Go to introduction.
That is the line that opens the film over a black frame before a fade in on a close-up of Bonasera. That line sets the tone for the rest of the film and possibly the entire trilogy. In many ways, the film is a celebration of the idea of America and the American dream: an immigrant family settles in New York and builds itself up from having nothing to having everything. America, the land of opportunity, has been very good to the Corleone family.
That is the line that opens the film over a black frame before a fade in on a close-up of Bonasera. That line sets the tone for the rest of the film and possibly the entire trilogy. In many ways, the film is a celebration of the idea of America and the American dream: an immigrant family settles in New York and builds itself up from having nothing to having everything. America, the land of opportunity, has been very good to the Corleone family.
The
opening shot is of a minor character in the film, but the position he’s in and
the request he makes of Don Corleone is emblematic of what the film has to say
about justice – the justice that the Corleone family deals in versus American
justice of the legal system. The camera slowly pulls back from Bonasera as he
tells a tale of how he has tried to live his life like an American. He notes
he’s made his fortune in America and that he raises his daughter “in the
American fashion.” He goes on to tell how his daughter was attacked by American
boys. They savagely beat her, breaking her jaw. She is now in the hospital.
Bonasera attempted to avail himself of the lawful justice system, but the judge
let the boys off with a suspended sentence. The America he loves let him down,
abandoned him at his most desperate hour. Bonasera wants revenge. As he speaks,
the camera finally reveals the back of Don Corleone’s head. As the shot began,
Bonasera’s image filled the screen. By the end he is a small figure in the
background, dwarfed by both Corleone and his massive desk, shrouded in the
darkness of this office where under-handed deals are made and the life and
death fates of many are decided.
The opening shot of the film gives us Bonasera, his features cast in shadow. |
A long and slow pullback reveals the smallness of Bonasera compared to Corleone in the foreground and his massive desk between them. |
It takes until the third shot in the film and fully 3 minutes to get to this establishing shot revealing the room and who is in it. |
The
third shot of the film reveals Sonny and Tom in the room, although we don’t yet
know who they are. All the men are dressed in tuxedos, although we don’t yet
know why. Bonasera asks Don Corleone to have the boys killed, but Corleone
insists that is not proper justice because his daughter is still alive. Then
Bonasera unwittingly insults the Don by offering money. Don Corleone is visibly
disappointed:
DON
CORLEONE: Bonasera. Bonasera. What have I ever done to make you treat me so
disrespectfully? If you’d come to me in friendship then this scum that ruined
your daughter would be suffering this very day. And if by chance an honest man
like yourself should make enemies, then they would become my enemies. And then
they will fear you.
This
speech begins to reveal the weight and power of Don Corleone. Bonasera accepts
his friendship and calls him “Godfather.” Don Corleone is obviously pleased now
and tells Bonasera that one day (possibly) he will come to ask for a favor in
exchange, but until that day this is a simple gift on his daughter’s wedding
day. The reason for the tuxedos is thus revealed. Bonasera leaves the office
and Corleone tells Tom:
DON
CORLEONE: Give this to Clemenza. I want reliable people, people that aren’t
going to be carried away. I mean, we’re not murderers in spite of what this
undertaker says.
This
is another line that resonates throughout the film (and the series). Don
Corleone doesn’t see his family as murderers. They are businessmen – a mantra
that will be repeated in several forms throughout the film as a means of
justifying to themselves what they do to other people.
Go to Part II: "No Sicilian can refuse any request on his daughter's wedding day."
Go to Part II: "No Sicilian can refuse any request on his daughter's wedding day."
Insightful analysis. I will add a word about Brando's sensational performance. Before we see his face, before he makes a sound, we see from his position, his posture, and his gestures that he is "the man," radiating power, in complete control, the ultimate authority figure. A transformation occurs when we first see Brando's face. Brando had a charisma and a screen presence like no other, even despite the makeup (which isn't up to today's standard). The Don's contempt for Bonasera is palatable, but he will give Bonasera an opportunity to redeem himself. Although he has precious little onscreen time, Brando played an emormous role in Coppola's tansformation of good pulp fiction in an artistic masterpiece.
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