|
|
The
Godfather (1972)
Review
The
nature of the tale has its clear links to the soap opera genre, and the
explicit themes are both simple and inherently anti-intellectual (Tom
Hagen is the counterweight in this respect - until he is deemed surplus
to requirements). But these two features might just be decisive in the
initial achievement, and subsequent consolidation of The Godfather as
one of the most renowned and acclaimed films in the history of cinema.
Because, as Coppola has shown here, the key is to be able to wrap the
demands of the general public in large enough proportions, and present
them through unparalleled storytelling. The Godfather takes hold of the
classic idea of epic filmatizations, adds a well-measured amount of pulp
to it, and subjects it to brilliant craftsmanship - both in front of and
behind the camera. Coppola's most important achievement with The
Godfather is the relevance he is able to find in the parallel between
the situation he is presenting on a local/family level in the 40s and the way
the same mechanisms still prevail in the more macro political situation in more
recent times. As a period piece, The Godfather is accurate, charming and
visually striking. It looks better and has more detail than most
gangster-films set in the same era. Furthermore, the film deals
devotedly with the Italian/American-connection, and the segments from
Sicily not only spice up the film, but also function as a fine thematic
backdrop for the continuation of the story.
What
ultimately makes The Godfather so effective, is the thoroughness
in the storytelling, the strength of the characters, and how both these
aspects are anchored to perfection in the classic tragedy. Rarely have a
wider variation of tragic flaws been studied on film. And carried by a
diverse range of characters, they call on great performances. Marlon
Brando, as so often during this period of his career, approaches his
role with an aloofness bordering on caricature. But this time it is a pinpointed
caricature lifted by his magnetic command, and as the film unfolds, the
character gets to him. Few things are as fascinating as watching Brando
when he finally has embodied a character fully - when he has lost
himself to it. The scene with Don
Vito's grandson is absolutely captivating. Al Pacino's performance is
notable for its metamorphosis. He grows into a compelling figure that
has come to typify Pacino's subsequent career. But in
many ways, Pacino is at his best in the early parts of the film. The
final of the three best performances in the film belongs to Robert
Duvall, whose subdued, sensitive Tom Hagen represents an important
contrast to the other members of the family. A family that fascinates and
frustrates, that gets to you with its all-embracing, encompassing and
extreme nature. A nature
that some of the most capitalistic western societies (including USA)
share quite a bit of characteristics with today.
|
|