Sterritt, David. "An Offer Hollywood Can't Refuse." Christian Science Monitor 04 Mar. 2005. 08 Apr. 2008.

The Godfather’s impact on Hollywood has been far more ideological than technical. It has provided inspiration and set an example for multiple works. At times, due to its popularity and the tremendous respect it has garnered, The Godfather has been parodied and spoofed. In Woody Allen’s comedy Annie Hall, Allen tells Diane Keaton that he no longer wants to wait in a movie line because he is tired and, “I’m standing with the cast of The Godfather.” The joke was based on Keaton, who played Kay Adams, the wife of Michael Corleone in The Godfather. More recently in the 1998 romantic comedy You’ve Got Mail, Tom Hanks and Meg Ryan discuss The Godfather as Ryan asks, “What is it with men and The Godfather.” Hanks replies, “The Godfather is the sum of all wisdom. The Godfather is the answer to any question. What should I pack for my summer vacation? 'Leave the gun, take the cannoli' ...” However, the HBO television show, The Sopranos, pays the most homage to The Godfather. Both The Godfather and The Sopranos show the popular appeal of organized crime rooted in the banality of everyday life. The film agent, Eric Meyers says, "Stories like these give us the frisson of knowing how close our lives could come to intersecting with those of organized crime figures, even if it rarely happens in reality." Often The Sopranos make direct references to The Godfather, such as when a mobster is killed by a shot in the eye, which is called the “Moe Green Special”. Even The Sopranos casting methods echo those of The Godfather; Coppola casted an actual former mob member Lenny Montana as Luca Brasi, while Tony Siricio who plays Paulie Walnuts in The Sopranos was once jailed for 5 years.

The Godfather established a legacy for which other works such as The Sopranos would learn from and imitate. The Sopranos has often been referred to as modern Godfather, and perhaps it is because of its eerily similar nature that the show has been so successful. In Tony Soprano, viewers can see glimpses of the classic Marlon Brando playing the Don himself. Although there appears to be more of a woman’s influence in The Sopranos, ultimately all mafia families are patriarchal. Other films have spun off of the actual Godfather material, yet in all situations the allusions are out of the utmost admiration for The Godfather. The movie has had by far the most influential effect on Hollywood of any gangster movie and continues to serve as an example for future filmmakers in all genres.

Patterson, John. "The Guide: Mob Mentality: Death Threats, Shootings, Strikes and Bomb-Scares... John Patterson Explains How - and Why - the Mafia Tried to Shut Down the Filming of the Godfather." The Guardian 22 Apr. 2006. LexisNexis. University of Pennsylvania. 7 Apr. 2008

            The Godfather’s cultural impact was widespread, yet one ethnic group found the movie to be particularly degrading: Italian-Americans. Led by the Italian-American Civil Rights League, thousands spoke out against the negative portrayal of Italians. Although, the movie did shine a more positive light on the mob than predecessors, the tremendous success and widespread proliferation of the movie, resulted in mafia members themselves protesting the validity of the film. Since the movie was advertised as extremely realistic due to the production help of mob boss, Joseph Colombo Jr., actual mafia members felt a need to defend themselves against the often ruthless violence and inhumanity displayed by some of the Corleone family. Frank Sinatra, who is the basis for the Don’s godson, Johnny Fontane, was not pleased with his portrayal as one who used alternative means to resurrect his career in the film, “From Here to Eternity”. Sinatra led an Italian-American Civil Rights League fundraiser at Madison Square Garden, decrying anti-Italian prejudice. During the latest stages of the film’s production, an Italian-American rally was held in Columbus Circle under the lead of criminal visionary and recent mafia start-up Joey Gallo. At the rally, Gallo had Colombo killed for his willingness to provide input in regards to beforehand secretive logistics of the mafia’s operation.

            The Godfather’s cultural impact extends to many parties, including Italian-Americans. Many worried that a negative stigma would stick with Italians and as a result affect job availabilities and social acceptance. Some would argue that if anything the ethnic group should be thankful for Coppola’s inclusion of the Corleone family’s sensitive, family oriented side. However, it is important to separate Italian-Americans and mafia members or associates; the percentage of those linked to organized crime, although larger than publicly documented, is still a small fraction of all Italian-Americans. Regardless of this reality, the movie inspired Italian- American stereotypes which have been maintained to this day.

Howell, Peter. "The Tao of the Godfather." Toronto Star 28 Sept. 2001, sec. B01. LexisNexis. University of Pennsylvania. 30 Mar. 2008.

            Many movies are influential within Hollywood, but few can claim that they are repeatedly referenced outside of the industry; The Godfather is one of them. Allusions have come in the form of music, political commentary, and the everyday lexicon. In 2001, when President George W. Bush demanded that Afghanistan turn in Osama bin Laden, political commentators remarked that the President was, “making an offer that can’t be refused.” This term was coined by The Godfather, but has become so prevalent, that many who have never seen the film use it on a regular basis. Other phrases such as “It’s not personal, it’s strictly business” and “Keep your friends close and your enemies closer” have equally intruded our speech.  In the music industry, rapper Raekwon of the Wu-Tang-Clan named two of his albums, Immobiality and Only Built 4 the Cuban Lynx in reference to The Godfather.  In a song entitled “Yae Yo”, Raekwon says, “I keep trying to get out, but they keep pulling me back in”, which is an exact line of Michael Corleone.  Furthermore, Slash of the rock band Guns N’ Roses recorded  his own version of The Godfather theme song based on the original written by the film’s composer Nina Rota. On bookstands there are hundreds of books written about The Godfather, its tremendous impact in the 1970’s, and the influence it still maintains to this day.  There still exists so much demand for Godfather material that a new book entitled The Godfather’s Revenge was written in 2006 even after the original author, Mario Puzo had passed away.

