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The Godfather Part 1 Analysis Essay

A son returns from war and doesn't want to get mixed up in the family business: organised crime. When his father is gunned down, however, he commits murder and is inextricably bound by ties of blood, heritage and "honour" to a course of vendetta and power ruthlessly maintained through fear. Eventually he inherits his father's mantle as syndicate big shot and family head, the film ending with a chilling shot of the door closing on his uncomprehending WASP wife as Michael Corleone receives the homage "Godfather".

It was the first event movie of the 70s, the one multitudes queued up to see, the one whose dialogue, characters and imagery instantly became ingrained in the collective consciousness. It made stars of Pacino and Caan, won Oscars for Picture, Screenplay and Brando, in a triumphant comeback. Shortly after its premiere in 1972 Variety reported, "The Godfather is an historic smash of unprecedented proportions". At the time the director, Francis Ford Coppola, was holed up in a hotel writing the screenplay for The Great Gatsby, a job he took to relieve his financial problems because he believed in his movie. He had only been given the film after a lengthy wish-list of veterans including Otto Preminger, Elia Kazan, Fred Zinnemann and Franklin Schaffner turned it down. He perked up when Frank Capra wrote to him, claiming it was, " Out of this world. I cheered inwardly at scene after scene."

People are still cheering scene after scene in one of the greatest American films ever made, and committing chunks of dialogue to memory — like the goons in TV's The Sopranos who adore Godfather impersonations and businessmen like Tom Hanks' bookseller in You've Got Mail who explains to Meg Ryan that The Godfather is the font of all wisdom for the modern man.

Not since Warner Brothers' crime cycle of the 30s had the underworld so captured the public imagination. Fingering the story's irresistability, Mario Puzo's best-selling novel was, the author considered modestly, "A great combination, the family story and a crime story. And also I made them out to be good guys except they committed murder once in a while". In adapting the book with Puzo, Coppola had a darker, ultimately more profound take: "I looked at it as the story of aking with three sons." It is pulp fiction turned into opera, an epic of gangster patriarchy, of family, of America itself. "I believe in America," are the first words in the film, spoken by the undertaker Bonasera, an immigrant proud of his assimilation and enrichment. But, he says, "for justice we must gotoDonCorleone." Puzo introduced the term godfather, now synonymous with crime family bosses. The words Mafia, Cosa Nostra, camorra and the like never occur in the film because Paramount producer Al Ruddy was paid a little visit by Joe Colombo, one of the heads of the real "five Families", and nervously promised the crime syndicate would be referred to in non-Italian terms.

Ironically real Mafiosi later embraced the film, paying assiduous court to its principals to this day and affecting the language and style of Vito, Michael, Sonny, their lieutenants and soldiers. Original protests by Italian-Americans who deplored being defamed en masse (the Sons Of Italy, The Italian-American Anti-Defamation League and its champion Frank Sinatra, who raised funds to campaign against the film) have been overshadowed ever since the film's release by its popularity within that same ethnic group. Italian immigrants' descendants, whose assimilation and Americanisation has been complete, view with nostalgic yearning the Corleone clan happily pounding down their pasta together, celebrating and sorrowing together at the weddings, the baptism, and the inevitable funeral. Such anecdotes, the legends (Brando did wo? stuff his cheeks with cotton, but had resin blobs clipped to his back teeth; Sinatra, universally believed to be the model for crooner Johnny Fontane, did attack Puzo in a restaurant, calling him a "stool-pigeon"), the footnotes (the baby being baptised during the climactic murder binge is Coppola's infant daughter Sofia), and the postscripts (Brando sending "Satcheen Littlefeather" to reject his Oscar) are so abundant that there are volumes of Godfather lore and trivia. TV documentaries have been made of the actor's screen tests.

