The Godfather

From the opening wedding sequence, to Vito Corleone’s funeral, to the baptism scene, rituals are an integral part of The Godfather. Through the use of film elements and lighting, Francis Ford Coppola uses these scenes in order to illustrate character development and foreshadow character conflicts. These ceremonies also serve to establish the key themes of the film, as well as convey the Mafia life in a personal light. Furthermore, the relationship between the Corleone traditional family and the Corleone Mafia family is highlighted in these sequences. The services also connect to each other in the way that they are presented and the ideas that are introduced.
In the opening scene of the movie, the camera pulls back slowly from the face of Bonasera, an undertaker, and member of the family. In this long take, low key lighting utilized, indicating the darkness of the situation, and suggesting that the matter at hand involves Mafia business. Zooming out further, the camera shows a blurry outline of Vito Corleone’s hand, face, and desk, enough to demonstrate that he is sitting behind the desk. Corleone’s power is demonstrated by the way that Bonasera speaks to him, and since he is the man behind the desk. Bonasera asks Coreleo for �

A sound bridge is used, carrying the organ music over to a shot of an assassin setting up his gun. The camera then direct cuts to Clemenza cleaning off his car in preparation to go to work. This image is familiar to the viewer, in that is the same way that Clemenza left with Paulie before he killed him. This feeling of déjà vu foreshadows that Clemenza will also be murdering someone. Back at the ceremony, Michael is still looking at the baby. His expression looks serious indicating that he is thinking about the murders that will occur. Through a glass door (similar shot to when Luca Brazi was killed and another déjà vu) Moe Greene is seen entering a barber shop. Another two assassins are also getting ready (separately). Cross-cutting shows the hit men as they draw closer to their victims, and as the ceremony comes to a close.

More business is conducted in the Godfather’s office, as he grants Nazorine a favor. Also, Luca Brazi, Don Corleone’s best hit man, practices reciting his tribute to the Godfather while sitting at the party, and then enters Corleone’s office to say it. He is not a relative by blood, but is rather a Mafia assassin. His presence and significant role on the wedding day shows the importance of the Mafia over the actual family. He says that he hopes that Corleone’s first grandchild will be a masculine child, further enforcing the concept of male superiority. After Brazi finishes, children run into the room, mixing the two families, and reminding the audience that this is a traditional family wedding.

or “justice” for his daughter, who was beaten up by her boyfriend. The Godfather (Vito Corleone) stresses that Bonasera “never invited [him] to [his] house for a cup of coffee, even though [Corleone’s] wife is godmother to [his] only child”. The importance of family relations and expectations of following the “Don” is stressed throughout Corleone’s dialogue.

In the final baptism scene, Michael becomes the godfather of Connie’s child. The sequence signifies the beginning of Michael Corleone’s reign as Godfather of the mafia family as well. During the sacred ceremony, the service is juxtaposed with the killings of the major mafia bosses and enemies, all planned in advance by Michael Corleone. Cross-cutting is used in order to alternate between short takes of the ceremony and of the murderers. The dialogue between Michael and the priest cuts back and forth between close-ups of Michael and the baby, and people being killed. The beginning of the service starts out in Latin, emphasizing the fact that the words are unimportant and that the events that unfold will be significant. Organ music in the form of diegetic sound fills the church.

There is a voice-over of the priest blessing the baby in Latin as images of the dead bodies are shown. He then blesses Michael, and the ceremony is complete. Back at the Corleone compound, Tessio is dealt with. He realizes that he has been discovered for his part in setting Michael up, and asks Tom Hagan for a pardon: “Tell Mike it was only business. I always liked him…Tom, can you get me off the hook? For ol’ times sake?” Tom refuses to help Tessio, showing that the mafia family is more important than personal friendships or anything else. Tessio is killed in the off-screen space. Michael then deals with his brother-in-law, Carlo. In a demonstration of his power, Michael persuades Carlo to admit that Barzini paid him to set up Sonny. Clemenza is then ordered to kill Carlo. Through the multiple killings, and Michael’s character behavior he has turned into a monster of a man. He is not regretful for organizing the murders of several people, and now acts superior to everyone.

The theme of the superiority of masculinity is also shown during this scene. The women and children are isolated from the men, with the exception of Michael C