The Godfather’s influence has come to infiltrate popular culture. Perhaps no other movie, save The Wizard of Oz, has inspired as many copycats and tributes. One film critic remarks, "There are Hollywood people who hold The Godfather as their Gideon.” The Godfather’s incredible support can be considered a cult following. Websites such as TheGodfatherTrilogy.com, which require users to submit essays to display their knowledge, have thousands of users. Participants often abide much of their lives by the axioms of the films and often recite the memorable lines. It is evident that The Godfather’s impact is far reaching beyond a typical movie experience; it has come to exert influence on nearly all aspects of life, whether it is on the rest of the entertainment industry or parents instilling values in their children.

Lebo, Harlan. The Godfather Legacy: the Untold Story of the Making of the Classic Godfather Trilogy. New York: Fireside, 1997. 130-153.

Director, Francis Ford Coppola resorted to all measures in order to piece together the most authentic movie possible. Coppola was only given a few million dollars and far too few days to shoot a period piece based on Mario Puzo’s book, The Godfather. Initially Coppola was given very little leeway in the film’s production and operation by Paramount and Producer Al Ruddy, yet he fought tirelessly for what he believed would make the film great. In fact, at one point Coppola threatened to quit if he was not given the flexibility of many of the auteur directors. Interestingly, Coppola refused to cast some of the greatest actors, such as Warren Beatty and Burt Reynolds as Michael Corleone in place of the little known Al Pacino. Coppola insisted that Pacino had the certain Sicilian look that was necessary for the role. As aforementioned, actual mob members from the Colombo families and other organizations were brought in to share insight into the intricacies of inner mafia workings. Moreover, Coppola refitted many cars with authentic bumpers of the 1940’s and received permission to alter some of the sets, including street signs, even though most of the movie was not shot in a back lot.

            Coppola’s insistence on absolute authenticity down to the last detail provides the viewer with a voyeuristic experience. This can partially explain the great popularity of The Godfather, as average citizens were able to sit in on what felt like real mafia operations. Prior gangster films such as Little Caesar depicted the gangster lifestyle but did not reveal the everyday life of a mobster, like The Godfather.  From the accents, to the clothes, to the sets, the movie successfully grabs the viewer into the world on screen. Those who had lived during the 1940’s were particularly lured in by the accurate replication of the sets. To have a widespread cultural impact, the film must be popular at the box office and the incredible authenticity of The Godfather was fundamental in capturing the viewer and in turn selling the product.

Nworah, Uche. "Nigerian Politicians as Gangsters." The Nigerian Village Square. 18 Jan. 2005. 01 Apr. 2008 <http://www.nigeriavillagesquare1.com/Articles/Nworah/2005/01/nigerian-politicians-as-gangsters.html>

            In the years following The Godfather’s release, the movie was tremendously popular in the African country of Nigeria. If one had not seen the motion picture they were said to not have known, “what time it is”. The reasons for The Godfather’s popularity in foreign regions and countries often differ from those of the United States. Nigeria in the 1970’s was plagued by much corruption and government instability. The movie and its characters often provided an escape for those struggling in the wake of very difficult times. Nigerians could imagine they had the power of the great Don Corleone and could send out Luca Brasi to rid of their enemies. However, the enemies in the case of the Nigerians were not rival mafia families, but government officials and gang members. It has been suggested that like actual mafia members, Nigerian government affiliates were influenced by The Godfather. Just as mafia members are notorious lawbreakers, it was commonplace for Nigerian government officials to be skillfully avoid tax payments and steal government money that was meant to be distributed to the public. Likewise, Nigerian politicians often resorted to their own form of Godfathers in the 1970’s. Just as Amergio Bonasera comes to Don Corleone to ask for revenge on his daughter’s life, politicians looked to military president General Ibrahim Badamosi Babangida for favors. Those who came for help would swear their forever lasting allegiance and loyalty to the General and often State Senators would be coerced to forfeit Federal allocations in return for Babangida’s assistance.

            The Godfather’s impact is not confined to the narrow borders of the United States or even countries with well established mafia influence such as Italy and Russia. The movie has had a universal appeal matched by few, as evidenced by its prevalence in the Nigerian culture in the 1970’s. Nigeria, a country with close to 0% Italian habitants and little known mob history, is still able to relate to the themes and morals of the movie because of their universality.  The tenets of respect, loyalty, and faith are central to all organization involvement, whether it be a religion, a tribe, or organized crime family. In addition, The Godfather is so dynamic in that those from all different background and beliefs can relate or confide in the movie for incredibly varied reasons. While mafia members may look to the movie as a model for their way of life, Nigerians in the 1970’s used The Godfather to vicariously overcome the economic and political struggles of the time.

Messenger, Christian K. The Godfather and American Culture: How the Corleones Became "Our Gang" New York: State University of New York P, 2002. 173-206.