This landmark remains a masterly work, fully deserving of its reputation. Coppola can be credited with laying the groundwork of 70s cinema with his commanding technical engineering and his audacious, visceral and stately set-pieces (the horse's head in the bed, the slaughter of Sonny which Coppola acknowledges was inspired by Arthur Penn's climax to Bonnie And Clyde (1967), the interweaving of the sunny wedding party with Don Corleone's court indoors, the progress of Michael's respectful Sicilian courtship of Apollonia contrasted with Connie and Carlo's explosive domestic life, and, most unforgettably, the dazzling finale of assassinations —that will make Michael undisputed Godfather — carried out against the sacramental rites in which he assumes the role of godfather). But the film's finest qualities also reveal Coppola's fluency in the classics, from the superior pulp of the 30s, into 40s noir and social dramas. His authoritative grip on an ordered, fastidiously constructed narrative, Dean Tavoularis' richly detailed design, the weight given to a fabulous supporting ensemble (Robert Duvall, Richard Conte, John Cazale, Castellano, Alex Rocco et al.), Gordon Willis' striking cinematography, Nino Rota's beautifully melodic score.

The one enduring criticism of The Godfather is that it glorifies the Mafia, affection mingled with abhorrence in its expression of the acts and ethos of Vito Corleone and his extended criminal family. The identification — both Coppola's and the audience's —with Pacino's Michael is unreserved. And cold, ruthless, logical Michael is definitely not the "pretty good guy" it amused Puzo to characterise him as.

Time and two more pictures would highlight the despair and nihilism in The Godfather with its burden of sins accruing beyond redemption. The 1974 sequel, The Godfather, Part II (which took six Oscars including the only one for Best Picture ever awarded to a sequel) is arguably even more compelling in its elaboration of power's corruption into complete moral decay. 1990's flawed Part III sees Michael get his with Shakespearean finality, Heaven finding a way to kill his only joy. The Godfather continues to entice and entrance, however, for its emphatically mythic exploration of family, be it one cursed in blood and ambition.

An intricately constructed tapestry of narrative, emotion and the trials of a reluctant gangster.

“The Godfather” is told entirely within a closed world. That’s why we sympathize with characters who are essentially evil. The story by Mario Puzo and Francis Ford Coppola is a brilliant conjuring act, inviting us to consider the Mafia entirely on its own terms. Don Vito Corleone (Marlon Brando) emerges as a sympathetic and even admirable character; during the entire film, this lifelong professional criminal does nothing of which we can really disapprove.

During the movie we see not a single actual civilian victim of organized crime. No women trapped into prostitution. No lives wrecked by gambling. No victims of theft, fraud or protection rackets. The only police officer with a significant speaking role is corrupt.


The story views the Mafia from the inside. That is its secret, its charm, its spell; in a way, it has shaped the public perception of the Mafia ever since. The real world is replaced by an authoritarian patriarchy where power and justice flow from the Godfather, and the only villains are traitors. There is one commandment, spoken by Michael (Al Pacino): “Don’t ever take sides against the family.”

It is significant that the first shot is inside a dark, shuttered room. It is the wedding day of Vito Corleone’s daughter, and on such a day a Sicilian must grant any reasonable request. A man has come to ask for punishment for his daughter’s rapist. Don Vito asks why he did not come to him immediately.

“I went to the police, like a good American,” the man says. The Godfather’s reply will underpin the entire movie: “Why did you go to the police? Why didn’t you come to me first? 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 would fear you.”

As the day continues, there are two more scenes in the Godfather’s darkened study, intercut with scenes from the wedding outside. By the end of the wedding sequence, most of the main characters will have been introduced, and we will know essential things about their personalities. It is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather’s world.

The screenplay of “The Godfather” follows no formulas except for the classic structure in which power passes between the generations. The writing is subtly constructed to set up events later in the film. Notice how the request by Johnny Fontane, the failing singer, pays off in the Hollywood scenes; how his tears set up the shocking moment when a mogul wakes up in bed with what is left of his racehorse. Notice how the undertaker is told “someday, and that day may never come, I will ask a favor of you. . .” and how when the day comes the favor is not violence (as in a conventional movie) but Don Vito’s desire to spare his wife the sight of their son’s maimed body. And notice how a woman’s “mistaken” phone call sets up the trap in which Sonny (James Caan) is murdered: It’s done so neatly that you have to think back through the events to figure it out.


