"If I Wanted to Kill You, You'd Be Dead Already": Godfather Analysis Part VI

Go to Part V: "Never tell anybody outside the family what you're thinking again."

I have argued that Pulp Fiction, despite what most people believe, is not actually a very violent film. I stick strongly to that belief. I don’t want to say the same thing about The Godfather because I believe it is rife with violence, but it is worth noting that the first violent scene (the garroting of Luca Brasi) comes 42 minutes into the film. This suggests that violence exists in the film only when necessary. It places the focus on family (the subject of the opening wedding celebration), on loyalty (the subject of the meetings Don Corleone has, as well as the help he provides Johnny Fontane), and it is about business (the subject of the meeting with Virgil Sollozzo).

"Never Tell Anybody Outside the Family What You're Thinking Again": Godfather Analysis Part V

Go to Part IV: "He never asks a second favor when he's been refused the first."

Now that we’ve been introduced to all the major characters in the film, gotten a sense of their personality traits and seen the power of Don Corleone’s persuasion, it’s time (only 33 minutes into the film) to put the plot in motion and meet the villain. This section opens with Corleone sitting down with Tom and Sonny to begin discussing the possibility of becoming partners with Virgil Sollozzo. Vito asks Tom if he’s too tired and Tom remarks that it’s okay because he slept on the plane. This seemingly banal piece of dialogue does a few things: gives us a time reference so we know this is immediately after Tom’s trip to California; indicates Tom’s professionalism in his loyalty and service to the Don; and shows that the Don wants to get things moving quickly and be well-prepared.

"I'm Gonna Make Him an Offer He Can't Refuse.": Godfather Analysis Part III

Go to Part II: "No Sicilian can refuse any request on his daughter's wedding day."

The family portrait now includes Michael and Kay.

Now Johnny Fontane arrives to the great joy and surprise of Vito, who proclaims that he came “all the way from California.” Tom, being realistic and perhaps a little jealous, points out, “it’s been two years. He’s probably in trouble again.” Of course, Tom turns out to be right as he’s come to ask a favor of the Don.

"No Sicilian Can Refuse Any Request on His Daughter's Wedding Day.": Godfather Analysis Part II

Go to Part I: "I believe in America."

After the dark interior opening, the film cuts to a sunny exterior shot of the wedding celebration with music playing and people dancing. This virtuoso opening sequence brilliantly introduces us not only to most of the important characters in the film, but also to some of the key plot points, although we don’t know it yet. The opening sequence in Corleone’s office has an average shot length of just under 27 seconds. The remainder of the wedding sequence averages just under 8 seconds per shot – an indication that the sequence moves quickly, cutting between exterior and interior scenes, revealing all the characters and some of their personality traits that will figure prominently later.

Classic Movie Review: The Godfather Part II

At the time it was made, could anyone have imagined that a sequel to The Godfather would possibly be anything near to the quality and sophistication of the first film? And yet Francis Ford Coppola surpassed his own film in many ways with The Godfather Part II. It is wider and more epic in scope, covering both the rise of a young Vito Corleone in 1920s Little Italy and the decline of his youngest son Michael 30-odd years later. It covers the ground both before and after the time period in which the first film is set.

Classic Movie Review: The Godfather (Special 200th Posted Review Edition)

This reviews marks the 200th full length movie review I've posted to this blog since I began it in April 2010. When I hit my 100th earlier this year, I marked the occasion with a review for Pulp Fiction, followed by a scene-by-scene analysis of the film. Starting next week, I will begin posting a similar analysis for The Godfather.

Francis Ford Coppola’s adaptation of Mario Puzo’s The Godfather is regarded as such an important cinematic classic that it’s easy to forget what a bold undertaking it was and how unconventional Coppola decided to make it. Here is  adramatic and violent story, epic in scope, that begins with a thirty minute wedding celebration that has very little plot advancement, no action, and introduces about twenty key characters. The payoff comes later when we feel like we know these people like our own family.