Chris Messenger’s book, The Godfather and American Culture: How the Corleones Became “Our Gang” focuses on the tremendous impact The Godfather has had on American culture. While The Godfather proved to be influential on the screen, Messenger chooses to detail the powerful popular culture effect that has reverberated since the movies premier in 1972 to the present day. In particular, the chapter entitled “The Godfather and American Culture: How the Corleone’s Became “Our Gang” attempts to explain how a family, who resorts to gruesome violence and is  one of the leaders in illegal gambling rackets, is so beloved even among the most unexpected, scrupulous individuals. He suggests that the Corleones become “Our Gang” mainly because onlookers aspired to exude many of the chief attributes and tenets of the Corleone family such as respect and power.  Although mafia involvement is not typically viewed in a positive light, Messenger contends that a unique emotional connection is established which is rarely associated with such illegal and corrupt activities. For example, male dominance and authority in the family and household settings displayed initially by Don Corleone himself and eventually by his sons are particularly appealing traits to American men today. With the rise in the role in women in the latter half of the 20^th century and into the 21^st, men find a certain emotional reassurance in the controlling male figure.

Coppola presents the viewers with a precarious situation as the family members are both proponents of murder and traditional, loyal family values. It is possible that often the Corleones are granted such clemency because their heinous actions are justified as means of necessities to protect and provide for family members. In one instance The Don remarks, “Do you spend time with your family? Good. Because a man that doesn't spend time with his family can never be a real man.”  Had Coppola not included extreme characterization to reveal similarities among the average viewer and the Corleone family, few would be found cheering on these “good” murderers. In general, those who came to admire the Corleone family were successively persuaded by Coppola to view mafia involvement as a mere daytime job; just as one’s character is usually not judged on their profession, viewers should look beyond the traditional Italian-mafia stereotypes and into the caring, trustworthy natures of the Corleone family members.  

 "A Movie the Mob Can't Refuse." The New Zealand Herald 07 Apr. 2001. LexisNexis. University of Pennsylvania. 04 Apr. 2008.

 
           The Godfather not only was successful in shaping the image of established mafia participants, but it also served as an advertisement for mob involvement. Several members at the time of the motion picture’s release in 1972 commented that the movie was the best recruiting tool the mafia had ever had. As Jerry Capeci, a New York Daily News writer about the mob once said, "It made gangsters men of honor instead of what they really are - killers without honor." Instead of associating organized crime with corruption and illicit activities, The Godfather preaches nobility, respect, and tradition. Previous to the movie’s release, gangster movies clearly delineated between the good and the bad guys, with the bad guys often played by Jimmy Cagney and Edward G. Robinson. However, The Godfather brought upon a certain “moral ambiguity”, which left how the characters were to be viewed in the hands of the viewers.  Throughout the movie there are several attempts to break down the traditional mafia stereotypes of its members as malicious, morally disturbed individuals who are far different than the general public. In one scene, Michael Corleone tries to quell the fears of his girlfriend, Kay Adams by telling her, "My father's no different than any other powerful man, any man who's responsible for other people, like a senator or a president." When Kay responds, “"You know how naive you sound? Senators and presidents don't have men killed" Michael follows up by saying, “Who’s being naïve, Kay?”

            The Godfather was instrumental in attracting new mafia members through positively spinning the Mafia way of life. Some who had previously viewed mob members as dangerous, cruel people, who could not be likened to the average man of power, were persuaded to alter their opinions. Moreover, the prestige and nobility paired with the Corleone family may have attracted the most vulnerable, looking for a boost in society. For those young Italian-Americans who had previous thoughts about Mafia involvement, The Godfather provided that extra push to at least look into potential possibilities. Regardless of the specific situation, it remains clear that the movie was highly influential in shaping the involvement in future organized crime.

Stanley, Alessandra. "Real-Life Tough Guys and Silver-Screen Gangsters." The New York Times 21 Feb. 1992. 03 Apr. 2008

Gangster and mafia movies have not only impacted pop culture, but they have also set examples for future perpetrators of violence. Famous real life mafia involved figures such as Jon Gotti may have acquired much of their persona and antics from Hollywood. One incredibly compelling example comes from the trial of Salvatore Locasio, son of famed Mafia boss Frank Locasio. The government accused the younger Locasio of being an underboss for the Gambino crime family and Lacasio responded with, “This is America; haven't they ever heard of the Bill of Rights? We have a Bill of Rights in this country. It's right over there, on the wall. Tell them to go over there and read it." In the earlier 1959 movie “Al Capone”, actor Rod Steiger remarks, “"We have a Constitution in this country. The Constitution -- ever heard of it? I suggest that when you go to your office you read it." It is possible that the two comments are merely remarkable coincidences, yet it is more likely that Locasio’s comment was influenced by the movies. Moreover, The Godfather was seen by many as praising the mafia lifestyle as it shed a positive light on many of the Corleone family members. This may have been partially the case because several real life mob bosses such as the then Colombo family leader, Joseph Colombo Jr. collaborated on the film. In fact, James Caan, who played Santino Corleone spent such so much time with mob member Carmine (the snake) Persico that at one point undercover agents mistook him for an actual mafia affiliate. Even the likes of Henry Hill, who’s life story was chronicled first in Nicholas Pelligi’s Wiseguy and then in the motion picture Goodfellas, admitted himself, “You know, the dress, the manner, the cockiness -- a lot of it comes from the movies."

