America's Closest Equivalent to a Tragic Italian Opera

Rating: 10/10 (19 February 2011)

The opening title and scene of "The Godfather" is one of the most striking in cinematic history. The lone trumpet invoking the tragic melody which has become so synonymous with this film is the equivalent of the tenor voice from an Italian opera, lamenting the loss of a loved-one in song, similar in style to a theme by Puccini or Verdi. Strangely, this sort of aria would have occurred towards the end of a traditional opera, usually at the death of the leading lady. But here the grieving music begins the story, as if tragic moments have already occurred, although they will continue to occur, a fundamental part of the story which is to follow. The beginning of the film is in actuality the middle of the larger epic of the Corleone family in America.
The first spoken words are neither from the Godfather himself nor from one of those in his inner circle. The voice is an outsider. He is not only an outsider of the inner Corleone family but someone not originally from America. The first voice we hear is an Italian immigrant, "I believe in America." This is a story about American immigrants, and how they have attained great financial and political power in the United States which might not be possible elsewhere in the world.
Based on the original book by Mario Puzo (who also co-wrote the screenplay), "the Godfather" lives up to its name as both a title referring to a specific character and simultaneously a position of someone wielding great power within a particular social context. When the film begins with Signore Bonasera (Salvatore Corsitto who will be ever-remembered as the first voice and face of "the Godfather"), the Italian immigrant requesting a favor from the Don on his daughter's wedding day, we assume the Godfather is Don Corleone (Marlon Brando), which is correct by and large. But as the film progresses, we see the rise of his younger son Michael Corleone who at first disassociates himself from the crime activities of his family. But even he cannot help but be dragged into the dealings of his family. By film's end it is ambiguous to which the titles refers, an individual person or a high-power position, not unlike a nobleman from the time of the Italian Renaissance.
Strangely, traditions are portrayed in this film which have their roots centuries before the incarnation of the United States. All the main characters, with the possible exception of Kay Adams (Diane Keaton), are Catholic-Italian. The church, presumably on the outskirts of New York City, is in an architectural style similar to the medieval Gothic cathedrals of France and Italy. At the wedding at the beginning of the film, Italian songs are sung with traditional instruments. Only when a Frank Sinatra-like character, Johnny Fontane (Al Martino), appears at the wedding, do we remember we're in America in the 1940's and not a little town in Italy in the 19th century.
"The Godfather" chronicles several intertwined stories which was certainly highly innovative when it was produced. The very beginning of a plot concerns Sollozzo "the Turk" (Al Lettieri) who is a high-stakes heroin peddler who wants to use the Mafia families to sell his goods. He has already convinced the other Mafia families that drugs are the future but needs the Corleone family because of their political and law-enforcement connections. Don Corleone declines his offers at a meeting. But Satino "Sonny" Corleone (James Caan) makes a fatal slip, letting Sollozzo know there is slight ambivalence in the family about getting into the narcotics racket. Don Corleone becomes a target, and Sollozzo hopes by getting him out of the way, the Corleone family will reconsider their position on the illegal drug markets. Eventually this leads to an inter-Mafia war among the five New York families.
The other story concerns Michael Corleone, his relationship with Kay Adams, presumably a WASP, and his initially tenuous relationship with his own family. Although Marlon Brando was top-billed for the film and won the Academy Award for Best Actor for his performance, Al Pacino as Michael Corleone has much more screen time. The film is really Michael's story, about his gradual involvement in the family business. Several of the most memorable scenes involve Michael Corleone rather than Don Corleone, not the least of which occur in the home country of Sicily when Michael is in exile.
Maybe a dozen films in existence could be characterized as perfect, nearly flawless, from beginning-to-end: Casablanca, Citizen Kane, Gandhi, Schindler's List, and Malcolm X, are a few which come to mind. "The Godfather" not only deserves a spot, it may be at the top of the heap. Every scene, even every line, furthers story, character, and even the world of the Corleones. Each of the other actors aside from Brando and Pacino could have won an Academy Award for their efforts, including James Caan, Talia Shire, Al Lettieri, Diane Keaton, and Robert Duvall. In fact, Pacino, Caan, and Duvall were all nominated for Best Supporting Actor, maybe the only time in film history three nominees from the same film were in the same category. "The Godfather" is one of the bona fide epic masterpieces of cinematic history, an opera without the singing.