Coppola seems to have utilized names to characterize important characters in The Godfather. It may seem as if Michael takes his father's place as a sort of God; however, Michael's name holds the meaning "Who is like God?". This is interesting because of the question mark at the end of this phrase. Michael's name doesn't mean he is like God, but is instead a rhetorical question posed implying nobody is like God.
Throughout the parts of the film in which Vito Corleone still holds power as the Don, Coppola utilizes various filmic devices and symbols to imply Vito is sort of like a God. In the first scenes featring Bonasera, the lighting around Vito's head form a sort of halo, implying he is a holy being. The settings and camera angles also make the viewer think Bonasera is in a courtroom, and Vito is the judge. In addition, Vito is the Godfather. When he is shot by Sollozzo's men, he is shot five times, and still alive -- just as Jesus suffered five wounds on the cross and lived when he was supposed to die.
It is interesting that Michael takes control, and Coppola does not use many techniques to characterize Michael as a holy being. Instead, his name implies that no one is like God. Could this signify an important difference between Michael and his father Vito? I believe Coppola has chosen the name Michael on purpose -- both because of it's meaning and also because in the beginning of the movie, Michael's name set him apart from the rest of his family -- it was very American when juxtaposed to Vito, Fredo, or Sonny. Coppola must have intended for Michael's name to hold a certain meaning.
Wednesday, December 14, 2011
Sunday, December 11, 2011
Michael Corleone -- The Hero's Journey
We have watched Coppola put Michael through his paces as he moves through the stages of the Hero's Journey. This post will be a brief summary of the events that identify each stage thus far.
The Call to Adventure
The Call to Adventure is the stage in which the protagonist is first notified of the beginning of the journey. As the stage that follows involves a refusal to take action upon this journey, we can only assume that Michael Corleone was born into this stage. He was born a Corleone, which was a call to adventure in itself -- an open invitation to get involved in a life of organized crime.
Refusal of the Call
As the name suggests, this stage involves the protagonist refusing to take action. In Michael's case, his reluctance was due to the fact that he believed his family business was dishonest, and chose to take a different path in the American army. He wanted no part in the Mafia.
Supernatural Aid
When Michael suggests that he be the one to shoot McCluskey and Sollozzo, and commits to the quest, he is guided through the process by Clemenza, who provides him with a gun with a special tape on the trigger that prevents fingerprints. This gun takes the role of the special weapon, an Clemenza the role of the mentor.
The Crossing of the First Threshold
This is the stage of the Hero's Journey in which the hero leaves behind their 'safety zone' and begins the most dangerous part of their journey, with unfamiliar rules and limits. As soon as Michael gets into the car with McCluskey and Sollozzo to have their meeting, he enters this stage. Even at the hospital, when McCluskey ordered his cops to arrest Michael, an officer refused because Michael was "a war hero" (Coppola).
The Belly of the Whale
The Belly of the Whale is the final stage the hero spends with links to his previous life. Once he passes this stage, there is no turning back. This stage was represented by the scene in which Michael shoots McCluskey and Sollozzo in the restaurant. Coppola uses motifs such as a train whistle to show that there is no turning back for Michael. (See "One Way Rails").
The Road of Trials
The Road of Trials is the first stage in the Initiation process. This could be both when Michael shoots Sollozzo and McCluskey as well as the trials he faces in hiding in Sicily -- the trials that allow him to begin a new life with true Sicilian roots. He finds the town his father came from -- Corleone -- works on speaking fluent Italian, and discovers the traditional Sicilian ways.
The Meeting with the Goddess
The Meeting with the Goddess is the stage in which one experiences an unconditional love. When Michael arrived in Corleone, he met a woman that "struck [him] like a thunderbolt" (Coppola). Later, we discover this woman's name is Apollonia -- a name that holds an uncanny resemblance to that of the Greek god Apollo. Could Apollonia be Michael's Goddess?
Woman as the Temptress
In this stage of the Hero's Journey, Campbell claims there are temptations that draw the hero away from his original quest. Apollonia, who we can assume is Michael's Goddess, is said to be so beautiful "she would tempt the devil himself" (Coppola). By incorporating this dialogue into the scene, Coppola must have intended for the viewer to realize Apollonia was the temptress; however, Campbell's Hero's Journey tells us the hero is to be led astray by this temptress. Does that mean that Michael's intentions may have been changed by Apollonia?
In the last scene we watched in class, Apollonia was killed. Could her death have led Michael Corleone astray? In The Godfather, we hear multiple times that Mafia activities are "not personal, [they're] just business" (Coppola). Could Apollonia's death lead Michael's revenge to be more personal than business? Could his vengeful attitude cause his ultimate downfall, or will he prevail?
Friday, December 9, 2011
One Way Rails
Before Michael shoots McCluskey and Sollozzo, an loud whistle of a train is heard -- a noise so overbearing that it was meant to be noticed: almost as if Coppola is telling us, "Look at this, it's important! It means something!"
