The Godfather, directed by early filmmaker Francis Ford Coppola, is such a perfectly-executed and ambient cinematic experience; but not only does the form endow a sense of mystery and intrigue, but also the content: The story, of a family of Sicilian gangsters, is as poignant and gritty as any gangster film created. The dynamics of the family is like that of royalty; each son of Vito Corleone has their own problems, idiosyncrasies, regrets, and fears. Vito Corleone, played by a toned-down and wonderful Marlon Brando. Hot-headed and heir Sonny played by a young James Caan. Tom Hagen played by Robert Duvall. And Michael, the army-hero, played by a baby-faced Al Pacino.
The film begins with Vito’s daughters wedding, Connie, played by Talia Shire. Inside the shuttered-windows, behind the desk with a cat on his lap, Vito greets the tradition of wedding requests. Men who desire the help of Vito to punish the type who the police only give help to. Vito’s steam releases in his calm, reserved manor, when a man asks bluntly for his help, while rarely ever coming to see him for the simple sake of his friendship; obviously, the man is very daunted for just being in Vito’s presence, a mob lord, a violent commander, a Sicilian.
Vito Corleone has one stance in his business that is irrefutable: no drugs. He believes it will create illegitimacy and unwanted attention. It is suspected that Connie’s husband is in the drug business, as he works as a limited-worker for the Corleone’s, but Vito does not act: It is Sicilian rule that you do not interfere with a marriage. The drug-trade is the main cause for the familys failure: Sonny shows interest in drugs, which is displayed in a meeting where he makes an undesired outburst, thus causing the drug-lords to kill Vito in order to make Sonny the Godfather sooner. When Vito is hospitalized after being shot several times in the back, during a planned circumstance where Fredo is with him, who most find dull and unfit to defend against the assassination, Michael steps up to guard his father. He knows that the assassins will come for him and finish him; this shows the shimmer of courage and devotion that will lead Michael towards becoming The Godfather himself.
The cinematography is upheld with grace and congruity: the end-scene baptism is a highly memorable montage and comparison, and evokes the often under-toned nature of the mob: Their conscience is as good as the people they love perceive it to be. Francis Ford Coppola’s legendary film is the benchmark for all gangster films: through it’s widely acclaimed release and critical-praise, it will never be forgotten.