For many immigrants a
great loss and sacrifice is sometimes necessary to achieve the coveted American
Dream. Applying this to his novel and
its film adaptation, The Godfather,
Mario Puzo stresses the many conflicts that arise with monetary profit by blending
it with a strong family element. The men
of the Corleone family show the inability to separate the two worlds. Vito Corleone is the Godfather in a family
sense as well as the head of a crime syndicate.
Despite the measures taken by men like Vito and his son Michael to keep
the two at odds, the events of the story show us that the conflict between
these identities consistently causes trouble within the family it is meant to
provide for. Deaths like that of Sonny
Corleone represent the ever present danger of this mix, while women like Mama
Corleone, as well as the various Corleone children are forced to live and cope
with this violent world. Puzo and
Francis Ford Coppola take further steps in the film adaptation to juxtapose
family life alongside an ever present threat.
Through this tale of a family meshed together by a violent business, Puzo
shows readers that the way one provides for their family can often clash with
the good of the family itself.
While many readers see
Don Corleone as an incredible family man, he has a difficult time drawing a
line between his family and his business.
As the "Godfather" he occupies a dual role and is bound to a
myriad of relationships both personal and professional. As a result, instead of celebrating at his
daughter's wedding, he retreats inside to take visitors and talk business. Even on such an important day he cannot avoid
visitors to his office. The film shows
that Vito took steps to isolate the two when Sonny, acting as head of family,
speaks business matters at the table.
Connie snaps back at him, "Papa never talked business at the
table." Vito made attempts to
seclude his relatives from his mafia business, but it is so completely enmeshed
with every facet of life that efforts to do so prove futile. This dualism carries over into almost every
business affair. After his encounter
with McCluskey, Michael's conversation with Sonny illustrates this idea. Sonny's words, "it's just business and
you're taking it personal . . . you wanta kill these two guys because you got
slapped in the face," show Michael's difficulty in keeping his feelings
separate (133). It is not an impersonal
business spread sheet, but rather highly charged emotions that deal with the
life and death of his father.
Although some, like
Sonny and Tom Hagen, are critical of Michael’s impulsive reaction, it is an
inescapable part of their profession. The
intense personal feelings that come with operating a crime syndicate often
motivate men involved to violent retribution.
Revenge is a dirty word in these circles, but Michael makes it clear
through his actions that it is a reality.
His acceptance of this is shown during the baptism of Rizzi's son. As enemies of the Corleones are gunned down,
the priest performs the baptism ritual. Taking
advantage of the close religious and family connotations of baptism, the film
adaptation offers a powerful montage where Michael, surrounded by his family,
simultaneously commits murder and makes familial vows. This scene mirrors his father's dualistic
role as the "Godfather," forcing the worlds of business and family together.
The personal nature and
real threat of retribution serve to highlight how business doesn't properly
align with the family because of the direct physical dangers to those
involved. Revenge is a very
real risk as men like Sonny become casualties of war for actions taken in the
line of business. After Sonny's murder, Don
Corleone's notes sorrowfully "See how they have massacred my son,"
illustrating that Sonny paid the price for his affiliation with the family
(259). While Sonny’s murder may have
been brutal, his use of the word massacre shows the Don’s inability to
completely see the truth. He sees Sonny
as a son first and member of the crime family second, instead of seeing him for
both. To the Don, Sonny’s role as a son
does not rival his position as a crime boss, but the Don’s reaction tells
otherwise with his sorrowful statement.
The families competing with the
Corleones have many reasons to justify Sonny’s murder, and his death may draw
little sympathy from readers, but the consequence is much more than a simple
business transaction. It results in the
inevitable sorrow felt by those close to him.
