The archetypal characterization of the Godfather is a rather sympathetic portrayal of a feudal empire. There is a clear hierarchy of characterization; from the King (Don Vito) to the serfs (for example, the baker Enzo, the undertaker Bonasera, who utters a classic phrase indicative of the best Tudor intrigue, "For justice, we must go on our knees to Don Corleone"). Thus, the feudal morality focuses on tradition vs. economic necessity, much as it did during the medieval period. Don Corleone made his fortune in, what he considers, "soft" crimes: gambling, extortion, and black-market goods; passions he considers part of human weakness. He is not above horrific violence, witness the manner in which he deals with Hollywood producer Jack Woltz when Woltz refuses to allow Vito's godson an important...
However, Vito draws the line on what he considers "immoral" business -- drugs.
Feudal Vito continues to exemplify tradition when he remarks, "A man who doesn't spend time with his family can never be a real man," yet he insists that there be a separation from his business life and personal life, never including "the women" in any matter of "importance" other than the lives and maturation of family members. Michael, then, representing the new, is to find a legitimate (e.g. legal) job. Alas, the complications of Vito's morality in refusing drug dealer Virgil Sollozo's "request" for Vito's acquiescence and protection result in the death of Michael's brother Santino (the heir apparent) and
Emile Zola and the Movies The translation of any work of literature into another medium, even one apparently so closely aligned with the written word as film, is always a chancy proposition. While literature and film focus themselves on the same targets within the minds of their audiences; that of completing an organic connection between the conception and the reception of an idea, the very natures of the two disciplines demand