Don Corleone: Why did you go to the police? Why didn't you come to me first? Show
Don Corleone : Why did you go to the police? Why didn't you come to me first? Bonasera : What do you want of me? Tell me anything, but do what I beg you to do. Don Corleone : What is that? [Bonasera whispers his request in the Don's ear] That I cannot do. Bonasera : I will give you anything you ask. Don Corleone : We've known each other many years, but this is the first time you ever came to me for counsel or for help. I can't remember the last time that you invited me to your house for a cup of coffee, even though my wife is godmother to your only child. But let's be frank here. You never wanted my friendship. And uh, you were afraid to be in my debt. Bonasera : I didn't want to get into trouble. Don Corleone : I understand. You found paradise in America, you had a good trade, you made a good living. The police protected you and there were courts of law. And you didn't need a friend like me. But uh, now you come to me and you say - 'Don Corleone, give me justice.' But you don't ask with respect. You don't offer friendship. You don't even think to call me Godfather. Instead, you come into my house on the day my daughter is to be married, and you ask me to do murder for money. Bonasera : I ask for justice. Don Corleone : That is not justice. Your daughter is still alive. Bonasera : Let them suffer then, as she suffers. How much shall I pay you? Don Corleone : Bonasera, Bonasera. What have I ever done to make you treat me so disrespectfully? If you'd come to me in friendship, then this s**** that ruined your daughter would be suffering this very day. And if by chance an honest man like yourself should make enemies, then they would become my enemies. And then they would fear you. Bonasera : Be my friend - - Godfather. [The Don shrugs. Bonasera bows toward the Don and kisses the Don's hand] Don Corleone : Good. Someday, and that day may never come, I'll call upon you to do a service for me. But until that day - accept this justice as a gift on my daughter's wedding day. Bonasera : Grazie , Godfather. Don Corleone : Prego. http://www.moviequotedb.com/movies/godfather-the/quote_9507.html
By Neha ZahidAlcoholic beverages – wines and spirits – are an essential aspect of Italian-American dining culture. A meal without a drink is no meal at all. Similarly, a scene without a drink is incomplete. In Coppola’s The Godfather – a film that follows the Corleones as they try to balance their dangerous business with their personal matters – there are sixty-one scenes that feature characters drinking. There are three dominant drinks in the film—scotch, red wine, and white wine—and each type of drink correlates to a distinct role in the film. Scotch is a “man’s drink”; red wine a family drink; and white wine a party drink.
These associations are developed across the film but are especially highlighted in three scenes – the opening scene, Connie’s wedding scene, and the Las Vegas scene. Yet although these different drinks begin with distinct associations in the film, the drinks themselves start to blur as the title of “godfather” passes from Vito to Michael, and as the line between what’s “business” and what’s “personal” begins to blur as well. *** The films open with a conversation between Bonasera and Vito (the godfather), in which Bonasera pleads for the godfather’s help to seek avenge his daughter’s assaulters. Bonasera is explaining the details of the account and begins to tear up. He apologizes for this unmasculine moment and then Vito prompts his men to give Bonasera a drink — a glass of scotch. The first drink of the film is a hard, dark spirit. The lens focuses on Bonasera’s eyes and with his voice trembling, body shaking in shock and fear of the horrific events his daughter endured, he sips on the drink and settles it on his lap. The camera zooms out, his eyes no longer in focus, and his voice returns to normal. As Bonasera regains his composure, it becomes clear that the drink functions to give him courage – and, in effect, to regain his masculinity. But Vito’s scotch not only transfers power to his guest; it also asserts Vito’s superiority and power. Scotch, throughout the film, is present during meetings between men; it is not observed in any scene involving women. It is presented as a peace offering during meetings, a welcoming gesture for males, and as a mode of relaxation for men. No matter the scene in which it appears, scotch symbolizes a significant power dynamic between the men who offer it and the men who drink it. Directly after this encounter between Bonasera and Vito is Connie’s wedding scene. The choice of drink? Wine. Red wine. Red wine is an Italian necessity. It complements the lavish gathering and joyful energy. The film, in a future scene, alludes to the