The article “New Mythology of Crime”, by John G. Cawelti examines the major popularity and acclaim associated with movie “The Godfather” and the reasons historically and socially for it rise to prominence in the minds of American entertainment consumers.

    People throughout history have been fascinated with crime, especially violent crime. In its earliest example we have the Illiad and several works of Shakespeare. This article takes a look at the progression of man’s fascination with crime or violence and how the development of the crime myth has has been shaped as a result the way in which the public identifies with character of the criminal.

    Cawelti examines the possibility that “The Godfather” popularity and renown can be accredited not only to what he describes as “Skillful writing, striking and emotionally involving characters and situation, and a powerfully unified action”, but also to the creation of a new type of crime mythology. He goes on to describe the development of the crime myth throughout history and shows its departure from the traditional dichotomy of moral good and sin towards dynamics that place the criminal in the role of the main character. Several factors influenced the development of the crime myth throughout the 19^th and 20^th centuries. Among these are the development of the detective story, which helped to create a sort of intrigue towards stories of crime and criminal activity. Romanticized criminal characters such as Robin hood and Jesse James also developed during the 19^th and 20^th as well as a deeper insight into the criminal mind through the fields of psychology and sociology.

    A unique aspect of “The Godfather” was the importance and imagery of the family to refer to a criminal organization. This conceit began a new type of association with the criminal character, a sort of understanding or identification with character that was never so prevalent in the crime myth previously. Also, “The Godfather” introduced a sense of awe or fascination with the power and respect of the criminal organization as a whole. The combination of these factors are clearly evident in the film as various parts of the movie are defined by family events, whether it is the wedding of Vito Corleone’s daughter or the baptism of Michael Corleone’s godson, the criminal activities are consistently connected directly with the family. The development of these new conceits is just one of the factors that set “The Godfather” apart as unique and help to explain its tremendous popularity.

In defining crime, this article sites The Godfather as a film that not only was wildly successful in its own right, but one that also sparked a crime craze in terms of the manner in which violence was portrayed and consumed by the public.  While it does not attempt to claim that this movie somehow created interest in crime, because this is something the article suggests if very innate to human beings, but rather questions how human beings justify their interest in violence and how definitions of crime vary between cultures.  Finally, the article seeks to answer the question as to whether or not this film somehow changed beliefs about crime and violence.

In order to consider these questions, and prove The Godfather, both as a film and a novel, is representative of a new morality regarding crime, the authors proceed by comparing the structures of this film to the structures of novels and films in the past.  The first aspect of the movie that is considered is the usage of the word “family,” specifically given its historical usage in Italian, which is symbolically used as a replacement for the mafia, or organized crime.  The use of the word family as well as the parallel structures drawn from the Corleone family itself to that of the organized crime unit changes how one views the crime family, making it more complex that simply a group of gangsters out to commit crimes.

A second important factor in the view of crime put forth by The Godfather, is the way in which violence is romanticized and justified in the film.  As the article suggests, we then understand Don Vito’s choices and become sympathetic to him as a character.  As Michael understands him, we too accept his violence.

The article also discusses how a scientific and social approach to crimes had arisen, and places this as a third way in which beliefs about violence were changing.  There was a movement, as depicted in this film, away from morals and religion, which were traditionally associated with crimes.  Therefore, a new belief system had arisen along with new entertainment.

In defining crime, this article sites The Godfather as a film that not only was wildly successful in its own right, but one that also sparked a crime craze in terms of the manner in which violence was portrayed and consumed by the public.  While it does not attempt to claim that this movie somehow created interest in crime, because this is something the article suggests if very innate to human beings, but rather questions how human beings justify their interest in violence and how definitions of crime vary between cultures.  Finally, the article seeks to answer the question as to whether or not this film somehow changed beliefs about crime and violence.

In order to consider these questions, and prove The Godfather, both as a film and a novel, is representative of a new morality regarding crime, the authors proceed by comparing the structures of this film to the structures of novels and films in the past.  The first aspect of the movie that is considered is the usage of the word “family,” specifically given its historical usage in Italian, which is symbolically used as a replacement for the mafia, or organized crime.  The use of the word family as well as the parallel structures drawn from the Corleone family itself to that of the organized crime unit changes how one views the crime family, making it more complex that simply a group of gangsters out to commit crimes.

A second important factor in the view of crime put forth by The Godfather, is the way in which violence is romanticized and justified in the film.  As the article suggests, we then understand Don Vito’s choices and become sympathetic to him as a character.  As Michael understands him, we too accept his violence.

The article also discusses how a scientific and social approach to crimes had arisen, and places this as a third way in which beliefs about violence were changing.  There was a movement, as depicted in this film, away from morals and religion, which were traditionally associated with crimes.  Therefore, a new belief system had arisen along with new entertainment.