Retribution and death spill over
to affect other members who are not directly involved in crime. The character most burdened with this
overflow is Mama Corleone. As far back as
her husband's rise to organized crime, Mama Corleone feared for her
family. When Clemenza gives Vito his
stash of guns through the window she is described as "his terrified wife,”
dutifully keeping silent “for fear her own husband would be sent to
prison" (196). When Vito is shot,
she knowingly asks Sonny "Have they shot him?" (86). Her question reveals that Vito's murder is
something she has expected with dread for many years. She never knows when his death may come and only
knows it is a probable event. As the mother
of the immediate family she also has to fear for her children and
grandchildren. More of her fears come
true as her children are systematically taken from her when the narration
states "In a few short months she had lost all her sons; Freddie exiled to
Nevada, Michael hiding for his life in Sicily, and now Santino dead"
(269).
The presence of innocent
bystanders serves to enhance thematic elements of conflict. The collaboration
between Puzo and Coppola furthers this as they present the family in a way that
showcases the position of children alongside the violent profession of the
adults. A careful portrayal of family
allows the film adaptation to bring an entirely new focus to the story which heightens
the sense of conflict. In between scenes
of violence, the film depicts numerous scenes of young children and the
inevitable crying children in times of crisis. Children stop their play and
watch as Sonny mercilessly beats Carlo in the street. The small children run into the Don's office
during his visit from Luca Brasi, the same office where the dark family crime
business is conducted. Even Don Corleone's homecoming is highlighted by the
presence of his grandchildren. They are
burdened with the stress of their grandfather who they know is sick, but likely
do not know it is the result of a failed attempt on his life. They gather around his bed, worried about
their grandfather, and give him get-well cards and kind words. Through this
stark contrast of children and mafia culture, we see the innocent children in a
world they have to deal with and accept.
It is a constant reminder that this very adult world exists in tandem
with the innocent world of children in perpetual conflict.
The drawback here is
that children growing up around violence and crime will likely become violent
criminals themselves, especially those the children of the Don. Don Corleone's film counterpart tells Michael
"I never wanted this for you."
This is much to the dismay of parents like the Don, who keep their
business dealings going for the benefit of their children, yet aspire for them
to be more than criminals. Michael tells
Kay of their prospective children, "I don't want those kids to be
influenced by me the way I was influenced by my father" (363). His statement rings true, as his father has
had a profound influence on his children.
Before Michaels rise to leadership, Sonny embodies the greatest example
of his father’s influence by committing a minor robbery for a paltry sum when
he could easily ask his father for money.
Vito’s attempt to take care of his family and shield his children from
this world proves futile when his son’s justification to his father is that he
witnessed the murder of Fanucci. One of
his first criminal acts has become the strongest and longest lasting influence
upon his oldest son.
The Corleone children are
able to attend any school they want and have the opportunity to move into any
profession they like. Michael, who does
attend college, seems to go in an honest direction but is inevitably sucked
into the vortex created by his father. The
family may provide for its children financially, but the limitless potential of
the children becomes stifled. They also
pay for this financial security with their safety. Their sense of safety is a false one, and the
financial security provided by the family comes at a high cost. Every member pays this with danger and loss
of peace of mind. Frightened children
worry themselves to sleep at night and grow up to complete a vicious violent
cycle, while parents themselves are worried with mortal threats and the future
of their children.
With the tragedy of the
Corleone family, Puzo and Coppola go to great lengths to show that crime is
ultimately not without its penalties and losses. Repercussions spill out into every aspect of
the Corleone's life, as their source of wealth is a constant struggle against
their well being. The deeper meaning
here is that providing for your family can come at a very high price,
especially for immigrants like the Corleones.
Lacking faith in traditional society, they have chosen to create their
own society that they believe is superior in every way to the standard, but
they still face similar conflicts and challenges. The violent and criminal nature of the
business causes parallel consequences that are more intense than the average
American profession because the world they have created is filled with
violence. Benefits derived from the
family business contrast strongly against the same family it is intended to
protect, and ultimately bestow a wealth of losses upon the Corleones.
Works
Cited
Coppola, Francis Ford, dir. The Godfather. Perf. Marlon Brando, Al
Pacino, Robert Duvall. Paramount, 1972. VHS.
Puzo, Mario. The Godfather.
New York: Fawcett Crest Books, 1969.
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