health benefits of red wine. Vito explains to Michael that he has been drinking more red wine in his old age to which Michael responds with, “It’s good for you.” The association between red wine and good health is developed throughout Connie’s wedding. Men are seen drinking red wine while dancing to upbeat music. Clemenza drinks red wine as a replacement for water after exhausting himself in a dance. Pitchers of wine rest on tables — as essential as the centerpieces. Women are seen sipping red wine during casual conversations. Michael and Kay drink red wine along with their meals during a private conversation in which Michael is explaining the roles of members of the Corleone family. Young women enjoy red wine while gossiping about men. Every guest, old or young, male or female, is seen with a glass of red wine in hand. Red wine, then, has a strong connection with not only Italian culture, but also family. It serves to bring people together, regardless of the “business behind the scenes.” In the wedding scene, the viewers are repeatedly taken from the cheerful events of the wedding to the serious discussions in the Don’s private office. Despite these ominous transitions, we are constantly comforted by the presence of red wine. *** White wine is starkly different than the former two types of drinks. There is just one scene that involves white wine – the scene in Las Vegas where Michael proposes to buy out Moe Greene. Here the only people drinking white wine are the women whom Fredo hires for Michael (Johnny Fontane is holding a glass of white wine but never actually takes a sip). Within this context, white wine serves more as a party drink. Its lightness, in both color and strength of alcohol, represents the environment it tries to create – light, fun, worry-free. And indeed, it is a fun environment: music is playing, the girls are smiling, the colors are vibrant. However, Michael immediately prompts Fredo to get rid of the “party” elements – the women and the band – because he is “here on business.” Strictly business. The drink of choice, we might infer, should have been scotch. Fredo insults Michael’s masculinity by presuming the fun environment as appropriate for his interaction with his brother. Fredo further insults Michael by disrespecting and questioning his decisions in front of non-family members. Clearly there is a disconnect between Fredo’s and Michael’s understanding of masculinity. Fredo’s perceived role in the Corleone family as an outcast relates to his misinterpretation of masculinity, family, and business. Fredo understands masculinity to be fun – in which white wine, a seemingly more feminine drink, is the drink of choice – and does not understand the seriousness of the Corleone business. It is this misunderstanding that results in his disrespecting of Michael. Where Michael was expecting scotch, Fredo was providing white wine. *** Across the film, there is no clear progression of drinks: the type of drink is dependent on the scene and the environment. Sequential scenes tend to have a mix of drinks, primarily scotch and red wine, and the overlap further blurs the lines between business and personal. Arguably the most prominent scene to highlight this blurred mixing of business and pleasure is the final scene. In Michael’s office, Kay is told by her sister-in-law Connie that Michael is responsible for the assassinations—including the murder of Connie’s husband Carlo—that have just occurred. In shock, Kay asks Michael if it truly was his doing. He says no — a lie. Kay, in relief, hugs Michael and calls for a drink. But what drink will it be? The camera is angled on Kay pouring two glasses; the figure of Michael is in the background. We as viewers cannot see which drink she is deciding to pour.
If Kay truly believed Michael, red wine would be the appropriate drink, as it represents celebration of the bonds of family. But then we see, from Kay’s perspective, Michael’s men approach him and shake his hands, honoring him as the new Don Corleone. The office door closes and Kay is shut out from the truth — and the look on her face does not suggest that this is a happy outcome; she has poured two glasses, but the shut door keeps the two of them from sharing drinks and sharing a moment. Perhaps the drinks should be scotch, to signify Michael’s masculinity, his power, and his capacity for deceit — a capacity that Kay may now recognize. Ultimately, the audience, much like Kay, is left in the dark. The drink is unknown; the future of Michael and Kay, uncertain. Neha Zahid (Cal ’19) is a junior double-majoring in Public Health and Biology. She is interested in the role of health policies in addressing health inequities at the local and global levels. In her free time, she enjoys playing soccer and is a member of the Cal Women’s Club Soccer team.
