The Godfather

One of many amazing things about Francis Ford Coppola’s film, based on the bestselling novel by Mario Puzo, is just how effective Marlon Brando’s Don Vito Corleone is. We first see him on his daughter’s wedding day, petting a cat in a dark room. He is speaking in hushed tones with another man who has come to him, asking for his help. The man’s daughter has been raped, and he went to the police first, but Vito wonders why he did not instead come to him immediately. He promises that he would have taken care of it and feels insulted. The don does not appear to be a violent man by nature, but we understand that family is a sacred thing to him–a value widely regarded by most of the other Corleones.

Meanwhile, his youngest son Michael (Al Pacino) is sitting outside, talking with his girlfriend Kay (Diane Keaton). He is a decorated Marine, and when she expresses her concerns about the way his family conducts business, he assures her, “I’m not like them.” This is the very moment when I found myself wanting to know more about this man. Fortunately, Coppola granted my wish as I watched the story unfold. As a result, Pacino emerges as one of the most interesting and layered characters.

There are many great lines of dialogue here, but perhaps the most telling one is when Michael says, “Don’t ever take sides against the family.” It’s a fascinating character study as we see not just him, but how his relatives inside of this Mafia family react to various situations. Unfortunately, Vito’s first-born, Sonny (James Caan), is too hot-headed, and his other son Fredo (John Cazale) is weak. Coppola also places little details throughout, such as a phone call placed early in the film that becomes important when someone is murdered later because of it. There is an abundance of such details here, and they all eventually pay off over the course of this three-hour film. The result is an experience that is richly rewarding for attentive viewers.

The Godfather also succeeds in its quieter moments, including interactions between Michael, his family, and the important women in his life. The script from Coppola and Puzo is superb. Nino Rota’s score perfectly complements the film, both during the beautiful and brutal sequences. Gordon Willis’s cinematography and the editing by William Reynolds and Peter Zinner are impeccable. The icing on the cake is Coppola’s masterful direction.

In this world, the women are not given much to do. For instance, Michael’s sister Connie (Talia Shire) is regularly abused by her husband, while the others are generally forgettable. Kay is perhaps the most important woman in the film, and her journey alongside her lover provides tremendous payoff, especially in the final scene.

The Godfather is certainly a massive investment of time, and some may find the length off-putting. But the story is well-paced, moves along at a great clip, and gives us a fascinating look inside the Mafia family. The performances by Brando, Pacino, Keaton, and other supporting cast members including Caan and Robert Duvall are outstanding. When you consider the directing, script, the beautiful musical score, as well as the editing and cinematography, the film is even more engaging. This is an offer you won’t want to refuse.

Rated R

2 hours, 55 minutes