Analysis Of the Visual Direction in Coppola's Movie "The Godfather"

The Godfather is most notably one of the most prolific films of its time. This 'gangster' film displayed many transformations of permeating color to give the viewer observable cues in its mise en scene that drew one right into the movie. The dramatic acting set the tone of the film with a score that lifted the viewer right out of their seat in many scenes. The directing and cinematography made The Godfather ahead of its time. The nostalgic feel of family importance and the danger of revenge lets us into the life of the Mafia. Even though no other techniques would have given the viewer a feeling of inside the mob like the mise en scene of the power the godfather held, the characters are reinforced literally and figuratively because the story views the Mafia from the inside out, and the cinematography of the film gives it a dangerous and nostalgic feel.

Color and lighting in a film drastically changes the way a viewer visualizes a scene. In The Godfather cinematographer Gordon Willis, employed techniques never used before and changed the way many films would be edited and shot in the future. According to GoodyKoontz and Jacobs 'Over the past 20 years, colors have been increasingly manipulated digitally after the film is edited to intensify moods and create an overall look. The flashback scenes in the Godfather films tend to have a yellowish cast, which was created in the printing process by using a color filter' (2014). The yellowish cast is used for daylight exteriors to give a 'sunshine' feel; however Willis incorporated the yellowish tint to give a nostalgic feel.

The copious colors used in scenes of The Godfather provide a glimpse into the life of a gangster rich and full of power in such a way that almost anyone would want to take his place. As stated by Clydefro Jones (2008) 'The Godfather and its first sequel play a bit more warmly and with an increased emphasis on the films ' period settings. It would be impossible to not grasp how steeped in a sense of the past these films are. Even more than before, they 're easily recognized as vintage photographs come to life and how the good old days were always built on a foundation of corruption and murder.' It 's almost as if the viewer has stepped into a time machine and is right in the midst of the action of the film. According to GoodyKoontz and Jacobs 'It is also how the scene looks, how it is shot, and how color and light are combined that give The Godfather such an immediately distinctive feel. The rich hues, the closed blinds, the placing of Corleone behind the desk, a traditional seat of power, tell us that this is a man in charge, a man who is both wise and dangerous' (2014). Color played a pivotal role in how the viewer would interpret the scenes.

Lighting made every scene in The Godfather just as important as the sound, color, and cinematography. The beginning scene was actively engrossed with low-key lighting or 'dark look' that gave off an overcast to understand the power Don Corleone possessed over the individuals he was speaking with. According to David Konow (2014) 'As Willis recalled in the book Masters of Light,That technique or that approach to the movie visually just came out of a thought process. And the process, in my mind, was based on evil; it was based on the soul of the picture. The wedding outside had a very sunny, almost Kodachromey, 1942 kind of feel to it. Then when we cut inside the house with Brando, it was very down and very ominous…so it was a very simple philosophy. However, the overall look of The Godfather was a kind of forties New York grit.' The lighting used in The Godfather helped to implore the nostalgic feel of the movie. Although it was made in the 80 's Willis ' use of his new techniques changed the lighting in movies to come and placed the viewer in the midst of the 1940 's mafia lifestyle.

The olden days or nostalgic feel of The Godfather employs several different themes under one umbrella. As the film begins, there is a distinct line drawn in the sand when it comes to personal and business. While Don Corleone is taking care of business with his associates and underlings on the inside, his daughter Connie is celebrating her wedding. Behind closed doors extortion, bribery and violence are being discussed as a happy woman has taken her nuptials and is celebrating with the rest of the family just beyond the window Don Corleone is sitting in front of. Business never ends, no matter the situation in this film.

Tradition speaks volumes in this movie. Even as there is a celebration going on outside Don Corleone upholds Old World tradition 'that he can never say no on his daughter 's wedding day,' he is helping those who need him and know that he is a man of principle all the while keeping his family separate from his business dealings and this brings about loyalty. Loyalty is one of his biggest doctrines that he stands by unwaveringly. This means a favor for a favor. When the Don does something for you, you owe him without a shadow of a doubt. As Bonasera asks the Don to help him with his career he knows that whatever the Don asks at any point he must do it without question. A man 's word is more valuable than all the riches in the world. It is not about money; it 's about doing what you say you will do when the time comes.

As Micheal (Don Corleone 's son) takes over the family business loyalty is still at the top of the list. As stated by Roger Ebert “What is important is loyalty to the family. Much is said in the movie about trusting a man’s word, but honesty is nothing compared to loyalty. Michael doesn’t even trust Tom Hagen with the secret that he plans to murder the heads of the other families. The famous “baptism massacre” is tough, virtuoso filmmaking” (1997). Michael kept his plans to himself all except for those who would be committing the murders.

In the scene 'Don 't Ever Take Sides Against the Family' Michael speaks with a casino owner Moe Green and explains to him as well as Michael 's brother Fredo the importance of standing with the family. The high-key lighting or 'very bright light over everything, with few shadows and relatively low contrast between the lightest and darkest parts of the scene' as expressed by GoodyKoontz and Jacobs (2014), shows the importance of this meeting and understanding what is being said by Michael. Low-key lighting is then used to incorporate the seriousness of what Michael has said casting dark shadows over the other individuals in the room. In Michael 's eyes loyalty was everything and everyone was expected to understand and follow that principle.

Friends and family play and important role when it comes to creating a nostalgic theme. The Godfather was based on the 'Mafia' family. Even Nino Rotti 's score changes the way one would feel about a 'gangster' film. As stated by Roger Ebert (1997) 'Hearing the sadness and nostalgia of the movie’s main theme, I realized what the music was telling us: Things would have turned out better if we had only listened to the Godfather.' The score created by Rotti is classic in every sense of the word. According to GoodyKontz and Jocabs (2014) 'Musical accompaniment that supports a film 's moods and actions is really just an artificial convention to help manipulate audience response,' the viewer feels as if they are right there in the scene as the Godfather speaks to those who need his support.

The nostalgic theme draws the viewer directly into the film. The movie is all about the 'family' nothing more nothing less. You will not cross the blood or revenge will be exacted from you. According to Roger Ebert (1997) 'The screenplay of “The Godfather” follows no formulas except for the classic structure in which power passes between the generations. The writing is subtly constructed to set up events later in the film.

Notice how the request by Johnny Fontane, the failing singer, pays off in the Hollywood scenes; how his tears set up the shocking moment when a mogul wakes up in bed with what is left of his racehorse. Notice how the undertaker is told “someday, and that day may never come, I will ask a favor of you...” and how when the day comes the favor is not violence (as in a conventional movie) but Don Vito’s desire to spare his wife the sight of their son’s maimed body. And notice how a woman’s “mistaken” phone call sets up the trap in which Sonny (James Caan) is murdered: It’s done so neatly that you have to think back through the events to figure it out.' Reflection inside of reflection at its best.

Willis ' techniques with lighting and color gave the viewer a feeling as if they were inside the mob. The mise en scene of the power the godfather held was detailed with rich, colorful hues and lighting that changed movies to come. One was able to view the Mafia from the inside out unlike any other film in its time. The cinematography of the film gives it a dangerous and nostalgic feel that places the viewer in the film and gives off moments of reflection. No other techniques could have been used to make The Godfather any better in the time it was created. It broke barriers that are used today in film from the thoughts of great direction, cinematography, color, lighting, and a nostalgic theme.