola's crime epic is an even bigger puzzle and all the pieces fit perfectly. The finished picture is lush and grand. Looking at it that way, one might consider THE GODFATHER a minor cinematic miracle.
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Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