The impact of Hollywood on the mafia is very real. The Godfather, being one of the most influential mob films of all time, has played a large role in establishing a standard for mafia members on the streets of cities worldwide. The movies and mafia involvement have a reciprocal relationship. While it is argued that, "The word gangster first appeared in a movie in 1912, long before the heyday of organized crime in the '20's," the real life mafia has also aided the production of movies. Coppola welcomed the input of Colombo and Persico because he was looking to make the most authentic work possible. What is so special about The Godfather is that it was able to successfully romanticize the information given by the actual mafia members and in doing so set a new paradigm which aspiring mafia correspondents would strive to achieve. In the modern times, mob bosses attempt to garner the same respect as Don Corleone, while those in the lower ranks look to Michael Corleone as the example for one successfully ascending to the pinnacle of the family.

In Chapter 2, Italian Gangs of New York: A Place in the Sun, of the book American Mafia, by Thomas Reppetto the author describes the growth of the Italian population in New York and how it led to the eventual growth of a mafia.

In the late 19^th century the number of Italians in New York City increase over tenfold. This massive increase in immigration led to the creation of small ghettos known as Little Italy. Many of the Italians that were immigrating to the United States during this time, Reppetto describes as industrious, but most often poorly educated, some even unable to read their own language. These Italians were often recruited to work even before they arrived in America and paid a meager wage for a hard day’s work. Furthermore, they were very often the subject of persecution by other ethnic groups, such as the Irish which made up a strong portion of the police force

These factors and living conditions caused the closely confined immigrants to fomr tight knit groups which relied on themselves internally for most things. Due to persecution and the nature of the ghettos they lived in they often fell short of adequet police protection. It was here that Scicilian gangster would find a home in which to create their illegal organization. It was here that the early families sprang up.

“The Godfather” shows a great number of these characterstics, especially the failings of the American dream and justice system. This motif which is prevelant throughout the movie is evident in the opening scene when Amerigo goes before Don Vito Corleone seeking justice after the American legal system had failed to protect his daughter or punish those responsible for her injuries. The understanding developed in this chapter creates a frame work for the foundation of families such as the Corleone or the Tattaglias.

    In the chapter entitled The Entrepreneurial Mafia and the Heroin Economy author Pino Arrlachi described the detailed steps that are required to get heroin from Middle East to the United States and once here what is required to distribute it efficiently.

    The heroin production starts in the middle east or in Southern  Asia as an opium that must be made from the poppy plant. The value of this step in the gradual production into heroin is incredibly low considering what can ultimately be obtained as revenue for fully processed heroin. The author gives the details of prices for both the poppy plant and then the fully processed morphine and shows how the value of the morphine increases as one moves closer to the United States. From Afghanistan to Milan the price of Morphine can increase six fold.

    In the next section the author deals with the market for heroine which , he describes as essentially the perfect sellers market with an almost completely inelastic product. In this section the mafia or organinized crime plays its necessary role. According to the author, there are three things that are necessary for the successful sale of opium, they are capital, physical violence, and insurance of inaction from law enforcement. With these established, the returns to heroine sale are enormous and can be anwhere from 10 to twenty times cost of morphine purchase.

    In “The Godfather”, the main conflict centers around the character of Sollozzo who brings the possibility of drug trade to Don Vito Corrleone. Sollozzo offers the Don three hundred percent return on his investment inside of a month. The Don intelligently refuse because as was shown in this section Sollozzo was asking the Vito to put up to of the essential factors for the drug trade capital and political connections. Understnading these elements of the drug trade helps to provide some insight into the decisions that were made in the film.

    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.

    The influence and penetration by the Mafia into various sectors of the government and legal system throughout the 20^th century is an issue of great concern that Earl Johnson Jr. a Special Attorney in the Organized Crime and Racketeering Section of the United States Department of Justice discusses in his paper Organized Crime: Challenge to the American Legal System: Part III. Legal Antidotes for the Political Corruption Induced by Organized Crime. The paper explores possible remedies to the corruption created by the mafia through four possible measures

    The first technique is that of initiating legal action against organized crime even when prosecutors are influenced and bought out not to take legal action. Remedying this situation is essential because if the prosecutor refuses to take action, the court is essentially powerless to react to illegal activity One possible remedy here is for the court to appoint a special prosecutor in the event that it appears the prosecutor is un willing to take any action. Other possible actions include substitution to the states Attorney General, a private person or the Federal Government.

    The government and legal body on all levels must also not only discourage officials from becoming corrupt but also try not hire corrupt officials in the future. Sanction both Civil and Criminal can be taken against officials that are corrupt. The author describes the legal process involved in prosecuting someone from start to finish as a set of contest that the court must win at all steps along the way.

    This paper sets up an understanding of the legal system and an acknowledgement of the corruption therein. In “The Godfather”, one of the central tools of any organized crime family is political connections. Throughout the movie, one can see corruption present at numerous points throughout the government, from corrupt police officers to an acknowledgment that the Don even has Judges and Senators “in his pocket.” The central conflict evolves from the fact that Don Vito Corrleone has legal contacts which are of tremendous value to other crime organization, contacts that worth killing for.

Smith Jr., Dwight C. "Mafia: The Prototypical Alien Conspiracy." Annals of the American Academy of Political and Social Science: Vol. 423, Crime and Justice in America: 1776-1976, p. 75-88.

    There seems to consistently exist a sense of fascination with conspiracy theories. In American culture, the Mafia is one specific type of conspiracy that seems to have captured the public opinion. Dwight C. Smith, Jr examines the conspiracy of the mafia in his paper, Mafia: The Prototypical Alien Conspiracy. This paper examines the worries about not external, but internal aggressors that seek to undermine the status quo or legal system.

