This paper examines the worldview of director Francis Ford Coppola as it is expressed in two of his most masterful films, The Godfather (1972) and The Godfather, Part Two (1974). Although the original source material is the novel by Mario Puzo, and Puzo co-wrote both scripts with Coppola, the consistent vision and themes presented in these two films of the way the world works and the importance of family is very much that of the filmmaker himself. Throughout, Coppola portrays a world in which loyalty, honor, and power rest in the patriarch, the head of the family who bears responsibility for keeping the family together. In his world, he contrasts the mindless pursuit of everyday life that goes on outside while powerful, quiet, sometimes violent men control the important events from within dark, private rooms.
The first film sets up this vision from its opening sequence. Inside Vito CorleoneÆs dark mahogany study, an insignificant undertaker softly recounts the story of his daughterÆs rape. His face fills the frame at first, then the camera pulls back to reveal his audience. These are serious men who listen carefully to his plea for justice. Corleone, the Godfather, lets the man lay out his case, then explains what the undertaker will need to do to come fully into the world that will be able to help him.
He makes clear to the man that this is a world with very clear rules. Respect the Godfather. Come to him first. Give your unconditional loyalty to him, not to the state, not to the police, not to other families. ôDonÆt ever take sides with anyone against the family.ö Remain loyal and discreet, and the family will give you what society in general cannot always guarantee. Satisfied that the man has now embraced the family, Corleone grants him the justice that the legal system could not. Besides, ôno Sicilian can refuse a favor on his daughterÆs wedding day,ö and, outside the insulated silence of the study, ...