A Comparison of Novel and Film The Godfather - Essay Example

?Introduction When Larry King interviewed Mario Puzo and enquired why his book The Godfather was so loved, Mario replied that it was because lots of us adore wishful thinking. Puzo quips that we all would like to have somebody that we could go to for justice, without going through the hassle of law courts and lawyers (CNN 24). However, when we take a deeper look at the novel we realise that there is more to The Godfather than its author suggests. To start with, the reasons for its enduring popularity are not easy to pin down especially when one tries to evaluate whether it was the literary merit of the novel or the mass-appeal of the film (Barra 3). There are numerous schools of thought on what made this novel and film appeal to the American public. Some critics are of the view that it was all about the timing. Firstly, Barra (4 & 5) argues that the novel lacked the literary merit to warrant its popularity and goes on to base the novels success on the fact that it was produced at a period when easy-reading books, that he refers to as novelizations, were a hit. However, when it comes to the films, The Godfather and The Godfather Part II were realised in 1972 and 1974, which was a time that the US was experiencing much turmoil and change. Critics attribute the films’ leanings towards the New Left and its exposure of the hypocrisy of institutions of power, such as corruption in the police force and politicians, gave the public what they desired to see and hear. However, the theme that pundits agree on that may have contributed to the success of both the novel and the film was that the story was really about the experiences of American immigrant families, specifically Sicilian-Americans, adapting to their new environment. Barra (6) states that if we take away the gambling and the murder, the story becomes a straightforward depiction of how Italian-American families were assimilated into American culture. This we believe superseded the notion that it was the film that made the novel famous because historical data shows that the book had already sold millions of copies before the first film was ­released in 1972. This common theme therefore is what we believe to be bearing the underlying relevance of the both the novel and the films: assimilation of immigrant families into the American society and its resultant consequences. The original plot and the film adaptations The Godfather novel is set in the 1940s and revolves around the family of a Sicily-American immigrant. Don Vito Corleone, the head of the Corleone family is referred to as the Godfather because he embodies what every man aspires to be. He is strong, powerful, cunning and a loving family man. This is depicted where we see Amerigo Bonasera coming to him to seek justice for his daughter’s rape (Puzo 10) and also by Virgil Sollozo who seeks Vito’s partnership to engage in the lucrative drug peddling business. The Don refuses to take up Sollozo’s offer, which leads the “Turk” to send assassins to kill the Don. Vito Corleone survives, but needs to stay away from the direct running of the family business. Sonny, his hot-headed son, takes up leadership of the Corleone family, convinces Michael, his younger brother to kill Sollozo and Captain McCluskey in vengeance for his father’s failed assassination attempt. This act results in a full scale war between the five mafia families in New York. The all out mafia war leads to the death of Sonny and Michael’s ascension to the head of the family. Michael initially tries to legitimize the Corleone business empire, but fails. Michael who erstwhile wanted nothing to do with the family business changes into a ruthless Don, who eliminates all the heads of the other mafia families in New York. He later sells all the Corleone property in New York and moves the family to Lake Tahoe, Nevada. In contrast to the novel, the movie is made of three sequels. The Godfather, Part I is the film whose plot most closely resembles the novel’s bar the elimination of several character backstories including Vito Corleone’s. Some critics however, point out that the more significant difference between The Godfather, Part I and the novel is observable from their endings. In the novel, the plot ends with a positive atmosphere as Kay accepts Michael Corleone’s decision to take over the running of the family business. In contrast, The Godfather Part I ends with Kay realizing that Michael is as ruthless as any other Mafia boss. The other films The Godfather Part II & III bear little resemblance to the novel. Contemporary reception of the book and film When the book was first published, it arguable received as much attention from critics as the release of the first film in 1972. The book critics who loved it called it an absorbing work of fiction, while others liked it for its good portrayal of the Mafia subculture and the organizational structure of the underworld. On the other hand, some other critics disliked the way it made readers empathize with the criminal characters of the Corleone family. This deception is well portrayed by Kay Adams when Michael tells her some stories about the things his father has done to help people he loves. Kay like many readers says: “[Then] he must be good-hearted…” (Puzo 42). Also, at his daughter's wedding we are informed that Don Vito Corleone received everyone from the rich to the poor an equal show of love. “He slighted no one.” (Puzo 14). To date both book and films continue to elicit both positive and negative criticisms. In as much as Puzo capitalizes on the cliche formula used in the stories of characters who use ‘evil’ means to achieve good ends, for