    Smith traces the progression of various conspiracies throughout history, what is required to constitute or create a conspiracy and  the way in which these conspiracies affect the mentality of a countries citizens. The eartliest examples of these comspiracies would be the illuminati of the late 18^th century, the Bolsheviks of the late 19^th century, and now the conspiracies that have surrounded mafia activities. In each of these cases and perhaps with all conspiracies, there is a beginning in which there is only an idea or suspicion. For the Mafia, this suspicion started around October of 1890 in which New Orleans Superintendant of Police David Hennesey and a simple allegation that a group of Sicilians known as the Matrangas were the leaders of a 300 person Mafia. The significance of the Death of the Police superintnedant was clear and retaliation swift.

    The work goes on to show the progression of the Mafia as a product of cultural influence to an organization with a complex hierarchy and infrastructure. In the film “The Godfather”  one can see the complexity of the organization as well as a necessity to remain “under the radar” even if it was only a formality. For example, Don Vito tells Solozzo that he does not wish to take part in his drug trade no matter how lucrative it is because essentially it would their quiet existence within circle of government officials to public and too loud for them to continue to take part in the conspiracy. This paper offers a historical understanding of the development of a Mafioso culture as a conspiracy along with all of the political corruption that is associated with it.

In the article, “Denunciation and the Illusion of Social Control: The Case of the Nevada Black Book,” authors Carole Case and Ronald A. Farrell discuss the exclusion of organized crime figures from the gambling industry in Nevada. These individuals’ names are written in a black book and remain there forever, thus insuring that they are excluded from the gaming industry.

Based on previous fears in the mid 1950s on congressional hearings and the results from the President’s Task force against organized crime in 1967, those that were put into the black book were ones who had the mafia stigma associated with them, which tended to be Italians.

By the mid 1940s, in the post World War II era, Las Vegas was undergoing immense economic growth, and gambling played a critical part in this. In the early 1950s, hearings were held expressing concern over the involvement of the Mafia. This led to concern directed towards Italian Americans. In the end, there was a disproportionate amount of Italians on the black book. The black book’s purpose was to provide security to the public in believing in a clean and lawful gaming system, however based on social stereotypes, a large number of names that appeared on this black book were Italian.

The fear of Italian Americans involved in the gaming industry leads to an increased amount of depth of the movie. The movie is able to play off of current events of the period in order to add strength to the movie. The movie plays off of many of society’s stereotypes in order to convey subtle messages.

            In this particular chapter of Reppetto’s novel, he writes about the formation of the Mafia Commission, or La Commissione, started by Charles “Lucky” Laciano in the 1930’s.  This national crime syndicate was made up of the bosses of the five major mafia families in New York, well known as The Five Families.  The commission was a way to settle disputes and conduct business without resorting to violence.  All major business affairs were handled by the commission, such as territories, political contacts, and other chief matters. 

            This historical committee is evident throughout The Godfather film.  Terms such as “The Commission” and “The Five Families” are common in numerous scenes, especially at the onslaught of the mafia war started by the attempted assassination of Don Vito.  It is easy to think that The Godfather is a non-fictitious work due to the references of so many historically prominent issues, and it is this blurred line of reality and fiction that draw so many viewers to the screen.

            The Godfather is well-known to mix fiction with history, just as Mario Puzo did in his original novel.  The character Johnny Fontane is supposedly based on real-life celebrity Frank Sinatra, who was known to have ties with the mob.  The Corleone family itself is thought to be modeled after the Genovese family of New York, which was for a long time the most powerful mafia family in America.  These social references are so identifiable to the common viewer, especially older audiences who lived through the era, that it is easy to see why so many adore the saga of The Godfather.

            Mario Puzo’s The Godfather debuted on bookshelves in 1969, and America has since-then been fascinated with the world of organized crime.  His novel, the basis for The Godfather Trilogy, introduced the Corleone family and romanticized the gangster lifestyle. 

            The book follows two generations of one of the biggest crime families in New York starting from Vito Corleone’s immigration to the United States in 1909 to his son Michael’s taking-over of the “family business” almost 40 years later.  The Godfather Parts I and II align quite naturally with the novel, as Puzo co-wrote the screenplay with director Francis Ford Coppola.  From reading the book, however, one can grasp a whole new understanding of the drama that ultimately made the movies.  There are many powerful messages in the novel for instance that go unmentioned throughout any of the three films. 

            One such case is the scene that unfolds at the very end of Puzo’s narrative.  Michael’s wife, Kay, kneels before the altar in an empty church, “Then with a profound and deeply willed desire to believe… she said the necessary prayers for the soul of Michael Corleone.”  How does such a significant scene simply go untold during the movie?  Nowhere in the film is the audience aware of any sort of dread by Kay for the soul of her husband.  In the film, we are given a feeling of hatred for the path that Michael has chosen.

There are numerous instances of unsaid imagery in the movie that are prevalent in the novel, but it is the job of the writers to show what is believed to be the most pertinent. 

    The American Mafia has most certainly declined in power and size over the past half century.  Where years ago they controlled numerous rackets including prostitution, labor unions, and most importantly gambling, the mafia now holds little muscle in any of these areas.  This is mainly due to three reasons, as Peter Reuter would describe; federal involvement in organized crime, ethnic change within cities, and failure to control the lucrative trade and trafficking of drugs.  The last of these catalysts for downfall is clearly shown in the film The Godfather and throughout the famed trilogy.

