Aesthetics In The Godfather

Aesthetics is important in films; the basic yet complicating task when producing one, along with directing, acting, editing and post production process. In fact it is the complete puzzle piece that a film needs, which determines the quality of the film itself. Every single detail is essentially important to the film, from the bold dialogue to the small detailed movement, from the frayed clothes to the thick oblivious make-up, everything has to be well done for a film to be qualified for excellence.
What makes mise en scene’s elements the most crucial part in films, is that it tells the story, before adding the dialogues, music or elaborated sound effects. A man in black crisp suit driving a posh car into a huge mansion tells that he is wealthy.
A woman working hard in ragged clothes coming home to a shabby apartment that shelters her four children shows that she is a poor single mother. With just visuals, the story is created, which arouses the curiosity of a spectator to adapt him or herself to the story.
In 1972, Francis Ford Coppola directed a film which distinctively made an impact in the film industry; a film which the richness of aesthetic are shown; every single detail are visible from what based on the written novel by Mario Puzo, The Godfather.
The Godfather has won many awards in different prestigious award ceremonies; praised for the best screenplay, directing, costume designs, acting skills and many more.
When Francis Ford Coppola launched The Godfather, many was impressed; and probably still will be by the film, not only in America but internationally. Not only that, people give positive feedbacks regarding the film’s aesthetics, as it engages the spectator with the richness of illustration, letting the spectators slip into the dark and vicious world of the Corleone’s Family.
What’s spectacular about The Godfather is that the illustration of the scene; be it in the background setting, the make-up, the lighting, the various shots in a sequence, the suits and dresses and the facial expressions helps the flow to run smoothly, making it vivid and engaging the spectator to indulge more. But as smooth as it goes, through further analysis we can elaborate on how the scene is created and how the shots are
established.
The Godfather is classified in a gangster/film noir genre, clearly shown throughout the film aesthetics. Even so, the mafias refers themselves as businessmen to conceal the public of what they actually do but it is significantly to perjure themselves so that they can overcome the guilt. Although being so it is believed that The Godfather supported important themes, like family gathering, legitimacy and respect. Don Vito Corleone always stresses that when there’s a family gathering, no words of business should be talked, be it at the dinner table or when women and children are around. The film also implies that women and children are a crucial part in families and they have rights that needs to be protected.
At the start of the story, the sequence mostly focused on close-up on the ‘client’ in a long shot, not revealing Don Vito Corleone’s face to show how important and mysterious the Don is. Through the high contrast of lighting and the dark features of the room, it slowly pulls out to a middle close-up and reveals that they are in the Don’s office discussing regarding the favor that the ‘client’ needs. The purposely reflected lighting which gives shadow features to Don Corleone’s face illustrates the dark business that he is involved in.
The make-up effect made the Don looked aged and calm, but firm and dominating, showing that he’s in control and he is capable of what he does. Don Corleone always stresses on respect; gestures like kissing his ring and calling him ‘godfather’, as respect is the spine of the mafia family hierarchy. Don Corleone and Tom Hagen’s black crisp suit shows that they are mafias but the bow tie and rose shows that a festive is going on, giving off the feel that he is someone responsible and tries to balance between his business and family. This setting illustrates the structure and genre of the movie.
However, the acting skills for the scene where Don Vito Corleone was shot multiple times by two assassins was rather quite off, as the skill for holding the gun during the gun fire was only single handed, and the assassins seems nervous while running. The expressions on their faces was not quite clear whether they are afraid or nervous to act or shoot the Don. Contrast to the acting skills, the shots taken was relatively good; close ups of the guns, the footsteps, expressions. Then wide shot from the above to show that the shots were done to Don Corleone was professional, the editing to show the gun actually fires was skilled.
When Michael prepared himself to dine with Sollozzo and McCluskey; rather to prepare himself to shoot them, close-up shots of his face showing anger yet nervousness was clearly visible. The bruise that he had from being punched at the hospital by the police officer was still there, continuity of mise en scene’s elements in the make-up was realistic. Dark circles shows that he has been caught up with the issues regarding the Don was also perfect add-ons to the tense atmosphere. The bounced background lighting darkens the mood of the scene, and when he gets up to move to the washroom, the camera follows and shows the process of him hesitating and getting the gun actually fills in spectator’s curiosity on how it’s like for Michael to go through the process of his first assassination towards his father’s enemies, as he once clearly once stated to Kay Adams that it’s what his family does, not him.
