Respond to these rapid questions in our The Godfather quiz and we will tell you which The Godfather character you are. Play it now.
“The Godfather” is told completely within a closed world. Because of this, we identify with people who are fundamentally bad. A masterful conjuring trick, the tale by Mario Puzo and Francis Ford Coppola invites us to view the Mafia solely on its own terms. The character of Don Vito Corleone, played by Marlon Brando, gains sympathy and even admiration; throughout the entire movie, this lifetime professional criminal does nothing that we can really find objectionable.
We don’t see a single real civilian casualty of organized crime in the film. There are no women forced into prostitution. No lives have been ruined by gaming. No victims of protection networks, fraud, or larceny. The only policeman who has a major speaking part is dishonest.
The Mafia is seen from within in the narrative. That is its secret, its allure, and its spell; ever since, it has helped to mold how the general public views the Mafia. In place of the actual world, there is an authoritarian patriarchy where the Godfather is in charge of justice and power, and the only bad guys are betrayers. Michael (Al Pacino) gave the following instruction: “Don’t ever take sides against the family.”
The fact that the opening shot is taken inside a dim, shuttered room is important. It is Vito Corleone’s daughter’s wedding day, and on such a day a Sicilian is bound to accede to any fair request. A man has come to demand justice for the individual who raped his daughter. Why didn’t he come to him right away? Don Vito queries.
The man states, “I went to the police, like a decent American. The entire film will be supported by The Godfather’s response: “Why did you go to the police? Why didn’t you approach me right away? What have I ever done to deserve such contempt from you? If you’d come to me in kindness, then this scum that ruined your daughter would be suffering this very day. And if an upright person like yourself were to create any enemies, they would turn against me. They would then fear you.
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Two more scenes take place in the Godfather’s dimly lit office throughout the rest of the day, with scenes from the wedding outside in between. Most of the main characters will have been introduced by the conclusion of the wedding scene, and we will know key details about their personalities. It is a masterful display of cinematography, as Coppola skillfully integrates his large ensemble onto the screen, luring us right away into the world of the Godfather.
The only formula that “The Godfather”‘s script adheres to is the traditional structure of power shifting between generations. The happenings later in the movie are subtly set up in the writing. Observe how Johnny Fontane’s dying wish is granted in the Hollywood sequences; his tears serve to set up the startling scene in which a businessman awakens in bed with what’s left of his racehorse. Keep in mind that the undertaker is told, “Someday, and that day may never come, I will ask a favor of you…” and that, when that time comes, the favor is not one of violence (as in a typical movie), but rather Don Vito’s wish to spare his wife the sight of their son’s maimed body. The murder of Sonny (James Caan) is set up so deftly by a woman’s “mistaken” phone conversation that it takes some time to piece everything together.
Here’s an interesting fact: Who is Vito’s wife’s name? She appears in the film as an unimportant shadow, a chubby Sicilian grandma who appears in wedding photos with her husband but has no bearing on the events that take place in his study. Women don’t have a lot of space in “The Godfather.” Sonny disregards his wife while using and discarding them. The Don’s daughter Connie (Talia Shire) is treated so poorly that her spouse is prohibited from working for the family company. He receives “a living” as a bone, and when he is subsequently killed, Michael lies icily to his sister about what transpired.
The Godfather Quiz
Ironically, the title ultimately refers to the son rather than the father. Michael is not a part of the family company when the movie begins, and he has plans to wed Kay Adams, a WASP. (Diane Keaton). His pivotal moment occurs when he moves his father’s hospital bed to save his life and says, “I’m with you now,” to the unconscious man.
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After killing the dishonest policeman, Michael flees to Sicily, where he meets and marries Appolonia. (Simonetta Stefanelli). The fact that they do not share a tongue is a minor disadvantage for a Mafia wife. Appolonia and Kay are both clearly adored by him, but what is he thinking when he says that he cannot marry Kay because he has chosen a Mafia life? He searches for Kay after Appolonia passes away and after coming back to America, and they ultimately get married. Did he mention Appolonia to her? Such information has no bearing on the plot.
Being devoted to the family is crucial. Although the movie makes much of believing a man’s word, devotion far outweighs honesty. Even the knowledge that Michael intends to assassinate the leaders of the other families is kept a secret from Tom Hagen (Robert Duvall). The infamous “baptism massacre” exemplifies tough, virtuoso filmmaking: the baptism gives him a foolproof excuse, and he simultaneously becomes a godfather in both meanings.
The spiritual heart of the movie is Vito Corleone. He is knowledgeable beyond his years and opposed to the drug trade. He is aware that “liquor, gambling, even women” do not alarm society. The Mafia summit where Don Vito makes his case that drugs are a dirty business is one of the best sequences in the film. It is implied that there would be no drugs, only “victimless crimes,” and fair and speedy punishment in the godfather’s utopia.
About the quiz
I want to highlight how skillfully Coppola structures his film to elicit sympathy for his heroes, which is why my argument takes this shape. The Corleone family is only slightly better than the other families in the Mafia; it is not a kind and protective organization. But when the elderly guy passes away in the middle of his tomato plants, it feels as though a giant has died.
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Darkness is praised in Gordon Willis’ photography because it is rich, atmospheric, and expressive. This is incomprehensible on television due to the unnaturally brightened image. Coppola adorns his interior dark areas with striking faces. The leading actors—Brando, Pacino, Caan, and Duvall—all possess attractiveness in one way or another, but the actors cast as their associates are selected for their chubby, heavily lined faces, as well as their wide-set eyes and large, heavily muscled jaws. Consider Abe Vigoda to be Tessio, the dread executioner. When we first see him, he is dancing with a young child at the ceremony while supporting her satin pumps on his shoes. He is portrayed as a hulking presence who raises the chance of violent retaliation; however, the sun never shines again. He is only brightly lit again at the very end to make him appear defenseless as he pleads for his life.
The Brando act has earned its fame and is frequently copied. His chubby cheeks and his penchant for using props, like the kitten in the introductory scene, are well known. Those are acting props. Despite using them, Brando does not rely on them: When he tells his son several times at the end that “the man who comes to you to set up a meeting–that’s the traitor,” we are not even considering acting because he inhabits the role so convincingly. Although we believe the Don is getting older and reiterating himself, we also believe he is almost certainly correct.
Pacino portrays Michael close to his vest; he has learned from his father never to talk in front of outsiders, never to trust anyone unnecessarily, to accept advice but keep his own counsel. As I viewed this restored 1997 version, an odd thing happened: All of the other roles are so expertly filled. Despite my familiarity with Robert Duvall, I couldn’t help but notice Tom Hagen when he first showed on the screen.
Coppola traveled to Italy in search of Nino Rota, a prolific Fellini film musician, to provide the film’s music. I understood what the music was trying to convey us when I heard the movie’s sombre and nostalgic theme: Things would have worked out better if we had only listened to the Godfather.
For more personality quizzes check this: 80 For Brady Quiz.
