Godfather Classic in Its Realism,

Godfather

Classic in its realism, characterization, and archetypes, Francis Ford Coppola's Godfather (1972) is one of the seminal motion pictures of the 20th century. It is the story of a Mafia family trying to survive in an evolving cultural setting -- a classic morality play focusing on family honor juxtaposed with criminal activity. The Godfather is rich with themes of power, violence, love, hatred, betrayal, and obligation -- all masterfully filmed giving the audience a means of identification and empathy.

One of the predominant cultural themes within Mario Puzo's book and Copolla's film is the conflict between tradition and modernity, between Sicilian family values and the sweeping changes taking place in post World War II America. From the opening scenes of Constanza Corleone's wedding, to the final scene in which the audience is left agape when long-time caporegime Peter Clemenza kisses the ring of Michael Corleone, thus signaling that the torch of the Godfather has passed to a new generation, every major character in the film undergoes a revelation regarding the passing of the old into the new.

Because this is such an overriding theme within the plot, each character could have its own analysis. For this essay, though, we will concentrate on the major line of succession and evolution; that which passes from Don Vito Corleone to his reluctant son, Michael. Michael is symbolic of the "new Italian" -- a second generation immigrant who excels in school, speaks Italian but has refused to be a part of his family's business, and who earned medals during World War II. He is respectful of the old ways, but has no interest in following tradition -- to the point in which his finance is a New England schoolteacher, a non-Italian named Kay. Don Vito, too, understands that times are changing, and that dramatic shifts must be made if the family is to survive -- those shifts, though, do not involve Michael.

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 role in an upcoming film -- awakening one morning with the severed head of his prize stallion in his bed. However, Vito draws the line on what he considers "immoral" business -- drugs.