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'Godfather' magnate of the family business
Review by Larry Kubert
Every now and then, a motion picture comes along
that is worthy of being called a major contribution to
the film industry. Doctor Zhivago was one of these,
2001 A Space Odyssey was another. And now The
Godfather has joined this elite list.
The Godfather traces the fall of Cosa Nostra Don
Vito Corleone (Marlon Brando), and the rise of his
youngest son Michael (Al Pacino) to the role as the
new Don.
But it's more than this. It's a story with
juxtaposing themes. Violence and innocence; revenge
and domesticity; and most of all, family unity. This is
one of the most impressive features of the films, the
love and unity exhibited by the Italian-American
family.
Based on Mario Puzo's best-selling book. The
Godfather, the film begins in 1945, with the marriage
of the Don's daughter. While the wedding party waits
for him, the Don takes care of "business," listening to
pleas for help from his petitioners.
This is an important point of the movie-the
concept of "business." Don Corleone doesn't
consider his activities necessarily illegal, rather they
are occurrences in the life of a big business magnate.
And anyone who attempts to upset the corporate cart
is viewed as dangerous and expendable.
The acting in The Godfather is beyond reproach.
As has been said by so many people already. Brando's
performance as Don Corleone is one of the best
things he's done. His muffled, raspy voice tends to
disturb one at first, but it b quickly accepted as Brando
spins a complex web of characterization, combining
the qualities of father and killer into one loved and
respected figure that convinces the viewer that he is
truly the Don.
But although Brando is very good, it is Pacino who
almost steals the film from him. Changing from a
quiet war hero, who hopes to stay out of the family's
"business" and lead a "legitimate" life, into the
coo ly calculating, brutal Don at the end of the film,
Pacino's transformation is superb. By the end of the
film, one almost admires Michael, knowing that the
family's "business" and traditions have been left in
capable hands.
Also turning in fine performances are James Caan
as Santino, the Don's oldest son; Robert Duvall as the
family's adopted son and consigfiere, Tom Hagen;
Richard Castellano as family member Clemenza; and
Diane Kenton as Michael's girl friend and later his
wife, Kay
There is much violence in The Godfather, but
then, how do you make a gangster movie without
some brutality? Perhaps some of the violence is
overdone, but if it is, is given a glossy veneer so that
it doesn t stain the overall product
One of the most striking scenes of the film is a
contrast between innocence and violence, as Michael
stands as godfather at a baptism, declaring his love of
God and righteousness, as his men load their guns and
kill off the family's enemies in a virtual blood bath.
One disturbing feature of the film is the intrusion
of an intermission at the CooperLincoln Theater,
when it is neither needed or wanted by the audience.
Director Francis Ford Coppola has done a
masterful job with The Godfather, and certainly
(unless something exceedingly good comes along)
when the Academy Awards roll around next year.
The Godfather's mantle piece should have quite a few
more statues on it.
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This weekend, kiddies, the tky will be moist. Pioneers Parte will
turn into a living sponge. So, its looks like there'll be no playing
with flying frtabugi this weekend.
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the word we'M been welting for. The Tace Kid wOI-1 repest-wHI
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PAGE 10
THE DAILY NEB RASKAN
FRIDAY, APRIL 21, 1972
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