We see the lone figure of Luca, whose back faces the camera, dressed in all black and ascending the stairs. Cookies help us deliver our Services. The expression on Diane Keaton's face that acts as The Godfather's final shot indicates that, despite initially being relieved by Michael's denial, her trust towards him has been irretrievably damaged. Our emotional response to Luca’s death hinges on what we’ve come to know about him: at this point in our experience of the film, he is not just some brawny, dispensable crony, but rather an actualized, round character. By contrast, this scene presents Vito in casual clothing, and with unruly hair protruding out of his hat. RELATED: 10 Amazing Movies You Wouldn't Believe Are 40 Years Old Now. Vito has done everything in his power to plant, care for, and grow the seeds of his personal and business life. The Godfather Wiki is a FANDOM Movies Community. They were born within two years of each other, leading Michael to joke that Kay is "more Italian than Yankee".

We come back to Don Vito as he tells Michael that he has been drinking more wine. Michael then leaves to attempt to find and deal with the perpetrators of the assassination, leaving Tom Hagen in charge. Michael, who had been running, slows down his pace and takes his time walking down this hallway. Be careful, you’re spilling it, you’re spilling it. For five seconds, the only sounds that fill the soundtrack are the birds chirping and the wind blowing through the trees; then the image fades and funeral bells ring in the next scene. By the end of the film, the Pope is dead, and an archbishop has been gunned down within Vatican City. This effort includes purchasing more hotels and casinos and partnering with legendary mob tycoon Hyman Roth to open new properties in Cuba, where the government is friendly to their business interests. When we meet him, he's a young man who cares about his family deeply but doesn't want to be involved in the family business until violence pushes him to take action. He leads Kay to believe that she's in, but when she walks away and the camera focuses on men entering Michael's study and speaking closely with him, Kay looks up and is shut out of the room. What Vito has created through the Corleone family is represented in its purest and most picturesque form by Connie’s wedding, which is huge, vibrant, and cheerful. Looking directly at Kay, Al Neri slowly moves towards the office door and closes it, leaving Kay with a mixture of distrust and stark realization. Vito Corleone’s loss of power is reflected in his physical appearance and presentation. Like most movies, however - particularly the good ones, often - after the credits roll, audience are still left with some questions. When Fredo sits between them, he separates the two and effectively disrupts the natural state of the couple. He returns to the United States two years later and traveled to New Hampshire to reunite with Kay. A few months later, the Senate's investigation of Michael collapses when Michael intimidates turncoat capo Frank Pentangeli into recanting his testimony against him. By entering your email address you agree to receive emails from Shmoop and verify that you are over the age of 13.

This last suggestion is taken up by Vito’s dialogue in the last part of the scene, which brings out both the tenderness and guardedness of their rapport. The man shot by Clemenza in an elevator is Victor Stracci, head of the Stracci family. Kay is an independent, outspoken American woman—the opposite of the submissive female Corleones, most notably the delicate and powerless Connie. There is nothing to suggest why he would do this, beyond the possible convenience of her being the only woman he knows in America and therefore the easiest route to start a family and continue is bloodline as quickly as possible. 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. This tragedy breaks Michael's spirit, and he withdraws from society until his lonely death in 1997 in Bagheria, Sicily, during which time Kay and Anthony presumably break with Michael permanently. The gold ornamentation, the trendy aesthetics, the overall unspoiled feel—burgundy walls, golden dim lights, everything shrouded in shadow: all these elements foster a mellow ambiance. Turns Out, The Godfather … The uneven lights, clearly denser on the right, lean to the side that Michael is not looking toward, but indicate the directional path he will be following as the plot moves forward. Then Mary Corleone — Michael's daughter, who Vincent fell in love with — is tragically gunned down on the steps of the Palermo Opera House, breaking Michael's spirit. Whether they are ones the director intended or not is the biggest question of them all. An alternative reading of this particular moment might suggest that Michael and his father are two sides of the same coin. In his final exertion of power before he dies, he pretends to be a big and scary monster to frighten his grandson. Craig first began contributing to Screen Rant in 2016, several years after graduating college, and has been ranting ever since, mostly to himself in a darkened room.
The camera frames her using a point-of-view vantage and positions us in a medium close-up. The scene cuts between Michael in church, hypocritically renouncing the devil, and scenes of all the murders he's ordered. As Vito carefully lays his hand on her waist and they begin to waltz, Connie speaks inaudibly to him, causing them both to smile. The scene of their meeting — in a garden —strikes a different note from earlier Godfather scenes, in which business is handled indoors, and in dark and private rooms. Coppola’s particular framing of the back and forth between father and son leaves us asking why they don’t share the screen with full faces at the same time. The brief moment presents a shift in mood. The figure trapped and shot in the revolving door is another less prominent head of the Five Families, Carmine Cueno. 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. After all, this scene was written so that there could be “a visible transfer of power from father to son.” The scene wraps up with Don Corleone kissing Michael on the cheek, giving last-minute warning of the traitor, and then walking off the frame of the lens. On the level of the plot, it makes Paulie feel comfortable and gives him the sense that business is running as usual, which will keep the hit running smoothly, with no struggle or risk of the attempt being thwarted.