            In the movie, the boss of the Corleone family, Don Vito Corleone, holds a meeting with an up-and-coming drug lord known as The Turk.  He listens to his proposition of controlling the drug trade in New York, but ultimately declines, because, as he states, “…drugs are a dirty business.”  This refusal of the Turk’s deal, in the end, causes an entire war between the families, and the near killing of the Don. 

            It was strictly forbidden by members of La Cosa Nostra, the Sicilian-based fraternal mafia organization, to take part in drugs, but it was a market which they should have taken hold of.  Drug trafficking today accounts for almost half of illegal markets in cities and throughout the country.  It has become the modern version of bootleg liquor during Prohibition.  The failure of Italian Mafiosi to control the drug market has had an enormous impact on the power structure of the mob.  They were left helpless as numerous other ethnicities, such as the Black Mafia, Asian gangs, and the Russian mob took control of this highly profitable racket.  As the character Tom Hagen stated ever so prudently in the film, “drugs are the future, and if we don’t get into it now…it will hurt us, maybe not now, but ten years from now.”

This article written by Earl Johnson Jr. is used to express the influence of organized crime on American society.  Johnson discusses and analyzes the reasons behind the difficulty in suppressing organized crime through traditional methods.

Throughout the essay he discusses the influence that organized crime has ranging from entertainment such as TV, books and newspaper articles, to the economy.  He states that the action of organized crime takes money away from society and law abiding citizens, thus being a detriment to society.  Organized crime also participates in other illicit actions such as violent crimes and getting rid of free competition.  All of these tactics are used in order to give the organizations power.  Johnson believes the reason for this immunity from the law is due to the fact that these crime organizations buy politicians and enforcement agents, corrupting the system and ruining its integrity.  In addition to this, Johnson points out there is a distinct structure within these organizations to make insure that the leaders are safe from any prosecution.

Johnson refers to two other main attributes which protect organized crime from any problems is the corruption throughout the American legal system as well as the façade that these organizations establish. 

From these reasons it is easy to see why these organizations continue to exist.  Despite the knowledge of the government, they continue to be above the law and have nothing standing in there way.

These themes were all present throughout the film, as the Corleone family held many politicians “in their pocket.”  Government officials were never present in the film, as they held no authority over these families.  The only form of regulation was through the interactions between the five families.

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. 

In the article, “Denunciation and the Illusion of Social Control:  The Case of the Nevada Black Book,” authors Carole Case and Ronald A. Farrell discuss the exclusion of organized crime figures from the gambling industry in Nevada.  These individuals’ names are written in a black book and remain there forever, thus insuring that they are excluded from the gaming industry. 

Based on previous fears in the mid 1950s on congressional hearings and the results from the President’s Task force against organized crime in 1967, those that were put into the black book were ones who had the mafia stigma associated with them, which tended to be Italians. 

By the mid 1940s, in the post World War II era, Las Vegas was undergoing immense economic growth, and gambling played a critical part in this.  In the early 1950s, hearings were held expressing concern over the involvement of the Mafia.  This led to concern directed towards Italian Americans.  In the end, there was a disproportionate amount of Italians on the black book.  The black book’s purpose was to provide security to the public in believing in a clean and lawful gaming system, however based on social stereotypes, a large number of names that appeared on this black book were Italian.

The fear of Italian Americans involved in the gaming industry leads to an increased amount of depth of the movie.  The movie is able to play off of current events of the period in order to add strength to the movie.  The movie plays off of many of society’s stereotypes in order to convey subtle messages.

Smith Jr., Dwight C.  "Mafia:  The Prototypical Alien Conspiracy." Annals of the American Academy of Political and Social Science: Vol. 423, Crime and Justice in America: 1776-1976, p. 75-88.

 

    The article, “Mafia:  The Prototypical Alien Conspiracy,” written by Dwight C. Smith Jr. discusses the role that the “Mafia” has played in American society, and the ways in which America has tried to deal with this issue.  The term “Mafia” became popularized before the 19^th century, when people began to develop conspiracy theories against Sicilians.  Stemming from the Hennessey murder case in New Orleans, a stigma was developed against the Sicilian population of the town.  Although there was no real proof of mob ties, these Mafia rumors lived on which led to support and implementation of immigration laws. 
    During the post World War II era, the “Mafia” legend was revived.  Beginning with the Federal Bureau of Narcotics, rumors persisted about the Mafia and immigrants.  These rumors reached its pinnacle when the President’s Crime Commission agreed with the concept of a Mafia conspiracy.  Smith Jr. writes that the reason behind the creation of this “Mafia” myth is to explain the failure of the Federal Bureau of Narcotics to eliminate the existence of narcotics in America.  By using the “Mafia” as a scapegoat for their failures, the Bureau popularized this idea.  Whether or not it actually existed is debatable, but it led to changes in society.

    From the popularization of the “Mafia,” those in entertainment began to capitalize on it by selling it as a product to the public.  Mario Puzo wrote the book, The Godfather, which focused on the world that America was so worried about. 
    This article gives background into the reasoning behind the making of the movie, The Godfather, as well as providing explanation of the content of the movie.  The movie is a period film, set post World War II, which as the article has shown was the era in which the “Mafia” conspiracy was being revived.  In the movie, the reason that the five families began to fight was due to introduction of narcotics.  At this time, drugs were a big problem in America, thus showing parallels between the period of the movie and societal problems.  Also, Paramount capitalized on the publicity that the “Mafia” genre was receiving by producing Mario Puzo’s book.  This led to The Godfather becoming one of the most successful movies of all time.

