The Godfather (1972)

Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract. 

I think I've fallen in love a little bit.

Before Friday, I'd never sat down to watch The Godfather, although I was aware of it through pop culture, and I'd seen parts of Godfather II, and I was scared that it would be one of those films which have been parodied to the point where the original is overworn. Thankfully, I don't think any amount of copying or referencing could diminish this film - it is, as far as I can see, faultless. I even like the font.

I think that one of the most important aspects of any film is the sound mix. It's often overlooked, probably because if it's working then you don't really notice it, but throughout Godfather I couldn't help but appreciate the depth and ambience of the audio. The score was perfect - sinister, memorable and inkeeping with the setting. The recurring waltz was one of those things I already knew - you play that to anyone and if they can't think of the film, they'll probably say it has something to do with gangsters. I also loved the attention to detail, from the gun sounds to the crunching of bones and the contrast between New York's background noise and Sicily's tranquility.

Looking back, it's an astonishing cast, and with an ensemble of such horrific characters it's essential. I doubt I would find Michael Corleone a compelling, let alone likable, character if Al Pacino didn't have such a magnetic screen presence. A lesser actor would have alienated the audience and couldn't have competed with Marlon Brando, who is a formidable personality to act against. Pacino shows his character's progression with the tiniest of cues, until he becomes Don Corleone from being the respectable son. I don't know why I find Michael such a likable character - surely that's not right? But he remains something of an outsider, more shaken by committing murder than any of the other characters, and he suffers emotionally. Plus, I've always liked a clever character and his masterful takeover of all the other crime bosses is pretty impressive, partly because of the brilliant crosscutting between Michael's nephew's baptism and Michael's own baptism in blood.

Visually, it's... well, it's amazing. I don't really have the words to talk about it yet, but every frame was composed and coloured and perfect. The design was brilliant - it felt like the 50s New York, and ranged from the poverty stricken to the ordinary to the lavish. Even the suits were character cues - who has the nicest cut? They're probably the one in charge.

When we talked about the themes, we came up with family, loyalty, deceit etc etc. I think this is really why it works - I don't think (I hope not) that anyone in our class can directly relate to a story about organised criminality, but who can't relate to a story about parent/child relationships or sibling rivalry? Sonny is an especially tragic character to me because it's clear once you know his impetuous character and his deep loyalty to his family that it will be his end one day. Michael, by contrast, is far more contained and while he feels the same loyalty, he is better able to act upon it thoughtfully.

Soon, I really want to watch this again, and the sequels too  - you know who you are, the person who got them out of the library - all I can think is why I didn't see it sooner!