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By Hansol JungBut even as the scene dramatizes the splendor of the family, it also suggests, through the characters of Vito’s three sons, the cracks that will split it apart: Santino, or Sonny, is hot-headed and unfaithful; Alfredo, or Fredo, is drunk and immature; and Michael is at odds with his family, holding himself apart from its operations. This distance, however, is not easily made, and through his dialogue and personality comes another image of Michael, one who is entrenched within Sicilian family values and unable to shake the influence of his father. And so the wedding scene works as a representation of the Corleone family in all of its glory and grime, setting up a family at the height of its power and influence while subtly undermining it through ugly portrayals of its key players. *** The wedding is a grandiose celebration, and rightfully so for a Corleone celebration: Vito has put in exhaustive work to be able to put on display the love and care he has for his daughter, and more generally, his entire family. Still, the celebration wouldn’t be complete without the proper decoration and music, which Vito ensures are in tune with the rest of the festivities. Both the entranceway and courtyard are festooned with a huge overhanging of lights; no expense has been spared in the preparation of the party. The music jovially plays in the background and sets the scene for the constant dancing, which extends until the very last moments of the wedding scene. The orchestra that plays the music, visible later, is made up a great number of suited musicians—undoubtedly another considerable expense. *** Despite all the effort Vito puts into the celebration, he is undermined by each of his sons, who fail to share the same love and attention he puts into his family. Fredo, his second oldest son, is particularly marginalized within the framework of the wedding. He is introduced in a scene where he meets Michael and Kay Adams, Michael’s girlfriend. John Cazale, the actor who plays Fredo, draws out the character’s immaturity through his particular way of inhabiting the character. Cazale acts slightly too drunk, with his hands too active in touching both Michael and Kay and his way of speaking too oblivious to have a continuously flowing conversation. This is Fredo’s single scene of dialogue in the entire opening wedding sequence, and it makes clear that he is a son who lacks many of his father’s qualities. He is too drunk to function properly at the wedding, is unable to have mature social interactions, and fails to understand the intricacies of familial relationships. *** This scene speaks volumes about Sonny, especially his inability to control his temper: once he fails to get what he wants, he will continue to take further action, no matter how irrational, to exact his petty revenge. Sonny has his own form of immaturity, that is, and although it is quite different from Fredo’s, it still is a huge character defect. By committing such irresponsible actions, he distances himself from his father. During the wedding, especially in his dealings with Amerigo Bonasera, Vito is defined by his poise, gracefulness, and eloquence. He does this not only to maintain control over intense situations, but to handle them maturely and ensure that they reflect well back on to him. By contrast, Sonny lacks the foresight to control his emotions, and fails to understand how his outbursts will reflect back upon his family. If his personality suggests a mismatch with his father’s, the way Sonny treats his own family absolutely confirms this mismatch, setting him up as the antithesis of Vito. In a cruel irony, Sonny takes advantage of the drama around the celebration of a new family to cheat on his wife. Sonny’s willful disregard of his own family reveals the biggest possible contrast between him and his father: while Sonny is scheming to have sex in an act of unfaithfulness, his father dances with his wife on stage in an act of faithfulness. Vito makes it plain that he disapproves of Sonny’s actions in a later scene from the wedding sequence. Structurally, the shot echoes the one earlier with Sonny’s wife: in both, Coppola places in the foreground a character who’s talking about Sonny and positions Sonny in the background. His placement in the background suggests his participation in suspicious activities and his attempts to keep them out of sight from his family. Consequently, Sonny is the opposite of Vito in both personality and moral conduct, and his obvious lack of belief in traditional Sicilian family values indicates how inappropriate he would be to succeed Vito as head of the Corleone family. *** *** The opening wedding scene of The Godfather serves a dual purpose, revealing Vito’s love for the entire Corleone family and the standard of behavior he expects from them, while also exposing his three sons as failing to meet that standard. However, we can make a crucial distinction between the three sons: while Sonny and Fredo are both defined by their immature actions, Michael is Vito’s only son who chooses, on purpose, to fail to meet this standard. And so, with Michael finally present at the wedding, the photographer lines up the family once again. Michael stands with his family, even bringing in Kay despite her not being Italian-American nor his wife at this point. His presence in the picture hints that he may one day be ready to rejoin the Corleone family, but it won’t be to assimilate back into the previously established culture. Instead, it will be on his own terms, with his own standards of morality and his own family values. Hansol Jung (Cal ’20) is a sophomore majoring in English. A student with many aspirations, Hansol is part of various extracurriculars that align with his interests. At one point a Daily Californian Arts writer, Hansol now devotes his time to working as a vice president of the Korean-American Student Association on campus as well as the president of an awards-winning competitive advertising club, imagiCal.
