Even the better aspects of the Corleone family are shown in a light that makes them seem contrary to the personalities and wills of other, more "typical" Italian-Americans. That is, their positive qualities are shown in the film to be aberrations; departures from the Italian-American norm. Don Corleone's initial reluctance -- refusal, in fact -- to become involved in any way with the drug trade makes him appear noble, yet it is at the expense of the broader Italian-American image. The other Five Families, who are also of course Italian-Americans, are either in favor or at least not against this new money-making effort, and eventually Don Corleone is forced to conform with this more sinister version of the Italian immigrant. Not only does this film contain the self-reinforcement of Italian-American stereotypes, it actually implies tat resisting emulation of these stereotypes is impossible.
Though it takes a lighter and far less bloody look at the Italian-American immigrant...
The ruthlessness of rival restaurant owner Pascal, though not revealed until near the end of the film, is of huge importance to the plot, and reflects the same jealousies and passions that permeate the Godfather trilogy. The stereotype of the frustrated perfectionist chef, too comic for use in Coppola's films, makes his appearance here; he is a man full of talent and passion and no sense. Italian-Americans are still portrayed as being ruled by desire, no matter what the circumstances they find themselves in. This desire reflects back, too -- one of the few positive (if it is deemed positive) attributes stereotypically associated with Italians, especially men, is their powers of seduction and prowess as lovers. This is also seen both in Godfather and Big Night, though one must admit that the draw is a little easier to understand in a young Al Pacino than Stanley Tucci or Tony Shaloub.
