The Godfather Francis Ford Coppola, 1972

Areas of focus Acting Lighting Color Music Editing Sets Costume design

How would you describe this mood and what it implies about the Don? Why does the camera keep shifting back and forth between this inner sanctum and the noisy wedding party just outside? The opening words of the film are spoken by Amerigo Bonasera, a man with an Italian accent who has given up on the American legal system and come to Don Vito Corleone for “justice.” We see him from the Don’s perspective, in a single long take, within Vito’s darkened chambers. Notice how each detail – the sepia tones, the Venetian blinds, the old world décor, the Don’s distorted face and muffled voice, his conservative tuxedo with the rosebud lapel – contributes to the mood. 1. “I believe in America…” [0:45]

The film’s first violent act is the killing of a horse, but we never see the act itself. What makes this scene so effective? Most of it is a single long take that gradually reveals the grisly deed. How does Coppola use music, color, texture, voice, and editing to both prepare and shock us? 2. Khartoum. [32:07]

In one of the film’s many “business meetings,” Sollozzo tries to convince the Don to help him enter the drug trade. Tom Hagen prepares Vito (and us) with a two- minute briefing about Sollozzo [beginning at 33:50], interspersed with shots of the men arriving for the meeting. How do you know who has the power in this scene? Pay attention to the actors’ positioning, their dress and the body language, what they say, how they say it, and what they don’t say. Analyze the scene from the perspective of a social historian, an economist, a communications expert, or a military tactician. 3. Meeting with Sollozzo. [35:38]

Watch how Coppola prepares us for Luca Brasi’s death. Begin as Brasi, framed in his bedroom doorway, puts on his bulletproof vest and checks his gun. Follow him through the gleaming hotel corridor to the bar. Notice the fish etched on the glass and the brown tones of the room. Watch the men’s hands and faces as they speak in Sicilian. Compare this to other death scenes throughout the film. 4. Luca Brasi Sleeps with the Fishes. [40:13]

We begin to see a new side of Michael when he takes steps to save his father at the hospital. What personal qualities does he demonstrate in this scene? How does Coppola create suspense and suggest Michael’s silent thoughts? Pay close attention to the sound track, lighting, editing, and other elements of film. Contrast Michael’s reflective methods with Sonny’s outgoing style in the scenes that follow. Michael at the Hospital. [1:01:23]

“How’s the Italian food in this restaurant?” [1:21:00] The scene in which Michael shoots Sollozzo and McCluskey at dinner is one of the film’s most chilling moments. Which parts of the scene do you find most compelling? Why? Who has the power in this scene? Does the power shift at any point? Do you expect something to go wrong? Does your attitude toward Michael change by the final shot? Explain your expectations and responses in terms of what happens in the scene and how it is filmed.

The Thunderbolt. [1:39:00] The Sicilian interlude is an important part of the book. Why do you think Coppola chose to include it in the movie? What does it contribute to the story and to our understanding of Michael? Contrast the music, color, and other cinematic qualities of these scenes to those that take place in New York and Las Vegas.

The Don Dies. [2:29:56] Vito dies in his garden while playing with his grandson. Did you expect him to die when you first saw this scene? What guided your expectations or surprised you? Some of the details (the insecticide gun, the orange) were not in the book. Why do you think they were added to the film? Much of the interaction between Brando and the child was improvised. Does this scene seem different from the rest of the movie?

Baptism and Murder. [2:36:20] The crosscutting between the church baptism and the revenge killings is the film’s grand finale and one of the most celebrated examples of editing in movie history. Why do you think the editors chose to splice together shots from different locations (something that was not in the book)? Notice their use of matching action (like walking up the stairs), the priest’s voice, music, color, and other film elements to link shots. What thematic connections are suggested here? What does the crosscutting tell us about Michael? How do you judge him at this point in his life?