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By Julia ReillyMichael’s marriage to Apollonia, halfway through The Godfather, marks a metaphorical marriage to Sicily and the ways of his father. By partaking in an intensely traditional wedding with an equally traditional Italian bride in a town that bears his family’s name, Michael is wedding himself to the Old World of his father’s generation and to the violent path that he had previously rebelled against. Yet he renews his commitment to his family in his own way — and the terms of this commitment are signaled by the contrast between the two weddings in the film (Michael’s and Connie’s) and by the development of his character between the two ceremonies. The two weddings in The Godfather differ from one another greatly. Unlike his sister Connie’s sumptuous and lighthearted reception, Michael’s marriage to Apollonia is old-fashioned and deeply Sicilian. While Connie’s wedding features Sicilian traditions, like her wedding purse and songs sung in Italian, it does not diverge too sharply from a normal (though lavish) American wedding. The Corleones showcase their prosperity and well-connectedness through the wedding, and Connie’s towering cake is the epitome of extravagance and excess. Connie and Carlo’s wedding is bright and loud. Wine flows freely, and several characters appear to be drunk. The scenes of their celebration utilize warm, vivid colors and upbeat music accompanied by laughter, excited shouts, and singing, while Michael’s wedding looks muted and earthy, scored by a band playing a song that recalls the slow and almost mournful Godfather theme. Where Connie’s wedding features posy pink bridesmaids’ dresses, a performance from celebrity Johnny Fontane, and lots of dancing, Michael’s nuptials are quiet, small, and more serious, in the “Old World” fashion. As noted in the screenplay, Michael’s wedding is “the same in feeling and texture as it might have been five hundred years ago,” with “all the ritual and pageantry, as it has always been, in Sicily.” This deeply Sicilian wedding illustrates Michael’s complete immersion in the Sicilian culture. The priest and the wedding ceremony, rather than the reception, take center stage, and Michael and Apollonia, though joyful, wear formal expressions. Their wedding is a sacred, holy union, and while the couple and the bride’s family will soon celebrate, the religious sacrament is the undisputed focus of the day. This emphasis on reverence and religion is not displayed at Connie’s reception, where young women are playing guessing games about the size of someone’s manhood and Sonny is having extramarital sex with a bridesmaid upstairs. In Michael’s wedding scene, a beautiful long shot of the small Italian town follows the bride and groom’s procession, showcasing both Corleone’s natural richness in color and its plain and battered buildings. Michael’s journey to Sicily is a journey back to his family’s roots, and this shot shows audiences just how different his home in America is from the region that gave the Corleone family their name. In New York, the Corleones live luxuriously. Immensely successful as a result of their illegal deeds, they are a family of wealth, but one somewhat isolated from the land and their community. Only the important and influential are permitted to attend Connie’s New York wedding, but Michael’s Sicilian wedding invites the whole town to take part in tradition and festivity. Set against the backdrop of poor, dilapidated Corleone, Michael and Apollonia’s reception takes place among urban grime, in a circle of mismatched chairs — a stark contrast to Connie’s ornate celebration. Apollonia engages with her wedding guests through Sicilian traditions, her incredibly elaborate hairstyle and ornamental veil reflecting the monumental nature of the day in a way that the homely reception area does not. This reception is about family and community, about honoring the memory of those who came before by celebrating in the old way. The reception’s traditions are like valuable heirlooms, passed down from each new couple to the next; they join the community in a bond that matches the sacredness of the earlier ceremony, even though