In this article printed in the Chicago Sun-Times, renowned film critic Roger Ebert offers his two cents on the movie Manhattan.  Directed by and starring Woody Allen, this romantic comedy is the tale of two lovers trying to find romance in New York.  One would question the relevance of this film to The Godfather, but it is not hard to find.  Both films were done by legendary cinematographer Gordon Willis, also known among his colleagues as ‘The Prince of Darkness.’ 

            Willis is famous for his use of light and darkness in the films he has worked on.  In both Manhattan and The Godfather Willis sets a very unique tone for every scene.  His use of dark imagery and shadowy settings collides perfectly with the mysterious feel of each scene and character.  For example, in The Godfather Willis made a distinct point to cast a shadow over Michael’s and Vito’s eyes throughout many of their scenes.  One will notice that when Vito Corleone addresses the Mafia Commission after the death of his son, Santino, his eyes are rarely seen.  This adds a threatening mood to his presence, and hints at a calculating man behind the mask. 

            The entire film is engulfed by the presence of darkness or light.  Every scene is masterfully tinted as to provide a subconscious emotion to each action.  The wedding is bright and colorful, whereas moments later, Don Corleone’s office is gloomy and bleak.  Sicily is sunny and beautiful, whereas Bonasera’s funeral parlor is hardly visible through the shadows. 

            The Godfather is a masterpiece in itself, but without the cinematography of Gordon Willis, a.k.a. The Prince of Darkness, it would be an entirely different movie altogether.