Now here is a trivia question: What is the name of Vito’s wife? She exists in the movie as an insignificant shadow, a plump Sicilian grandmother who poses with her husband in wedding pictures but plays no role in the events that take place in his study. There is little room for women in “The Godfather.” Sonny uses and discards them, and ignores his wife. Connie (Talia Shire), the Don’s daughter, is so disregarded that her husband is not allowed into the family business. He is thrown a bone--”a living”--and later, when he is killed, Michael coldly lies to his sister about what happened.

The irony of the title is that it eventually comes to refer to the son, not the father. As the film opens Michael is not part of the family business, and plans to marry a WASP, Kay Adams (Diane Keaton). His turning point comes when he saves his father’s life by moving his hospital bed, and whispers to the unconscious man: “I’m with you now.”

After he shoots the corrupt cop, Michael hides in Sicily, where he falls in love with and marries Appolonia (Simonetta Stefanelli). They do not speak the same language; small handicap for a Mafia wife. He undoubtedly loves Appolonia, as he loved Kay, but what is he thinking here: that he can no longer marry Kay because he has chosen a Mafia life? After Appolonia’s death and his return to America, he seeks out Kay and eventually they marry. Did he tell her about Appolonia? Such details are unimportant to the story.

What is important is loyalty to the family. Much is said in the movie about trusting a man’s word, but honesty is nothing compared to loyalty. Michael doesn’t even trust Tom Hagen (Robert Duvall) with the secret that he plans to murder the heads of the other families. The famous “baptism massacre” is tough, virtuoso filmmaking: The baptism provides him with an airtight alibi, and he becomes a godfather in both senses at the same time.

Vito Corleone is the moral center of the film. He is old, wise and opposed to dealing in drugs. He understands that society is not alarmed by “liquor, gambling . . . even women.” But drugs are a dirty business to Don Vito, and one of the movie’s best scenes is the Mafia summit at which he argues his point. The implication is that in the godfather’s world there would be no drugs, only “victimless crimes,” and justice would be dispatched evenly and swiftly.


My argument is taking this form because I want to point out how cleverly Coppola structures his film to create sympathy for his heroes. The Mafia is not a benevolent and protective organization, and the Corleone family is only marginally better than the others. Yet when the old man falls dead among his tomato plants, we feel that a giant has passed.

Gordon Willis’ cinematography is celebrated for its darkness; it is rich, atmospheric, expressive. You cannot appreciate this on television because the picture is artificially brightened. Coppola populates his dark interior spaces with remarkable faces. The front-line actors--Brando, Pacino, Caan, Duvall--are attractive in one way or another, but those who play their associates are chosen for their fleshy, thickly lined faces--for huge jaws and deeply set eyes. Look at Abe Vigoda as Tessio, the fearsome enforcer. The first time we see him, he’s dancing with a child at the wedding, her satin pumps balanced on his shoes. The sun shines that day, but never again: He is developed as a hulking presence who implies the possibility of violent revenge. Only at the end is he brightly lit again, to make him look vulnerable as he begs for his life.

The Brando performance is justly famous and often imitated. We know all about his puffy cheeks, and his use of props like the kitten in the opening scene. Those are actor’s devices. Brando uses them but does not depend on them: He embodies the character so convincingly that at the end, when he warns his son two or three times that “the man who comes to you to set up a meeting--that’s the traitor,” we are not thinking of acting at all. We are thinking that the Don is growing old and repeating himself, but we are also thinking that he is probably absolutely right.

Pacino plays Michael close to his vest; he has learned from his father never to talk in front of outsiders, never to trust anyone unnecessarily, to take advice but keep his own counsel. All of the other roles are so successfully filled that a strange thing happened as I watched this restored 1997 version: Familiar as I am with Robert Duvall, when he first appeared on the screen I found myself thinking, “There’s Tom Hagen.”

Coppola went to Italy to find Nino Rota, composer of many Fellini films, to score the picture. Hearing the sadness and nostalgia of the movie’s main theme, I realized what the music was telling us: Things would have turned out better if we had only listened to the Godfather.


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