they are not religious sacraments. The differences between The Godfather’s two weddings suggest the materialism of American culture — how the opulence of “The Don,” a product of his success in America, has distanced him from the family-based Italian way and the poverty-stricken town of Corleone. Aside from providing important commentary on the Corleone family and culture, the disparities between the two marriage celebrations highlight the many ways Michael has changed since the beginning of the film. For Connie’s wedding, Michael dons an American military uniform, signifying not only his alignment with America and its laws and customs, but also, and more notably, his history of risking his life to maintain them. When Kay, a talkative and inquisitive all-American beauty (dressed in a bright and patriotically-hued frock), questions Michael about his family, he does his best to answer only vaguely and often attempts to direct their conversation away from the topic. When asked about Luca Brasi, Michael simply tells Kay that he “helps my father out sometimes.” Kay eventually pushes Michael to tell her the full story about Brasi and Johnny Fontane. He gives in, telling the tale solemnly and in graphic detail, taking great care to distance himself from the violent act he is speaking about. Michael concludes the story with the statement “That’s my family, Kay. It’s not me”: he does not simply refuse to participate in the “family business,” but also deeply disapproves of it. As Kay and Michael sit together, Tom Hagen informs Michael that his father is looking for him. He does not get up or even attempt to look around for his father, but instead simply continues his conversation as if nothing had happened. Michael and Kay are carefree and giggly when not discussing family matters, holding hands and sitting close together in their own little world like high school sweethearts. They isolate themselves from the rest of the party, only interacting with family members if they approach them first. When Michael is brought over for a family picture, he insists Kay join in, perhaps subconsciously to associate himself more closely with her than with the Corleone family. Kay is an independent, outspoken American woman—the opposite of the submissive female Corleones, most notably the delicate and powerless Connie. At his own wedding later in the film, Michael is much more serious and traditional, embracing both his family and his heritage. He seems comfortable in the Sicilian way and looks perfectly natural during the ultra-traditional wedding. Michael has traded in the military uniform for a modest yet formal suit, looking dapper save for his badly bruised face. The attempt on Don Corleone’s life has ignited a change deep within Michael, and the darkening mark under his eye physically indicates the alterations taking place inside him emotionally. At the ceremony, he genuflects reverently, then sweetly but solemnly offers his new bride his arm as they stand up. Michael is serious and formal as he processes through the city with his wife, wearing a dignified expression that matches the rich and ceremonious wail of the music. As Michael continues to walk, it is increasingly apparent that he has become one with Sicily. He shares a moment with the young flower girl: he smiles at her and she smiles back, as if acknowledging him as a welcome member of the family and the community. Michael walks with his bride through the town that has now become his home, not looking like an out-of-place foreigner, but like a man who has strolled these winding paths all of his life. As Michael walks down the dirt roads of his father’s world with his new bride, he follows in his father’s footsteps, both literally and figuratively. The changes Michael goes through during the film, visible through the differences in his behavior at the two weddings, begin with the attack on his father. At the hospital, Michael gets in an altercation with (and is physically assaulted by) a corrupt cop while trying to protect his already injured father from being “finished off” by hit men. From this moment on, both he and the family’s enemies view him not as an innocent bystander, but as an active