Transitions between the news articles and the assassination of his father’s enemies was incredibly done, letting the spectators know that it is what happen when a respect is forged, death is rewarded. It was as if showing that Michael had took revenge for his father intellectually but at the same time Michael wishes for legitimacy in the business. What he wants was for the family to escape from the criminal world and be clean of dirty works and safe. A lesson has to be learnt after Don Vito Corleone has been shot, but it is difficult to escape from the ‘Under World’.
The return of Don Vito Corleone from the hospital to home is like as if a call for festive season; many awaits of his return to home, mostly his family members and grandchildren. Wide shots of the family preparing for his return shows that he is still a leader to them that they care about most. It is believed that the Don is safe to go home in the broad daylight in the scene that he is temporarily free from being assassinated again. When the men of the house all welcome him and carries him to his room with the aid of the paramedics, children running to the Don with ‘get well soon’ cards, it bonds the family together. Costume and settings has been taken care of distinctly; the costumes of paramedics, hospital car and guards.
There are many heart wrenching scenes in The Godfather which makes the spectators feel enthralled towards the film. Three of the many will be; Constanzia ‘Connie’ Corleone being abused by her husband, despite her being pregnant. The act was as if it’s real, her cries of pain captured the hearts of the people watching. The make-up effects for Connie’s bruises were vivid. And the dialogues of the couple’s fight depicts a normal scene in every household, making the spectators able to relate to their fight. The assassination of Santino Corleone, where he was rushing off to his sister’s aid, Connie who was being abused by her husband even when she was pregnant.
Sonny wanted to teach a lesson to Connie’s husband; which was why he fled off immediately after his sister’s phone call without his guards with him. The wide shot that cuts away to close-up that shows Santino’s Corleone expression; the impatience that swallows him as he waits for his turn at the toll station, cursing at the car in front of him. To follow the genre of the film, coarse language are mainly used within mafias when they’re not dealing with business. Unfortunately for Santino Corleone was that assassins was waiting to kill him as Connie’s husband had notified them regarding Santino’s journey to meet
Connie.
The gun shots and sound effects were on point, and the bleeding effects all around Santino’s body were proves that he was shot countless times by a machine gun. The car was also designed to have broken glass when the assassins starts shooting and bullet marks for continuity elements. It would have been better if they could focus more on Santino’s reaction. Even though Santino Corleone’s death was heart wrenching, the director hits through the emotions of the spectators, which engages the people more and making them understand the Don’s world.
The death scene of Appollonia was short but it was rather unexpected too, which brings a little plot twist in Michael’s life. The bomb was intended for Michael in the car, but it was to his upmost surprise to see a man running away after being called out. Michael could see something was wrong but he couldn’t save his wife on time.
The sequence to Appollonia’s death was abrupt but clear; the way Michael called out after his wife was instant reaction. From Middle shot and it cuts to close-ups for moments of his expression; then wide shots of the car his wife was in and to the scampering man on his two feet. Explosion of the car and Michael’s thrown back by the effects was convincing. Her death was shocking and terrifying, which might have left the spectators lost at words.
Lastly, the death scene of Don Vito Corleone, when he was spending time with his nephew, Anthony Corleone, the son of Michael and Kay, at the orchard. The surprise change in the Don’s character; he who was once a leader that ruled many is now a dearly grandfather spending time with his future business successor. His appearance changed, white hair shows that he’s old and the hat that he had on his head shows that he is frail and the make-up effect made him look sick and pale. His coarse breathing and his tumble before his death fall was genuine. The shot that follows Don Corleone throughout the sequence gave suspense as to what was going to happen to Don Corleone.
As a conclusion, The Godfather that made an impact in the film industry in the 1970s has been proven to have rich elements of aesthetics through the scene analysis. Francis Ford Coppola’s further works was appreciated by many, which includes the Godfather trilogy as well. It is believed that to produce a good film, the acting skills and aesthetics of a film needs to be in harmony, and when this two are harmonized together with the directing and editing skills, and most importantly an interesting storyboard and screenplay, it may qualify to be an Avant Garde film; like in this case, The Godfather.