The whistle of the train could be symbolic of various things. As the whistle comes to a crescendo, it may be representative of Michael's thoughts -- before he goes through with his greatest task, we can assume his heart starts to beat faster and his mind works more quickly. Moments before he shoots Sollozzo, everything seems to slow and Michael is shown zoning out, not listening to a word Sollozzo says -- obviously deep in thought. Rather than using only Michael's facial expressions and body language to show Michael is lost in his own conflicting thoughts, Coppola chooses to have Sollozzo's words hidden to the viewer as well, essentially putting us in Michael's shoes.
The moment Michael presses the trigger, the noise of the train comes "screeching to a stop" (McGuigan), just like any chances he had of living the life of a normal person.
Looking past the sound, and at the train itself, brings different possible meanings. What is a train? A train is a form of travel, and the people on the train are going somewhere. They know where they are going, because they can't turn back -- the train only goes one way. Coppola may have chosen the train whistle in place of dramatic music to symbolize that Michael can no longer turn back -- by shooting Sollozzo and McCluskey, he has made a lifelong commitent to the mafia: "his life is on one way rails" (McGuigan).
There is one more thing that wasn't brought up in class, but comes to mind when I think of trains, and their whistle.What happens when you're driving and you hear the whistle of a train? A train whistle is used to warn people that a train is passing. When a train passes, everybody stops, no matter what. If they don't, they face either severe injury or certain death. Similar to the train, everybody complies with the Don's wishes, lest they face certain death or misforture. Could this be Coppola making a reference to Michael being on a one way jouney to becoming the next Don?
The whistle of the train could be symbolic of various things. As the whistle comes to a crescendo, it may be representative of Michael's thoughts -- before he goes through with his greatest task, we can assume his heart starts to beat faster and his mind works more quickly. Moments before he shoots Sollozzo, everything seems to slow and Michael is shown zoning out, not listening to a word Sollozzo says -- obviously deep in thought. Rather than using only Michael's facial expressions and body language to show Michael is lost in his own conflicting thoughts, Coppola chooses to have Sollozzo's words hidden to the viewer as well, essentially putting us in Michael's shoes.
The moment Michael presses the trigger, the noise of the train comes "screeching to a stop" (McGuigan), just like any chances he had of living the life of a normal person.
Looking past the sound, and at the train itself, brings different possible meanings. What is a train? A train is a form of travel, and the people on the train are going somewhere. They know where they are going, because they can't turn back -- the train only goes one way. Coppola may have chosen the train whistle in place of dramatic music to symbolize that Michael can no longer turn back -- by shooting Sollozzo and McCluskey, he has made a lifelong commitent to the mafia: "his life is on one way rails" (McGuigan).
There is one more thing that wasn't brought up in class, but comes to mind when I think of trains, and their whistle.What happens when you're driving and you hear the whistle of a train? A train whistle is used to warn people that a train is passing. When a train passes, everybody stops, no matter what. If they don't, they face either severe injury or certain death. Similar to the train, everybody complies with the Don's wishes, lest they face certain death or misforture. Could this be Coppola making a reference to Michael being on a one way jouney to becoming the next Don?
Sunday, December 4, 2011
Juxtaposition and Character Foils
In the first scenes of The Godfather, it is outright stated in the dialogue that Michael believes himself to be starkly different from the rest of the Corleones, especially his father Vito, who believes that "a man who doesn't spend time with his family can never be a real man" (Coppola). Although the Don is referring to his eldest son Sonny when he says this, it is likely that Coppola has incorporated this line in the dialogue to represent the separation between Michael and the rest of the Corleones -- even in the beginning of the movie, Michael is not present at the wedding -- most noticeably when the family photo is being taken.
It is interesting that Coppola has chosen to have the characters express through dialogue and actions that Michael does not belong in a life of organized crime; however, as the film continues, Coppola chooses to imply rather than make it obvious that Michael is in fact more like the Don than Vito's other two sons -- Sonny and Fredo -- and subsequently that Michael may be the best choice for the next Don.
The juxtaposition I have noticed in this film is not just in Vito and Michael, but in the added presence of Fredo and Sonny. Fredo's nervousness when he is pressured and Sonny's impulsive decisions and actions contrast with Don Corleone's calm demeanor and air of authority, in turn highlighting Michael's similarities to his father. Vito does not panic in the face of danger and does not make impulsive decisions; while Fredo and Sonny are seen doing both the former and the latter, Michael does neither.
Rather than expressing the similarities between Michael and his father through dialogue, making it obvious to the reader, Coppola chooses to utilize juxtaposition and character foils involving the Don and his two older sons -- perhaps to emphasize which of his three sons is most fit to inherit the position of utmost power the Don is bound to leave behind.
Friday, December 2, 2011
The Next Don
Is Michael on his way to becoming the next Don Corleone?
When the film began, Michael was firm on the idea that he was not like the rest of the Corleones. Coppola set the first scenes up such that the readers would agree with Michaels' thought. Michael stands out the moment he shows up at the wedding -- he arrives clothed as a war hero and with an American woman while the rest of the guests wear dark suits.