participant in the Corleone family. Michael wants safety for his father and revenge against the Tattaglias who tried to assassinate “the Don,” and to ensure that safety, he becomes not just an active member of the family, but an active member of “the business” as well, volunteering to shoot and kill Sollozzo. When Michael gets to the restaurant where the hit will take place, he is noticeably uneasy, but he doesn’t change the plan; his motivation is strong enough to neutralize his previous moral ideals. After Michael murders Sollozzo and the cop McCluskey, there is no turning back. The very violence he condemned at Connie’s wedding now his own, Michael goes to Sicily to hide. While killing for the family was the first major step in Michael’s transformation, he continues to undergo changes during the journey to his father’s roots. In the town of Corleone from which his family took its name, Michael is inducted into the Old-World life and the Sicilian way. The derelict buildings and sprawling countryside through which his father once walked are Michael’s new home: the ultra-modern, all-American man whom audiences were introduced to at the start of the film is now nowhere to be found. In Sicily, Michael embraces his roots and his culture, connecting with his Italian heritage in a way viewers have not yet seen. When asking Apollonia’s father permission to court her, Michael uses his father’s power to his advantage in a way he never would have before, saying “My name is Michael Corleone. There are people who would pay a lot of money for that information, but then your daughter would lose a father instead of gaining a husband.” Michael makes Fabrizio stand and translate for him as he speaks with a stately air, showcasing his power and commanding respect from the man who only moments ago regarded him as a rude and immature boy. Michael’s earlier relationship with Kay is featured in dialogue-heavy scenes, but his growing bond with Apollonia is shown through montage, with smooth, orchestral music and almost no words shared between the couple. Michael’s courting of Apollonia is patient, gentle, and traditional—much less modern and American than his previous romantic interactions with Kay. Michael gains the approval of Apollonia’s family and father before spending time with her alone, in customary Sicilian fashion. Apollonia and Michael are united by culture, tradition, and loving glances, their connection deepening slowly but fiercely. By the time Michael marries Apollonia, he seems a completely different man than the one who attended Connie’s wedding. Michael has become a true Corleone (embracing both Italian culture and mob affiliation), and his marriage to Apollonia signifies Michael’s official acceptance of this change and what it means for his future. When Michael marries Apollonia, he is wedding himself not just to her, but to Sicily and his father’s values. He is also rejecting Kay and the American way: due to the chain of events prompted by the attempt on his father’s life, Michael is on the road to becoming the new Don, and he will need support from a suitable wife. Though the love between Michael and Apollonia is portrayed as gentle, patient, and true, Apollonia is certainly attractive to a future mafioso not just for her kindness and beauty, but for her subservience. Where Kay is white, nosy, and modern, Apollonia is Italian, submissive, and traditional. Michael’s pre-Sicily relationship with Kay spoke to his rebellion against the “family business,” and when he trades Kay in for a more obedient model, Michael is no longer rebelling against, but rather fully embracing, his father’s lifestyle. He takes part in an Old-World style wedding, far more traditional than Connie’s, to shed the vestiges of his American ways and become a true Sicilian. By marrying Apollonia, Michael accepts the Corleone name, and everything that comes with it. Julia Reilly is a junior (Cal ’19) studying film and creative writing. On campus, Julia acts in Berkeley’s Theatre, Dance, and Performance Studies Department and in plays put on by the 100% student-run Barestage Company. A vintage and kitsch enthusiast, Julia runs a fashion-focused Instagram blog, @juliamaejuicebox.
