A Timeless Snapshot of Another World

Rating: 10/10 (30 May 2014)

The Godfather is rightly regarded as one of the finest movies ever made, and this review won't seek to be a mere repetition of its finest qualities. Technically, thematically and theatrically, the film is an undeniable masterpiece. It took what is an enjoyable, but pulpy, populist crime novel into a deft piece of art. One can only attempt to highlight some interesting observations here.
Watching this again recently with friends who have never seen it before is an interesting experiment. After seeing the film numerous times one forgets that the story and the characters, while never particularly convoluted, are nevertheless numerous, steeped in a subtly defined hierarchy that for the uninitiated is overwhelming, to say the least. Especially overseas (Britain in this case), the younger generation have to fill in gaps that would have been closer to common knowledge upon release in the US. Notwithstanding its wide berth of characters and relationships, the film's central arc, that of Michael Corleone's (Al Pacino) descent to Don, is never clouded; Part II, while arguably as good if not better than Part I, suffers initially from juggling multiple arcs that while well-crafted and excellent, are not nearly as accessible.
While all remember the set pieces, particularly the wedding and baptism that masterfully bookend the film, on multiple viewings it's the quieter, thematic scenes that really shine. A personal favourite scene is the last scene shared between Michael and Vito (Marlon Brando) discussing Vito's desires for Michael, which merges duty, family and aspiration in a truly touching scene. One can make a serious argument that The Godfather Saga is really an embodiment of the American dream (note the Statue of Liberty in the 'cannoli' scene background), and Vito's entire outlook captures this. The scene is certainly the thematic backbone of the movie.
What has been occasionally discussed in detail elsewhere, but deserves a mention, is the portrayal of Kay. It's a nuanced performance by Diane Keaton, and the costume design is a fantastic touch. In her scenes where she is most distant, Kay's colours are bright reds and oranges, in sharp contrast to the surrounding characters (the wedding; when she looks for Michael at the compound). As she falls in with the family, her colours become muted. In terms of gender portrayal (something the film almost-understandably struggles with; it never comes close to passing the Bechdel test), Kay certainly fares better as a character than Apollonia, who is little more than an object of desire. Her willingness to be there for Michael is almost questionable however. Yet, ultimately this is a quintessential story about men, in a world where women had not yet encroached as individuals separate from men (it's no accident that the women get a greater role in Part III). One can suggest that the fact that all the women are defined by their male connections is less the fault of the material than it is the reality of the profession and period.
The Godfather, possibly by virtue of being a period piece, has barely aged in 40 years. Sure, the issues it discusses and the world it portrays are transformed, but like a painting it captures beautifully a freeze frame, a snapshot period of aspiration and ambition. It will continue to be adored for years to come.