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The Corleone Chronicles: Revisiting “The Godfather” Films as Trilogy, written by Pheobe Poon examines the structure of the narrative of each of the three Godfather movies, what separated these films from other gangster films of the time as well as the legacy that the three movies have left behind.
She starts her analysis of the films by taking a look at their typical narrative structure. Her examination leads her to break the films in four different acts, exposition (prologue), disruption (conflict), transition (bridge), to restoration (conclusion). The film, like other gangster films share some similar motifs, centered around the search or attempt to attain the American Dream through various illegal acts. In this way, in “The Godfather”, Michael Corleone’s character, although calculating and exacting, is transformed into a tragic hero. In this way films are not meant to glorify the gangster, but elicit an emotional response through an understandingof the charaters.
What Poon suggests sets “The Godfather” apart from other movies of its genre is its strong concentration on the family. Vito Corleone although calculating and at times barbaric is not simply portrayed as such. Rather because of the emphasis on the organization as a family, he is seen as the patriarch, the father figure instead of simply the boss. Furthermore, the characters, especially Michael and Vito are not merely acting out of revenge or avarice, but rather are convinced of the necessity of a strict moral code. This moral code comes through a history of ethnicity, being Sicilian. This ethnicity and concentration in a family allow for these characters to become protagonist as the audience can identify with some of their beliefs even if they can’t identify with some of the actions.
Call#: Van Pelt Library PN1998.3.C67 P48 2004
Nick Browne writes the introduction to this manual for The Godfather films. He explains that nothing like them had been done before in American cinema, and that a whole new genre was introduced through the melodrama of the Corleone family. During the time the film was made, in the early 70’s, the traditional crime/violence film had long been overdone, but what The Godfather did was pioneer a definitive romanticism to the former understanding of the Mafioso lifestyle.
It is evident throughout the film that music, scenery, and continuity all come together most ingeniously as to parallel the many motives that underlie the story. Browne points out the distinct ability of Coppola to direct his actors as to individual means of producing a scene which shows each character’s progression, or digression, in development. This is what truly makes The Godfather so unique. Each character is presented in such a way that the audience is drawn to their personal struggle. Michael’s change from a loving, personable young man to the cold and calculating boss he becomes illustrates to the audience the ways and means by which people can change. One actually feels emotion for the circumstances surrounding his rise to the family Don.
It is important that the audience feel genuine sentiment for the characters for that is what Coppola intended to bring to the screen. That is why The Godfather is one of the most recognized films of all time, for it encapsulates every angle of what is La Cosa Nostra; tradition, family, and cold-blooded crime.
This article, written by Phoebe Poon, looks back at the overall success of The Godfather trilogy. The purpose of this article is to analyze the films as a whole as well as the way in which The Godfather established itself from other gangster films of the era.
Poon argues that although the movie is often characterized as a gangster film, it holds very key differences which set it apart from others. In the initial part of the article, she analyzes the trilogy and breaks each individual film into four sections. This pattern is repeated in all three movies and provides continuity throughout the trilogy, which in itself helps to differentiate it from other gangster films.
Poon goes on to address the issue of “family” that is found throughout the trilogy. This aspect of family helps to distinguish The Godfather from other crime films, as in most of these films; the protagonist is surrounded by hired mercenaries. However, the men working with Don Vito are trusted family members, creating a deeper and more meaningful bond between them. She goes on to state that, “the term gangster to the don would insult his style of leadership, which is vastly superior” to other gangsters.
Other important characteristics of the film helped differentiate this trilogy from other films. Poon mentions the attention to the culture of the Italians as important. Coppola does not portray the Corleones with stereotypical characteristics of Italians. Rather, he adds a degree of authenticity by accurately portraying Sicilian culture.
The differences that this essay highlights help to explain the reasons why The Godfather is critically acclaimed. The detail and depth that this film shows helps to separate it from other gangster genre films, and puts it in its own class.
In the article “Resurrecting the Godfather,” author James Thomas Chiampi analyzes Mario Puzo’s, The Godfather, and the themes that are consistent throughout the book. In addition to this, he compares and contrasts the book with the film made by Francis Ford Coppola, to show the difference in the overall message of these two mediums. Quoting The Godfather Papers, Chiampi informs the reader that Puzo’s overall intentions of writing this book was financially motivated, and according to Puzo, writing this book caused him to “sell out.”
Chiampi analyzes Puzo’s writing, showing that the book is a social commentary. He states that Puzo’s writing shows that crime in America is in response to “alienation and powerlessness.” In order for one to attain power, Puzo shows that one must revert back to the Italian customs. Chiampi emphasizes that these Italian customs are conveyed through themes that run throughout the book: a code of behavior, courtesy and strong family ties. These are expressed through the characteristics of the characters. Chiampi points out that Sonny’s spontaneity can be categorized as “American,” while Michael’s demeanor is more Sicilian.
Chiampi believes that a theme Puzo tried to develop was the fact that Sicilian culture is better than that of America, and tries to convey that American society is irrational compared to Sicilian.
One can see that Puzo’s beliefs and character development are conveyed through the characters of the movie, insuring that his overall message is captured by the movie.
Call#: Van Pelt Library PN1998.3.C67 P48 2004