In the scene as a whole, Michael has become newly sympathetic — he’s framed as the son who wants to free his elderly father from the burden that is work. The resulting carnage helps to trigger a Senate committee investigation of the Corleones, and it reveals that Michael's brother, Fredo, betrayed him to Roth in an effort to bolster his own reputation and sense of self-worth. Yet Vito Corleone, the Don of this Sicilian family, notes his youngest son’s absence and so stops the shot from being taken: “We’re not taking the picture without Michael.” A picture is forever, and Vito—the center of the family, and with an especially soft spot for his son Michael—insists that all must be present and all must be willing to play their part.
Where Kay is white, nosy, and modern, Apollonia is Italian, submissive, and traditional. 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. We see the matter discussed, in the Corleone family office, just before the viewer spends time in front of Clemenza’s cozy abode. 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.

Vincent has taken up a life on the criminal side of the family, working with and eventually feuding with Corleone leader Joey Zasa, even though Michael has encouraged him to go legitimate. In fact, what we are watching is the dissolution of a romance, or at least the dissolution of the more idealized romance that the film initially depicts. Her cheeks look cherubic; her skin, soft and warm.

In 1972, director Francis Ford Coppola and his co-writer, Mario Puzo, teamed up to bring Puzo's bestselling novel about a crime family and their struggles to the big screen.

Kay has turned her back on Michael, divorcing him and retaining custody of their children, while Connie has ultimately leaned into the family business to such an extent that she seems almost more ruthless than Michael. The opposing sides are clear contrasts in this way.

(Annotated Godfather, 37) Such a figure inadvertently dwarfs all the wedding guests around him. The Corleones showcase their prosperity and well-connectedness through the wedding, and Connie’s towering cake is the epitome of extravagance and excess. Vincent is also shattered by the death of Mary, but it's clear from his quick reaction to the shootout that his rise as a new power in the criminal world will continue. Michael has begun to grasp the elements of a leadership role. But empathizing with Kay’s pain, we question if her relationship with Michael will last. Audiences are made to know Carlo solely as a wife abuser; his wife being sister to Don Corleone's family, no less.

Get this guy. The three of them then joke about flatulence in Italian—a very crude and typical “Who farted? At the very moment of Vito’s death, Coppola notably cuts to a more distant shot. Paulie is fooling nobody, but this doesn’t matter. Brasi, in fact, seems incongruously situated here from the start.

When Michael returns from his Sicilian exile he eventually approaches Kay and proposes to her. The go-to source for comic book and superhero movie fans. Our only way to discern how Michael is feeling at this particular moment is through his body. The quick rhythm, the parallel structure, and the decisiveness they register are appealing for reasons that go beyond mere efficiency. First impression-wise, it is difficult for the viewer to focus on any aspect of Brasi other than his gigantism. Vito and Michael’s lack of eye contact suggests many things at once. While Clemenza lays out safehouse instructions throughout the drive, he might as well be giving this information to Rocco.

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