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.

This encyclopedia entry on The Godfather first goes to show its universality amongst the film and popular culture worlds.  It is simply defined first as a film adaptation about a mafia family which spans from 1945 to 1955, but was filmed in 1972.  The entry then proceeds to be organized first by main characters and plotline, production, casting, critical acclaim, sequels, trivia, impact, quotes, games, and related works.

An extensive plot summary is provided, specifying all of the major characters, including Don Corleone and Michael, after the movie is described as one of the best ever filmed.  The specifics regarding production reveal that due to speculation about the potential success of Francis Ford Coppola’s film, the small budget did not allow for production lighting, but this was ultimately a good thing as the lighting that was utilized gave the film a more realistic appearance.

There is a very short cast list, but it emphasizes how strongly Coppola felt about having Al Pacino play the part of Michael, given that he nearly quit in order to make it happen.  Many other stars shot to fame as a result of this film as well.  There is also a listing of awards that the film won, including Best Picture, Best Actor in a leading role, and Best Writing.  The Godfather made record breaking revenues at the box office, and continues to earn through DVD sales, video game sales, and other such merchandizing tactics.

The remainder of the entry discusses the controversial video game, various quotes that became famous from the film, most specifically Don Vito’s line, “I’m gonna make him an offer he can’t refuse.”  There are also various tidbits of trivia information, regarding animal rights group protests concerning the horse head scene.  But perhaps the most interesting of this trivia is how life began to imitate art in that actual mafia families began to imitate the forms of respect depicted in the movie, such as kissing the ring of the Godfather.

This article is an interview with Francis Ford Coppola about his career as a film Director, specifically regarding the making of The Godfather.  It begins with some general background about Coppola, and how he wanted to get away from big time Hollywood.  He struggled greatly, and despite not particularly wanting to take on Mario Puzo’s adaptation of his successful novel, he ended up doing so because his own film company was in great financial distress.

Admittedly, Coppola knew nothing about the mafia save the few films and books he has once viewed and read.  He did however, tear up the book and annotate it like crazy once he had accepted the job so as to familiarize himself with all of the relevant information he would need to successfully create this film.

Coppola then discusses how he was highly opposed to have Robert Redford play the part of Michael because he very clearly did not have the coloring to play a Sicilian which, for this mafia based movie, was very important.  The entire Italian-American immigrant aspect of the film was in many ways central to understanding the family, which is why Coppola pushed for Al Pacino, who was the young actor, at the time, who he had pictured playing the part.  Part of the opposition there, however, was that Pacino was short and Michael was supposed to be a tough guy, but Coppola supported Pacino’s acting skills.

Then Coppola tells the story of how he managed to get Marlon Brando to do the part of Don Corleone, after Brando had already turned down a previous script of his.

This film review of The Godfather, discusses its merits within its own time. Specifically the film was one of the highest grossing of its time which led to a resurgence of Hollywood film as there had been a great deal of foreign competition at the time.  Francis Ford Coppola solidified himself as a Director despite only being a film student.

As a nearly three hour gangster film, Coppola’s reluctant project was not expected to be such a success, especially given its small budget, despite what we now know is a star packed cast, including Marlon Brando, Al Pacino, James Caan, and Robert Duvall amongst others.  In addition to grossing a great deal of money, the film won many Oscars, and was highly critically acclaimed.

Despite the gangster genre having been around for quite a while, The Godfather, as a film, and Coppola as a Director reinvented it.  Though the film and characters are somewhat dark, the main characters are very well liked and become tragic heros.  The crimes the commit are justified in some respect and the violence in this film, and many that would follow, was romanticized.

A mafia family story set in the 1940’s and 50’s, “The Godfather is an insightful sociological study of violence, power, honor and obligation, corruption, justice and crime in America.”  The honorable Corleone family is an Italian-American immigrant family that is very tight knit.  Don Corleone, for instance, believes strongly in family values despite what one would imagine a crime lord to value.

Chapter three in the book Francis Ford Coppola’s The Godfather Trilogy, is entitled, “The Representation of Ethnicity in The Godfather.”  The chapter focuses on the Italian-American heritage of the Corleone family, as well as that of Mario Puzo and Francis Ford Coppola, in the analysis of how this factored into the film as well as the novel to create a very different tale.

The chapter opens with a quotation that claims this film has changed the term “godfather” from a parental, guiding figure, to that of a ruthless Italian killer.  Of course, when one actually considers the representation of Don Corleone, while he may in fact be a ruthless Italian killer, he still possess family values, and a deep sense of thoughtfulness.  In many ways he still is a wise and guiding figure. Of course, the film does nothing to take away from the stereotypical image of all Italians being in the mafia.

What the chapter then seeks to discover is why, specifically, Italian criminals seem to be more attractive a topic than crime in general, although the author does not deny that violence certainly is intriguing to most people regardless of the ethnicity that is involved in a particular situation. 

There is then a continued discussion about the representation of Italians in The Godfather as a specific type of Italian, and not simply Italians in general.  These are specifically those, as depicted, that have strong and firm attachments to their Italian roots, heritage, culture, and traditions, but have had all of these values “corroded” by American values.  It is then ultimately the fact that the characters are Italian-American wherein the trouble really begins.

This film review of The Godfather, discusses its merits within its own time. Specifically the film was one of the highest grossing of its time which led to a resurgence of Hollywood film as there had been a great deal of foreign competition at the time.  Francis Ford Coppola solidified himself as a Director despite only being a film student.

