The success of “The Godfather” as a novel was largely due to a series of unforgettable scenes. John Marley makes a perfectly hateful Hollywood mogul (and, yes, he still wakes up to find he’ll have to cancel his day at the races). Richard Castellano is an unshakable Clemenza. As the Irish cop, for example, they simply slide in Sterling Hayden and let the character go about his business. Coppola and producer Al Ruddy skirt this problem with understated typecasting. Although “The Godfather” is a long, minutely detailed movie of some three hours, there naturally isn’t time to go into the backgrounds and identities of such characters as Clemenza, the family lieutenant Jack Woltz, the movie czar Luca Brasi, the loyal professional killer McCluskey, the crooked cop and the rest.

The rest of the actors supply one example after another of inspired casting. Brando does look the part of old Don Corleone, mostly because of acting and partly because of the makeup, although he seems to have stuffed a little too much cotton into his jowls, making his lower face immobile. His voice is wheezy and whispery, and his physical movements deliberately lack precision the effect is of a man so accustomed to power that he no longer needs to remind others. Marlon Brando, who plays the Godfather as a shrewd, unbreakable old man, actually has the character lead in the movie Al Pacino, with a brilliantly developed performance as Michael, is the lead.īut Brando’s performance is a skillful throwaway, even though it earned him an Academy Award for best actor. In fact, this is simply an economical way for Coppola to get at the heart of the Puzo story, which dealt with the transfer of power within the family. Those who have read the novel may be surprised to find Michael at the center of the movie, instead of Don Corleone. The Godfather’s role in the family enterprise is described by his name he stands outside the next generation which will carry on and, hopefully, angle the family into legitimate enterprises. That position goes to the youngest, brightest son, Michael, who understands the nature of his father’s position while revising his old-fashioned ways. “The Godfather” himself is not even the central character in the drama. We tend to identify with Don Corleone’s family not because we dig gang wars, but because we have been with them from the beginning, watching them wait for battle while sitting at the kitchen table and eating chow mein out of paper cartons. The movie (based on a script labored over for some time by Puzo and then finally given form, I suspect, by director Francis Ford Coppola) gets the same feel. Everybody knew everybody else and had a pretty shrewd hunch what they were up to. The remarkable thing about Mario Puzo’s novel was the way it seemed to be told from the inside out he didn’t give us a world of international intrigue, but a private club as constricted as the seventh grade.

Cast of the godfather 2