Adapted from the Mario Puzo novel of the same title, “The Godfather” is an icon of modern American cinema and has left an indelible mark on the film industry and popular culture. Besides its oft caricatured depiction of crime families, the story, crafted by master director Francis Ford Coppola, revolutionized cinematic storytelling.
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The Corleone family depicted in the film was in most respects the archetype for the image of organized crime in American popular culture. Far from being a card-carrying villainous mastermind, Don Vito was portrayed as a tough but fair figure that talks highly about the value of family and honor, the very epitome of the noble demon in the cinematic age.
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Noble as he might be, the Don was no saint. The cinematography beautifully juxtaposes Don Vito's fair temperament in person with the cutthroat means of intimidation he and his family (the particularly repugnant Sonny in particular) used to accomplish their goals. It is this juxtaposition of cruelty, coupled with Don Vito's desire to turn legitimate (and his dismay at Michael's eventual descent to criminality), that firmly plants the film series against the glamorization of organized crime. This colossal bait and switch had been revolutionary in not only portraying gangsters in a non-romanticized light but delivering nuanced protagonists or anti-heros.
The film's narrative was, in many respects, a tragedy, chronicling the ruthless rise of Michael Corleone and his loss of morality and contrasting it with his father's desire to leave criminality behind. This cycle of attempting and failing at redemption continues to resonate as one of the defining narratives in any medium of the 2oth century.
Richard Ohlhaber is a big fan of movies like “The Godfather.” Visit this blog for more information on his varied interests.
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