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By Alex ChellsenMind Your MannerismsFor a film filled with intense scenes of violence and gripping dialogue, Francis Ford Coppola’s The Godfather contains an equal amount — if not more — of quieter, more understated moments. Throughout the film, masculine power is not expressed in feats of physical strength, or through hardened exteriors and hyper-masculine personas. Instead, it is conveyed by the manner in which Vito and Michael Corleone carry and conduct themselves around other men, specifically the other Families with whom they are dealing. Small actions often speak louder than words. By controlling their physical faculties, Vito and Michael maintain the appearance of authority: their power is dependent upon the suppression of their violent, primitive urges in the midst of things going amiss. Fascinatingly, as Michael inches closer towards becoming the new head of the Family, his mannerisms begin to mimic those of Vito. The men, for brief moments, become mirror images of each other, or reflections and refractions. There are four pairs of scenes that reveal both the parallels between Vito and Michael’s physicality and their divergences. By comparing and contrasting the mannerisms of Vito and Michael, we can observe the differences in how they exercise their masculinity — differences that become especially evident in their shared scene in the garden, where Vito is the experienced elder, exhausted from his responsibilities, and Michael is the heir, hungry for revenge and committed to advancing the family name and the Family’s legacy. Sitting StillVito and Michael resemble each other in the way they sit and are seated, displaying their masculinity through the manner in which they restrain themselves. Michael is channeling the Don, but uneasily: he’s trying to hold onto himself, in the same way that he holds onto the arms of the chair. Showing—and Not Showing—Their HandsMichael is adjusting to the fluidity of his new power as the Don, and this is reflected in his body language, as he is both looser in the movement of his limbs and firmer in the way he carries himself among the other men. When Vito tries to be sympathetic with the suspension of Tom’s position, resting a hand on his shoulder, Michael tells him in a sturdy voice, “you’re out.” After Tom exits, Michael slackens his collar, leaving his tie more disheveled than before. His newfound power possesses a chokehold over him, as it is still an extension of his father’s hand. Different StrokesBoth Vito and Michael stroke their heads during times of great stress, and the repeated gesture underlines how both of them confront the emergencies they face. Combing their hair is a coping mechanism, a gesture made to maintain their cool, or at least the image of such. Unlike Father, Unlike SonIn the divergences between Vito and Michael’s mannerisms, the film suggests the differences in how the two men play their parts in the Corleone patriarchy. Both Dons are strict in these commands, but Vito’s raised eyebrows and shifting gaze reveal concern, whereas Michael’s unrelenting stare silences anyone who rises to test his supremacy. Vito exercises his power as a means of protecting his family, whereas Michael flashes his influence to uphold his place and ensure the progress of the Family. Connect to DisconnectMichael is hunched over, however, with his arms pressed into his thighs. He feels the weight of death looming over his shoulder: Vito predicts, in a surprisingly casual manner, about how the train of events will unfold: “And at that meeting you’ll be assassinated.” Vito’s gestures in this scene may be read as a relinquishing of his patriarchal position out of respect for the new male head of the family. Michael leans in because he still displays an insecurity regarding his power and position as a man. He still looks to his father to be the Don for him. When Vito struggles from the chair and shuffles to sit near Michael, Michael leans back. He wants to be close to his father, but only at a certain distance, as intimacy often necessitates an emotional and physical vulnerability, one that threatens his male assertiveness. Alex Chellsen (Cal ’19) is a junior majoring in English and minoring in Creative Writing. He is an avid reader and writer of poetry and plays keys and synths in the band Dream Without Sleep.
You might be interested inWhat is the famous line from The Godfather?"I'm gonna make him an offer he can't refuse." This famous phrase was actually spoken more than once.
What is The Godfather opening line?You found paradise in America, you had a good trade, made a good living. The police protected you and there were courts of law.
Why does The Godfather start with a wedding?The opening wedding scene of The Godfather serves a dual purpose, revealing Vito's love for the entire Corleone family and the standard of behavior he expects from them, while also exposing his three sons as failing to meet that standard.
What did Luca Brasi say to Don Corleone at the wedding?Luca Brasi : Don Corleone, I am honored and grateful that you have invited me to your home on the wedding day of your daughter. And may their first child be a masculine child.
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