So I thought I would do a few posts on some of my most loved films. I have eclectic tastes although most of my favourites are 1940s-50s film noir classics or American indie films. There are some genres I stray into now and then but I must say, as with most things, I am a bit of a snob when it comes to films. I can't imagine anything worse than having to sit through two hours of what passes as a "teen comedy" these days or one of those equally mind numbing CGI catastrophes that seem to clog the cinemas up and down the country. I hate most remakes as they are invariably not a patch on the originals (there are a few exceptions) and to me, it's just lazy filmmaking. It's as if the screenwriters and directors can't be bothered to write something original so lets just repackage something else, only with more money and effects thrown at it. Personally I prefer the originals; naiveity and crude charm will always win over expensive, flash production values for me. Star Wars is a perfect example of this. The original films were so simple and memorable. The newer ones are completely forgettable.
Anyway enough bemoaning the lack of originality in 21st century Hollywood, I want to talk about one of my favourite films ever: The Godfather. An obvious choice perhaps but, despite what I mentioned earlier, sometimes things that appear over hyped and over promoted do actually stand up to scrutiny. The Godfather is one such film. I watched it again over the weekend, must be my 10th viewing by now, maybe more. It was released in 1972 and has now become part of a canon of great American films that were made during this era; many by up and coming directors like Coppola himself, Scorsese, de Palma.. It might just be me, but films seemed more gritty back then. They were about something and had a story to tell. The characters were real and vulnerable. The Godfather is a great example of this kind of filmmaking. The great thing about The Godfather is that although Brando is billed as the top actor, it is in fact, a well executed ensemble piece. Even the lesser characters like Clemenza are knocking boots with the headline cast. Anyway, Brando is hardly in the film. After he gets shot in the first quarter, his character takes a backseat to Pacino's Michael: college boy-turned war hero-turned blood thirsty mafioso. In spite of what I've just said, at its core it really is Pacino's film through and through. The transition from innocent outsider to ruthless mob boss is as close to thespian perfection as you will ever get on celluloid. It is completely Shakesperean and I'm sure that there were political issues on Coppola's agenda. The allusions to power and the corrupting nature of power must have been informed by events that had taken place in America during the late 60s and early 70s. There is something in the way Michael's eyes change as the film progresses that is both repulsive yet hypnotising. At the beginning of the film he is young; a handsome would be all-American hero with sparkling eyes, bathed in sunlight at his sister's wedding. By the end of the film, his skin is sallow and his eyes are dead; as if they have sunken into his face. He is totally expressionless. It's almost as if he has been taken over by a virus that has consumed him completely.
In terms of memorable scenes, they don't come much better than The Godfather. Classic, almost stereotypical shoot outs down dark alleyways in the Bronx vie with romantic landscapes in Sicily; wheeling and dealing in Las Vegas casinos battle with warm, cosy domestic interiors. The dialogue is visceral and believeable. It is a vivid and highly effective combination of mafiosi slang and Shakespearean tragedy (sorry to keep using that ridiculous word). The difference between the characters way with words is what keeps the film energetic and exciting. Don Corleone is thoughtful, reflective, philosophizing. His eldest son, Sonny, in contrast is brash and outspoken; a privileged hoodlum. It is these opposing characteristics that make The Godfather so compelling to watch. My only problem is the representation of the female characters. They only seem to be there to serve the men. If they so much as speak, they are told to "shut up" or "don't ask me about my business". Even Kay, Michael's wife, is consigned to the kitchen while the men discuss business. Her weakness is evident at the end of the film when Michael lies to her about Carlo's death. She believes him whole heartedly, showing her complete subservience to her husband's power and dominance.Earlier in the film he tells her that the Corleone family will be completely legitimite in five years time. He lies to her to gain her trust so she will marry him and provide him with sons. Even Connie, after learning her husband's death was at Michael's hands, falls into his arms in tears. I guess, in defence of Coppola, he was just showing how mafiosi women were/are generally treated. Anyway, in the 1940s and 50s when the film is set, most women were treated as second class citizens fit only to marry and have children. Don Corleone's wife barely has a speaking role, she probably says three words in the whole film.
It's hard to choose but some of my favourite scenes are when Sonny beats the crap out of Carlo for beating Connie up - "you touch my sister again I'll kill you". There is something strangely romantic about this kind of behaviour. There is a similar scene in Goodfellas, when Karen has been attacked by a neighbour. Henry leaves her in the car and smashes one of the guy's face with his gun. When he comes back to Karen, her voiceover says "I gotta admit, it turned me on". The scene where Michael kills Sollozzo and Mccluskey must rank as one of the most suspenseful in movie history. You can see the turmoil in his eyes, the battling over whether to go through with it or not. The scene in the Las Vegas casino when Moe Greene refuses to play ball with the Corleones. Fredo mistakingly defends Greene much to Michael's disdain. After Greene leaves the room, Michael tells Fredo in sinister fashion " don't ever take sides with anyone against the family again. Ever." This mirrors an earlier scene where the Don berates Sonny for speaking his mind at a meeting with Sollozzo - "don't ever tell anyone outside the family what you're thinking again". It's as if the roles have been reversed: Michael treats Fredo as his son, despite the fact that Fredo is older than Michael.
The final piece where Michael denounces Satan at Connie and Carlo's babys christening while murders are carried out on his word is a scene of almost Biblical proportions.
I could watch this film over and over again and never tire of it. Every time I watch it I see something new in it. It's themes are universal and it even has moments of humour amid the blood and guts, best typified by the line: "Leave the gun, take the cannoli"
That was a very long post!
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