Shot in 1972, The Godfather by Francis Ford Coppola has become one of the iconic motion pictures in the world cinematography, and is still watched by the contemporary audience. The key to success of the film is hidden in the director’s profound artistic approach to reflecting the novel written by Mario Puzo. The talent of the author who provided the screenplay for the film together with the talent of the director who made it visually unique provided the future of the motion picture that is quoted and alluded to most often among others. This paper is thus going to analyze the significance of the dialogues in the development of the two characters in The Godfather, namely Vito and Michael Corleone.
The Godfather contains dozens of the memorable lines which can be met in the motion pictures shot further by other directors, and this fact testifies of the film’s huge influence on the cinematography. The majority of such lines belong to the main character, namely Vito Corleone, the Godfather himself. His every word is a bullet, and it is obvious to the audience that he is the type of character who is revealed through words. The film does not demonstrate a lot of his actions while it aims to reflect his power in ruling people which is possible through the wise words.
Vito Corleone is introduced to the audience in the beginning of the film during the wedding of his daughter, and numerous guests privately seek his help. Listening to what Don Corleone replies to each guest, the audience is impressed by his intelligence and wisdom, his promotion of the eternal values and the true justice: “() a man who doesn't spend time with his family can never be a real man” (The Godfather, 1972). At this point, the character is seen as the influential leader in the community whose members respect him and appreciate his advises and help while ready and happy to do him a favor in return when needed.
The audience would not be able to testify of Don Corleone’s authority if the scenes demonstrating the elements of cruelty and violence were not anticipated by the character’s meaningful phrases. The line which is one of the most famous in the cinematic world belongs to this seemingly phlegmatic old man: “I'm gonna make him an offer he can't refuse” (The Godfather, 1972). The audience is soon going to see the unknown terrified man who wakes up near the head of his favorite horse. The words that at first seem mysterious and unclear to the audience soon get their explanation and are confirmed by the disgusting and bloody scene that gives a right impression on the character’s seriousness.
Another line proving of Vito Corleone’s qualities of the Mafia boss is “Revenge is a dish best served cold” (The Godfather, 1972). This demonstrates the audience the violent criminal who, in spite of his retirement age, is able to make a person die even if he/she has done nothing wrong to him directly. The attitude to the character changes with his every word and as his nature reveals through his lines, the audience understands its complexity. Vito Corleone is respected for a reason, and his calm face expression and sad eyes should not mislead the inexperienced spectator.
The talents of both the director and the author resulted in the fluent evolution of the high-profile Don Corleone to the retired Vito Corleone at the end of his career. Not only visually does the character represent the old man who expresses warmth and love to his family but he has also changed in the verbal terms. Mario Puzo provides him with the meaningful lines highlighting the warmth of his human nature which cannot but make the audience admire him even more. “How's your boy? () You know, he looks more like you every day. () Read the funny papers ” (The Godfather, 1972) – these lines are completely taken out of the context of the crime family; instead, they demonstrate the communication between the members of the normal happy family, and this is what makes it close and comprehensible to the average spectator.
Another dialogue between Don Corleone and his beloved son Michael reveals his sincerity and shows his career of the Mafia boss from another side, the one that lets the audience understand that people do not always become criminals because they have violent tendencies of the character. “I work my whole life, I don't apologize, to take care of my family. And I refused to be a fool dancing on the strings held by all of those big shots. That's my life, I don't apologize for that” (The Godfather, 1972). Have these lines been pronounced by the menacing Don Vito Corleone in the beginning of the film, they would completely ruin the character; there would be no complexity of emotions of the audience towards him. But told in the end, when the character’s health is poor and he is not the head of the family anymore, the words are appropriate and touch the audience.
Another complex character of the film to discuss is Don Corleone’s third son Michael. The audience does not expect that the educated young man who appears with his girlfriend in the beginning of the film would soon become the cold-blooded Mafia boss. He is the brightest evolution of The Godfather and is basically the matter of the film. He is at first associated with an ordinary Marine who has nothing in common with the intrigues that are going on in the crime family. “That's a true story. That’s my family Kay, that’s not me” (The Godfather, 1972) – Michael contrasts himself to the family, and his lines highlight his negative attitude to the family business.
Unfortunately for the potential happy future of his personal life, Michael joins the family in its activities and soon shows himself as a man with the big potential for the Mafia world. His words get more aggressive and followed with deeds, they gain weight. Michael is able for the tender feelings towards the members of his family: “I’ll take care of you now. I’m with you now. I’m with you” (The Godfather, 1972) but he will never be the same again; he is now a different person.
As well as his father, Michael came by the ability to mince his words: “Only don't tell me that you're innocent. Because it insults my intelligence and it makes me very angry” (The Godfather, 1972). He is decisive and his lines are full of self-confidence and fearlessness. Now that he is only at the beginning of his career, he behaves like he has been into the Mafia business for years and knows all of its details. At this point, the spectator is still not sure whether Michael is now ruining his life by getting into the troublesome occupation or making history and saving the family by being the powerful head of the family and a wise businessman. His words sometimes seem pretentious, and the audience is on Kay’s side and does not really accept his choice.
Things change as Michael gets more serious and dangerous in his utterances – now, it is obvious that he is a worthy alternative to Don Vito Corleone and the audience imagines him as the next Godfather. With his words full of confidence and resolution, Michael prepares the audience about his intentions thus giving the proof that in spite of Don Corleone alive, he is the Godfather and he should be taken seriously: “There are negotiations being made that are going to answer all of your questions and solve all of your problems. That's all I can tell you right now (). Things could get rough with the move we're making” (The Godfather, 1972). The determined young man has much more responsibility than his father used to have, and he feels its burden. The circumstances getting more and more complicated let the character reveal fully and demonstrate the qualities he might have never known of.
His relationships with Kay transform into what the girl has never expected: “Is it true? – Don't ask me about my business, Kay. – Is it true? – Don't ask me about my business – No –ENOUGH!” (The Godfather, 1972). Compared with his peaceful dialogue with Kay at the beginning of the film, their conversations after Michael replaced his father turned into the ones of the unhappy couple. The audience feels how Kay is losing the man she has known, and the relationships are quickly fading in spite of her attempts to find different approaches to Michael and save the love they used to have.
Michael’s permanent thirst for vengeance really turns him to the ruthless Mafia boss who has no way back to the old days when he was thinking of a happy marriage and the senator career. “But if Clemenza can figure a way to have a weapon planted there for me, then I’ll kill them both” (The Godfather, 1972). Unlike the romantic figure of his father who only makes the philosophic utterances and orders several murders, Michael’s figure appears more violent and blood minded. The spectator who watches the whole trilogy notices how his glance changes more and more and reminds of that of a psycho. The transformation of Michael’s character is immense.
Basing on the two main characters, it is fair to say that the huge work was done by the novel’s author and screenwriter, the director and the actors to demonstrate such an evident progression. Apart from other factors, the significant role in that was played by the dialogues which made the cinematography history and are still quoted.
Works Cited
Coppola, Francis Ford. The Godfather. Paramount Pictures, 1972. Film