example Robin Hood and Zorro, we cannot fail to notice that the book starts with a quote from Balzac that says “behind every great fortune there is a crime” (Puzo 1). This quote has been used by the anti-Godfather critics to justify their assertions that the entire novel is based upon that as a maxim. Significant facts, figures and statistics of the novel and films Regardless of whether you are a fan or not of the Godfather franchise, we cannot argue against the fact that both book and films have had a lasting impact on American culture. The novel not only spawned three movies but also led to an increased interest in Mafia books and gangster movies. In fact, Forbes has declared both, The Godfather Part I and The Godfather Part II among the ten greatest business movies (Maiello 5). The film also launched the careers of many movie stars such as Robert De Niro, Al Pacino and Robert Duvall. Also according to figures provided by Forbes in 2002, the novel had generated revenues of US$ 160,000,000, The Godfather Part I grossed US$ 450,647,851, The Godfather Part II - 145,170,921 and The Godfather Part III – US$ 89,991,304. All three movies were directed by Francis Ford Coppola, with the first two cementing his reputation among America’s best filmmakers. The Godfather Part I’s script was written entirely by Mario Puzo and in the following two sequels he co-wrote the scripts with Francis Ford Coppola (“the godfather - Wolfram|Alpha”). The transition from novel to film was exceedingly successful as shown by the awards it received as listed below: In 1973, The Godfather Part I won 7 Golden Globe Awards: Best Director, Best Original Score, Best Picture - Drama, Best Screenplay and Best Performance by an actor in a Motion Picture – Drama. In the same year, 1973 it also won four Oscars: Best Actor, Best Adapted Screeplay, Best Editing and Best Picture. Other awards that the Godfather won include: 1998 from the American Film Institute, 1972 from British Academy of Film and Television Arts, 1973 from Directors Guild of America, 1989 from Library of Congress, 1972 from National Society of Film Critics, 1972 from New York Film Critics Circle and two from National Board of Review in 1972 (Best Picture and Best Supporting Actor) (“The Godfather Awards - Moviefone”). Importance of visual effects and editing to the film Mise en scene is the integrated design program that filmmakers employ on visual details to develop their characters, support themes and create mood (Pramaggiore & Wallis 59). In The Godfather Part I we can highlight a contrast manifested well through excellent use of mise en scene. The film opens with a scene at Connie’s wedding. The event is lavishly conducted at the ground of the imposing Corleone mansion. Later in the film we witness another family wedding, this time between Michael and Appolonia, in a small town in Sicily. From the excellent use of visual elements we can say that Connie’s wedding depicts a secular event, where Vito himself is conducting business at the reception, as well-wishers seek favors from him (Puzo 5). In contrast, in Michael’s wedding we see the priest leading the ceremony within a small community. The details from these two scenes demonstrate to us that in American society, wealth and business precede family and community, and it is this conflict between these two that takes centre stage in the sequels to The Godfather Part I (Pramaggiore & Wallis 60). From the Godfather trilogy we also notice how the director used different editing approaches to distinguish his films. In The Godfather Part I, most scenes and the storyline follow a chronological order, for example the transfer of power from Vito to Sonny then to Michael. Also note how the Don moves from being the powerful Godfather to a playful granddad. On the other hand, in The Godfather Part II, we see the movie proceeding with lots of parallel action. In fact, critics argue that the cutting back and forth and parallel action between the narrative of Michael’s life with the story of Vito’s youth, as being one key factor that contributed to the success of the The Godfather Part II (“SparkNotes: The Godfather Trilogy: Editing” 5). Conclusion Without a doubt, the Godfather Trilogy and the novel are classics in their own right. Even though the sequels to The Godfather Part I differed from the novel, the original themes of conflict between family and business and “it’s business not personal” are retained on all genres. Some creativity on the part of adapting the novel for screenplay also enabled us to acquire verbal poetry from the films, with lines such as “sleeping with the fishes” (Puzo 120) and “Leave the gun, take the cannolis” that have continued to generate a spark for the films to this present day. However, the most significant lesson that we get to learn from the Godfather is the role of culture (the strong bond and family loyalty of Italian-American’s even in illegal activities) and how a people adapt to a new environment. Works cited Barra, Allen. “Mario Puzo’s Godfather Novel, 40 Years Later - WSJ.com.” Wall Street Journal Online 13 Aug. 2009. Web. 25 Jan. 2011. CNN. “Mario Puzo on Larry King Live.” Larry King Live 2 Aug. 1996. Web. 24 Jan. 2011. Maiello, Michael. “The Godfather's Returns - Forbes.com.” Forbes.com 12 Dec. 2002. Web. 25 Jan. 2011. Pramaggiore, Maria, and Tom Wallis. Film: a critical introduction. London: Laurence King Publishing, 2005. Print. Puzo, Mario. The Godfather. New York: Signet, 1969. Print. “SparkNotes: The Godfather Trilogy: Editing.” SparkNotes. Web. 25 Jan. 2011. “the godfather - Wolfram|Alpha.” WolframAlpha. Web. 25 Jan. 2011. “The Godfather Awards - Moviefone.” Moviefone.com. Web. 25 Jan. 2011.  Read More