Great Moments From Cinema - 38

The First Family Of Crime
Movie: The Godfather (Paramount Pictures; 1972)
Director: Francis Ford Coppola
Screenplay: Mario Puzo and Francis Ford Coppola
Major Cast: Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, John Cazale and Talia Shire

Film Synopsis: The story of Mafia family, the ‘Corleone’s’; it chronicles the passing of the leadership from ‘Vito Corleone’ (Brando) to his youngest son, ‘Michael’ (Pacino).

My Favorite Moment: The transformation of Pacino into the next ‘Godfather’

Why I Like It: I am yet to meet a person who hasn’t seen this movie. In fact, I am yet to meet anyone who dislikes it. No matter when or where, the minute we hear the haunting music by Nino Rota, we are drawn into the world of the ‘Godfather’. A flawless film, it is the iconic cinema of all time and the benchmark for all ‘mafia movies’. A benchmark which no other film has ever matched, except of course its sequel.

Right from the opening dialogue (the most famous first words in a film) “I believe in America”, at the wedding of Brando’s daughter (Shire), we are captivated by this family and even become a part of their lives. Yes these are criminals and sometimes they are heartless, but we still like them. It is perhaps because they value loyalty beyond everything else. Godfather’s word is his honor and if he promises you something, it is etched in stone. The foundations of their family have deep roots and they will have no mercy on anyone trying to destroy that. As ‘Michael’ chillingly reminds his brother ‘Fredo’ (Cazale), “Fredo, you're my older brother and I love you, but don't ever take sides with anyone against the family again. Ever.”

It is hard to imagine anyone else playing ‘Vito Corleone’ than Brando. His every nuance is perfect and the way Coppola lights his face only partially, adds to the mystic of his performance. Even as he won the Academy award for this role, the best performance is by Pacino and his transition from the innocent kid to the next ‘Godfather’. Nowhere is it emphasized more than the scene where he coldly plots the murder of a corrupt cop who had tried to kill ‘Vito’. His posture as he sits in the chair, changes ever so slightly, but it is enough to convince us of his growing stature. It is his rebirth and the steely look in his eyes is testament to his intentions. It is hard to believe that it is the same young man who, at the beginning of the film tells his girlfriend (Keaton) that he is not involved in his family’s shady business. But blood is after all the strongest bond and it is a destiny he cannot escape. In a virtuoso sequence at the end, on ‘Michael’s’ orders, all his enemies are being eliminated at the same time as his infant son is getting baptized. It is as if he is purging his life of all the unwanted elements. He comes across as cold man who doesn’t see any crime in killing people who deserve to die.

Coppola achieves the cinematic equivalent of a perfect score in gymnastics. The rest of the cast is nothing short of brilliant. Caan and Duvall were born to play their roles. It is compelling to see these men discuss crime as if it were the most natural thing to do. So when a person who disrespects the ‘Godfather’, gets up with his horse’s head in his bed, he as well as the audience gets the message loud and clear: This is what ‘Godfather’ can do. If you do not follow his instructions, he will be forced to ‘make an offer which you can’t refuse.’ ... And it won’t be pleasant.