The Godfather.
The very name of this bastion of american cinema sends thrills of excitement down the spine of any film enthusiast. It is considered by many across the globe to be the greatest on screen creation ever put together and has repeatedly been placed at the top of lists ordering the best of cinema for over 40 years. With the fortieth anniversary of the second instalment of the trilogy just around the corner, it seemed like the perfect opportunity to uncover what it is behind this legend of film which makes it, just so great.
Brando. Pacino. De Niro. Duvall. Caan. Cazale. Keaton. Shire.
These are the names that carry the narrative. They are the greatest actors of a generation, collectively having scores of Oscar wins, nominations, best films, the academy awards wouldn’t be the same without the work these performers have put together. It is their ability to make an audience be completely enthralled with the world that Mario Puzo wrote which is what draws audiences in time and time again. I believe that it is this incredible acting talent displayed within this film, with a line up like no other which has a big impact in why this film is considered simply, the best. Brando’s development from the all powerful Don Corleone ordering murder on the day of his daughters wedding, to the ageing advisor of his young son, taking a back seat enjoying the summer wine and playing with his grandchild. Al Pacino who portrays the protagonist Michael Corleone gives the world the performance of a lifetime, covering three epic films; the rise and fall of Don Corleone is almost Shakespearian in its ability to weave the characterisation through several eras of highs and lows. Pacino’s ability to contrast the young Mikey who famously states “That’s my family Kay, that’s not me.” to the ultimate Mafioso leader with the cold, dead eyed, ruthless – Don Corleone, is a transformation which develops in-front of the audience majestically; consequently keeping viewers glued to the legendary tale of the most famous Sicilian family.
Looking out past the big two names; John Cazale gives a performance which plucks at any heart-string, the young, weak, and overlooked son – Fredo. Eventually leading to his demise, his journey through self loathing and internal torment due to just not being considered the man he thinks he is by his Father or Brothers pushes him to crossing Michael. The battle between understanding the dilemma that Fredo faces and the error of turning against his own blood is what climaxes into one of the most famous lines in cinematic history – “I know it was you Fredo.” The legend of the actor John Cazale is a tale that is not told enough, one of the greatest performers that Hollywood, screen or stage have ever seen – his talent is just simply not recognised. Starring in 5 feature films, every single one was nominated for best film at that years academy awards. Coincidence? I think not. Robert Duvall and James Caan also give powerful performances crafting Michael; by like the stories of old allowing the protagonist to visibly have an Angel and Demon whispering in his ears. The collective coolness of Duvall combined with the ruthless aggression of Caan slowly but surely rub off on the Don and create the engima of Michael Corleone. Each performer knows their role like no actor or actress I have ever seen on screen, understanding ever action and reaction to each line, look or gesture. With the slow development of characterisation as the family takes over – the trials and tribulations of the Corleone’s becoming the ultimate cathartic journey for the audience.
In Part 2 of the trilogy, the viewers are introduced to two legends of stage and screen. Robert De Niro and Lee Strasberg. De Niro, portrays a young Brando or Vito Corleone – learning his mannerisms, accent, just refining the air of power and respect. On a recent interview De Niro sites that it was the close cross examination of Brando which enabled him to perfect his acting ability and move on to create some of the other masterpieces of cinema later in his career. Strasberg embodies the ageing Hyman Roth, a performance which is effortless, exciting yet also an education in acting. Strasberg who taught Pacino, De Niro, Brando now comes home to give his blessing to this – the ultimate actors piece. Watching the master who very rarely made an appearance in-front of the camera is a joy to behold and truly gives the second part of the tale that needed edge which sometimes a sequel lacks.
A special mention must go to Diane Keaton and Talia Shire, these two women apart from Pacino himself are the only two constants throughout the trilogy and the transcendence of these two actresses is truly a feat of emotional genius. Shire who portrays Michaels sister Connie sets up the opening of the entire story, marrying Carlo at the infamous wedding. The textbook younger sister looked over by powerful brothers, a daddys girl who cries at Johnny Fontane and cooks dinner for her husband. However as the darkness takes hold she embodies an almost Lady Macbeth character ordering the murder of her brothers supposed attackers in the third feature of the narrative. The Corleone coldness which parallels with Michael takes hold. Kay, played by the innocent Keaton is the blonde bimbo from upstate, however is the only character to turn her back on the family, have an abortion and try and kill the Corleone dynasty. It seems that coldness, darkness and evil acts are not only the way to get you into the family, yet also to get you out. The interweaving of good and bad, family and business, legitimacy and crime is a spiralling quest which restricts all the main players in this epic story.
I have merely touched base on these actors and actresses, just mentioning the incredible work they did with these fascinating characters to try and open up what it is which has created the ultimate in cinema. The best performers, directed by a prolific cinematographer, written by an award winning author. Is this it, is THAT what makes it so great? There is more I feel. I would argue it is the scale of the trilogy, spreading over 50 years with 9 hours of screen time the audience feel like they can fully appreciate every nuance of the family. A common phrase which I often hear when discussing The Godfather trilogy is this – “Great first two, however the third one is poor.” This is wrong. Although the last instalment hasn’t got the legendary performers of the prequels and the script is undeniably weaker – this is what makes it so powerful. Part 3 of the trilogy should not be viewed as the next step from the previous two. What people fail to appreciate is that Part 1 and 2 should be watched as one long film. They are one. The continuation of Michael Corleones rise and the understanding of the family, the crime and what they stand for. Part 3 was originally to be entitled – “The Death of Michael Corleone”. This is what Coppola wanted, however Paramount thought it would effect sales, so Part 3 was used. Looking at it as a separate film makes so much more sense, there is no need then for a powerful narrative, or thrilling story of close deals and huge Mafioso meetings. Just the slow downfall of the man we hate to love. The final scene, where Pacino sits on that famous stool in Sicily and collapses to be trampled over by a thin dog is to give the audience the ultimate in demise. He has nothing now, no wife, daughter, family, he is alone to be fallen to the dogs. If Coppola had created another epic story, this would have merely opened up the quest for a part 4, 5, 6 and so on. The premise of the film is to tie up the ends of the story, to collapse any strings and give the audience a complete closure on the greatest piece of cinema ever made.
I could write forever on what makes The Godfather so incredible. The actors; performances which similar standards may never be reached or seen again will stay with viewers forever, a tale which can be seen as a love story, a tale of famly, a dark look at crime, the genres are vast, the ability to make people feel a variety of emotions is what makes it just that little bit different to other films. It has that ability, to make you feel – and isn’t that what a good story does? Make you feel?
The Film Guide 