What a difference a second viewing makes!
When I first saw this film, I thought it was heavy-handed, manipulative
and about as appealing as a plague victim in heat. That was about a
year ago. Now, for whatever reason, I have chosen to revisit it and
I must say that I am glad I did. Virtually all of the flaws I saw the
first time around were erased with this second viewing. It still has
that uneasy tendency to put the mob on a pedestal that I find decidedly
inflammatory and it does lose itself momentarily in the final half hour,
but, regardless, I must admit that I find it to be quite compelling
overall.
What was so much different this time around you ask? I can quite honestly
say that I do not have the answer to that question. Maybe I wanted to
hate it. Maybe I didn't read the label properly and drank the mouthwash
rather than gargling it. Maybe I watched the almighty "The Good,
The Bad and The Ugly" earlier in the day and was shocked and damaged
by the fact that many people in the world consider the pathetic weasel
of a film that is "The Godfather" to be a finer film. Maybe...
Maybe... Maybe. I'm sure I had reasons. Valid or not. I had them.
Now that I have mined my well of ineptitude for a substantial period
of time, let's take a look at the movie itself for a change. After all,
I am supposed to be reviewing it.
We begin with a wedding. Not just any wedding, mind you. It is the wedding
of the Godfather's daughter to some schmuck who will inevitably get
on the bad side of his new family, as is the case with most of the people
in this film. It should be a day of rejoicing and celebration, but for
the Godfather it means taking requests and seeing them through. He is
Sicilian (Of course!) and cannot turn down a request on the wedding
day of his daughter. Some goofy tradition or something I guess. Regardless, it sets up the
key ingredients of the film. Marlon Brando as Vito Corleone AKA "The
Godfather", James Caan as his son Sonny, Robert Duvall as Vito's
adopted son and lawyer Tom, and Al Pacino as his war hero son Michael.
These are the people who mean something in the world of the Godfather.
He is a man who will dispatch his men to carry out a hit while bouncing
a grandchild on his knee. He is a man who loves his family more than
anything and will do anything to ensure their livelihood. He doesn't
consider one to be a true man unless he spends time with his family
whenever possible.
It doesn't take long to realize that it is not wise to piss this man
off. Animals are beheaded, muggers killed, and struggling entertainers
are given jobs thanks to this man. All is going well in his world until
a hit is carried out, due to his lack of interest in the drug trade,
that leaves the family in the hands of his eldest son Sonny.
Sonny has a fiery temper and is not fit to lead. He knows how to be
on the physical end of things, but he doesn't know when to pull his
punches. Tom attempts to guide him with limited results. Meanwhile,
Michael has never been one to be tempted to take part in the family
business, but, with the tension increasing after the assault on his
father and Sonny's halfwit decision-making, it becomes more and more
apparent that he will have to step in if there is to be anything left
of the family.
Director Francis Ford Coppola has made better films than this, but that
is no slight when you consider the fact that he is responsible for films
like "Apocalypse Now", "Bram Stoker's Dracula" and
"The Conversation" to name a few. He manages to helm the ship
fairly well here keeping the down time to a minimum. Most of the down
time that does occur happens with about half an hour left, which is
unfortunate, because it bogs the film down slightly when it should be
building towards it's stunning finish. Overall though, a fine job by
a man who had many great things ahead of him after this film.
It used to be that when people talked about this film they spoke of
Marlon Brando. Recently, however, it seems people have brushed him aside
and cast their attention towards Pacino's performance, which is completely
without merit. Brando is the lifeforce of this film. Without him, this
film would fall back into the average bin where I had once placed it.
His is easily (and surpisingly) the most developed character in the
film, even though the film's focus shifts strongly towards Michael after
the first hour. The layers that Brando brings to this man, who could
have very easily played as a hollow caricature, are extraordinary. When
I think of this film, I think of him as a grandfather playing "monster"
with his grandson. I think of him gaining and maintaining the respect
of his friends through words first, and then actions if necessary.
Beautifully done. Marlon Brando, I salute you.
Pacino does a good enough job with the role of Michael. The son of a
mob boss who wants nothing to do with the "business". Now
that has possibilities. Possibilities that are explored with a great
deal of care and attention by Coppola and Pacino, for the most part.
Something I didn't care for is how quick Michael is to change colors when his father
has been attacked. Granted that would piss me off too, but he suddenly goes gangster with
the blood in his veins suddenly turning to ice and him knowing exactly
how things should be handled even though he has been away during wartime
and never wanted to have anything to with the "business" in
the first place. I guess I'll let it slide though. Desperate times,
desperate measures and all that nonsense.
The rest of the cast fills their roles nicely. James Caan as the hot-headed
(Can he play anything else?) Sonny. The scenes that show him becoming
enraged by his brother-in-law's actions towards his sister are very
well done. Speaking of his sister, Talia Shire (YO ADRIENNE!!! herself)
does some solid work here in a role that doesn't give her much more
to do than get pissed and cry. Robert Duvall turns in his usual awe-inspiring
performance as the adopted son turned family lawyer, Tom. He has many
great moments, and he makes the most of them as always.
Anything else notable about this film? Let's see. I can't think of much
else other than the infamous scene involving the horse and the "baptism
in fire" ending (Which is one of the more masterfully done conclusions
to a film that I have seen.). The only other thing worth mentioning
is this film's subtle pretentiousness that only irked me a couple of
times. Every so often, when watching this film, I get the unsettling
feeling that I am being preached to. "Jason bow down and kiss my
big-bloated Grand Canyon of an ass." At that moment, I tell the
movie to piss off and the preaching diminishes. If I wanted to bow down
and worship I would put in an Eastwood movie, and be on my knees with
lips puckered. But guess what. This isn't an Eastwood movie and inevitably
that means that I'm not in my pew on Sunday kissing this film's celluloid
ass.
Now then. Sorry for the tirade, but I don't need to be sermonized by
a bunch of pretentious fools in suits that have speech patterns that
have speech therapists, the world over, wincing in pain.
Despite that little diatribe at the end, I did find "The Godfather"
to be a surprisingly entertaining film. While not being the greatest
film ever made, as some would have you believe, it is a film that can
rest on it's own laurels and be assured of it's status as a finely crafted
film that even I couldn't bring down from it's pedestal.
Although, if it starts getting overly preachy again (Like it did the
first viewing.), I may be forced to revise this review as I see fit.
Godfather..... You've been warned.