As the film progresses, we see Michael step into each stage of the Hero's Journey: he begins in the first stage -- his normal life, intentionally avoiding his family's involvement in the Mafia. The presence of the Mafia itself is Michael's call to adventure, which he refuses to answer as he believes the Mafia is "[his] family ... not [him]" (Coppola).
Following his father's shooting and hospitilization, Michael slowly shifts into his position in the Corleone family. In the hospital, when Michael realizes Vito Corleone is to be ambushed, he quickly takes action, moving his father to another room. In the hospital, Coppola employs filmic devices, characterization, and double entendres to imply to the reader that Michael may soon become the new Don Corleone. When Michael enters the Don's room, the camera settles on the doorframe that displays a number 2 for more than 16 seconds -- more than twice as long as the standard 7 shot rule. Considering the motif of doors, this could be an implication that Michael is transitioning into number 2 in the Corleone family: the next Don.
Coppola has intentionally placed Michael in the hospital alone, and not Sonny or Fredo -- the older Corleone sons. He has characterized the brothers such that neither are fit for the job: Sonny is too impulsive, as we see in the scene in which he speaks out of turn during the discussion with Sollozzo Fredo is not fit for the fast-life of the Mafia, as we see when he fails to defend Vito Corleone during the shooting. On the other hand, Michael is characterized quite differently: Coppola chooses to place him in the hospital alone to defend his father, and Michael automatically knows what to do, dealing with the situation in a calm manner.
After Michael moves Don Corleone to the new room, he tells the Don that "[he's] with [him] now" (Coppola). This is interesting because Coppola has chosen to have a double entendre at this exact part in the script -- a part one could describe as Michael's turning point or first trial. Coppola could either be saying, quite literally, that Michael was physically with the Don; it is more likely that this is the point in the film in which Michael leaves his old life and joins the Corleones in a life of organized crime. He no longer claims that he is not like the Corleones as he did at the wedding; he now considers himself part of the Mafia.
In the next scene we are going to watch, Michael is to shoot Sollozzo and Captain McCluskey -- A New York police chief. This is a task nobody has ever done before. Although the other Corleones laughed when Michael suggested he be the one to do it, Michael was completely serious. The transition Michael has made from normal life to Mafia life is clear -- is appears as if Michael's brain is wired for a life of organized crime.
Coppola has intentionally put Michael in these ordeals rather than Sonny and Fredo. Could Coppola be implying that Michael is to become the next Don Corleone?
When the film began, Michael was firm on the idea that he was not like the rest of the Corleones. Coppola set the first scenes up such that the readers would agree with Michaels' thought. Michael stands out the moment he shows up at the wedding -- he arrives clothed as a war hero and with an American woman while the rest of the guests wear dark suits.
As the film progresses, we see Michael step into each stage of the Hero's Journey: he begins in the first stage -- his normal life, intentionally avoiding his family's involvement in the Mafia. The presence of the Mafia itself is Michael's call to adventure, which he refuses to answer as he believes the Mafia is "[his] family ... not [him]" (Coppola).
Following his father's shooting and hospitilization, Michael slowly shifts into his position in the Corleone family. In the hospital, when Michael realizes Vito Corleone is to be ambushed, he quickly takes action, moving his father to another room. In the hospital, Coppola employs filmic devices, characterization, and double entendres to imply to the reader that Michael may soon become the new Don Corleone. When Michael enters the Don's room, the camera settles on the doorframe that displays a number 2 for more than 16 seconds -- more than twice as long as the standard 7 shot rule. Considering the motif of doors, this could be an implication that Michael is transitioning into number 2 in the Corleone family: the next Don.
Coppola has intentionally placed Michael in the hospital alone, and not Sonny or Fredo -- the older Corleone sons. He has characterized the brothers such that neither are fit for the job: Sonny is too impulsive, as we see in the scene in which he speaks out of turn during the discussion with Sollozzo Fredo is not fit for the fast-life of the Mafia, as we see when he fails to defend Vito Corleone during the shooting. On the other hand, Michael is characterized quite differently: Coppola chooses to place him in the hospital alone to defend his father, and Michael automatically knows what to do, dealing with the situation in a calm manner.
After Michael moves Don Corleone to the new room, he tells the Don that "[he's] with [him] now" (Coppola). This is interesting because Coppola has chosen to have a double entendre at this exact part in the script -- a part one could describe as Michael's turning point or first trial. Coppola could either be saying, quite literally, that Michael was physically with the Don; it is more likely that this is the point in the film in which Michael leaves his old life and joins the Corleones in a life of organized crime. He no longer claims that he is not like the Corleones as he did at the wedding; he now considers himself part of the Mafia.
In the next scene we are going to watch, Michael is to shoot Sollozzo and Captain McCluskey -- A New York police chief. This is a task nobody has ever done before. Although the other Corleones laughed when Michael suggested he be the one to do it, Michael was completely serious. The transition Michael has made from normal life to Mafia life is clear -- is appears as if Michael's brain is wired for a life of organized crime.
Coppola has intentionally put Michael in these ordeals rather than Sonny and Fredo. Could Coppola be implying that Michael is to become the next Don Corleone?
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