As a nearly three hour gangster film, Coppola’s reluctant project was not expected to be such a success, especially given its small budget, despite what we now know is a star packed cast, including Marlon Brando, Al Pacino, James Caan, and Robert Duvall amongst others.  In addition to grossing a great deal of money, the film won many Oscars, and was highly critically acclaimed.

Despite the gangster genre having been around for quite a while, The Godfather, as a film, and Coppola as a Director reinvented it.  Though the film and characters are somewhat dark, the main characters are very well liked and become tragic heros.  The crimes the commit are justified in some respect and the violence in this film, and many that would follow, was romanticized.

A mafia family story set in the 1940’s and 50’s, “The Godfather is an insightful sociological study of violence, power, honor and obligation, corruption, justice and crime in America.”  The honorable Corleone family is an Italian-American immigrant family that is very tight knit.  Don Corleone, for instance, believes strongly in family values despite what one would imagine a crime lord to value.

This article is an interview with Francis Ford Coppola about his career as a film Director, specifically regarding the making of The Godfather.  It begins with some general background about Coppola, and how he wanted to get away from big time Hollywood.  He struggled greatly, and despite not particularly wanting to take on Mario Puzo’s adaptation of his successful novel, he ended up doing so because his own film company was in great financial distress.

Admittedly, Coppola knew nothing about the mafia save the few films and books he has once viewed and read.  He did however, tear up the book and annotate it like crazy once he had accepted the job so as to familiarize himself with all of the relevant information he would need to successfully create this film.

Coppola then discusses how he was highly opposed to have Robert Redford play the part of Michael because he very clearly did not have the coloring to play a Sicilian which, for this mafia based movie, was very important.  The entire Italian-American immigrant aspect of the film was in many ways central to understanding the family, which is why Coppola pushed for Al Pacino, who was the young actor, at the time, who he had pictured playing the part.  Part of the opposition there, however, was that Pacino was short and Michael was supposed to be a tough guy, but Coppola supported Pacino’s acting skills.

Then Coppola tells the story of how he managed to get Marlon Brando to do the part of Don Corleone, after Brando had already turned down a previous script of his.

This encyclopedia entry on The Godfather first goes to show its universality amongst the film and popular culture worlds.  It is simply defined first as a film adaptation about a mafia family which spans from 1945 to 1955, but was filmed in 1972.  The entry then proceeds to be organized first by main characters and plotline, production, casting, critical acclaim, sequels, trivia, impact, quotes, games, and related works.

An extensive plot summary is provided, specifying all of the major characters, including Don Corleone and Michael, after the movie is described as one of the best ever filmed.  The specifics regarding production reveal that due to speculation about the potential success of Francis Ford Coppola’s film, the small budget did not allow for production lighting, but this was ultimately a good thing as the lighting that was utilized gave the film a more realistic appearance.

There is a very short cast list, but it emphasizes how strongly Coppola felt about having Al Pacino play the part of Michael, given that he nearly quit in order to make it happen.  Many other stars shot to fame as a result of this film as well.  There is also a listing of awards that the film won, including Best Picture, Best Actor in a leading role, and Best Writing.  The Godfather made record breaking revenues at the box office, and continues to earn through DVD sales, video game sales, and other such merchandizing tactics.

The remainder of the entry discusses the controversial video game, various quotes that became famous from the film, most specifically Don Vito’s line, “I’m gonna make him an offer he can’t refuse.”  There are also various tidbits of trivia information, regarding animal rights group protests concerning the horse head scene.  But perhaps the most interesting of this trivia is how life began to imitate art in that actual mafia families began to imitate the forms of respect depicted in the movie, such as kissing the ring of the Godfather.

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 this original New York Times review of Francis Ford Coppola’s The Godfather, published on March 16, 1972, columnist Vincent Canby describes specifically the plot and themes of the film.  He then proceeds to sing the praises of Coppola’s efforts.  Ultimately, we can see how this popular film was well-received even upon its initial release, given that Canby’s article was nothing short of glowing.

Canby begins the article by introducing Mario Puzo’s bestselling novel The Godfather first.  More often than not adapted screenplays from novels aren’t well liked, partly because there is a great deal of expectation surrounding them, but also because creating what many people have envisioned differently is a daunting task.  Still, Canby begins his series of compliments by praising Coppola for being able to stand up to the task and really make the film as good as if not better than the novel, while still remaining true to the characters and plotline.

He continues by turning to the complexities of both the characters as well as story difficulties, describing how characters that are very well liked may very well act out in later scenes, making it difficult to establish whom to vote for.  For instance, the typical mafia wars here are not particularly glorified, nor does Coppola hide the brutality of the family business.  Instead, despite the rather small portion of a community that has actually experienced it, he gives us a full and true sense of both the violence as well as the love and respect present within the Corleone family.

Finally, Canby attempts to make a brief mention of the superb acting in the film, but with so many incredible people, most of whom would go on to lead very successful careers if they weren’t already, he struggles and only specifically calls out Marlon Brando for his incredible return to film, and Al Pacino, who starred.  Coppola receives many compliments for his rather lengthy feature film, 175 minutes in fact, all of which are of course well deserved.

The Godfather, a film directed by Francis Ford Coppola, released in 1972 is a story of an Italian American family, who has immigrated to America.  It depicts the struggles in their family relationships as well as the brutality of organized crime.