I was finally able to watch The Godfather on the big screen* for the first time and noticed some things (perhaps new only to me) that had not gotten through even after watching it so many times.
- All the big names in the cast get all the deserved credit but Salvatore Corsitto has such a crucial role to play, setting the tone and pace for the whole trilogy.
He’s agitated but keeps it under control. His anger threatens to spill over but he is composed. He so simply lays out that the last desperate thing he will do, he will do it for his family. It’s a theme that recurs throughout the whole trilogy, not the least for the man sitting opposite him.
2. The first transition from the darkened room to the wedding celebration is jarring. Gordon Willis’ revolutionary cinematography has kept us in the dark throughout (sometimes entire sides of a face are obscured by darkness) and then the gaudy wedding hits you, with its sunshine and loud music and the big crowd and the cacophony of noises.
3. As the baker promises, the cake is indeed enormous.
4. Sonny seemed weirdly competent this time. As Vito goes to the hospital, Sonny and Tom Hagen are the two in charge. While Hagen is seen as the voice of the reason, later Micheal adopts the same ultra-aggressive strategy as Sonny and Hagen is seen as not fit to be a wartime counsellor. My opinion of Sonny changed from a buffoon to charismatic but hot-headed, both to a fault.
5.
That’s Sofia! She’s the child being baptized in the iconic baptism scene.
6. Al Pacino’s performance is a tour de force and each viewing reveals nuances in his acting. On the big screen, I was struck anew by how much control he exhibits while still letting a whole range of emotions play across his face. When other actors try it, they come off as wooden. But Pacino’s face is always expressive, the lips upturned, the eyes not dead but steely. It’s no wonder Pacino gave up on this style after Part II. It must be hard to project that iron will every time you are on screen.
7. There’s only one reference to Sonny’s gifted manhood. This is just as well. For those of us who have read the book, the frequent references to Sonny and his mistress’ genitals (an entire subplot included) is awkward and unnecessary.
8. The Corleone kids are the epitome of innocence and purity. When Vito comes back from the hospital, his grandkids are the first to interact with him. Coppola does not depict them as wise beyond their years because of their association with a crime family. Instead, they are very much shown as sheltered. This also goes well with Vito’s determination to stay out of drugs for the sake of kids.
9. Al Neri pretty much takes Luca Brasi’s place as the family’s enforcer. Except he does not stick out like Brasi does. He is more of a methodical killer, which is in line with the master he serves.
10. The Godfather is just as good the second, tenth, 100th, 450th, or millionth time of watching as it is the first time.
*Customary fuck you to the Indian Censor Board for deleting some shots.
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