Francis Ford Coppola makes several striking stylistic choices in “The Godfather.” The camera movement, the costume choices, and film blocking: all play a pivotal role in turning the movie into a timeless masterpiece.
Firstly, the wardrobe of each character differs. When we talk about mafia and organized crime, we think about low-life goons and killings. However, the film shows off the family, especially its head, Vito Corleone, in expensive and elegant suits and dresses. They feel very royal. Furthermore, Kay, the love interest of Michael Corleone, is introduced at the wedding. She is in a very saturated red dress. It’s noticeable how she is so out of place, and we understand she is an outsider. Secondly, the same technique of doing the opposite is used in blocking. The dominant figures, Vito and Michael, are instead positioned sitting in their scenes. That symbolizes the power and dominance they have over everyone in the room.
Concerning the camera movement, it’s especially notable with Michael’s character. The scenes where he thinks and ponders have a camera pushing in on him. We get into his headspace. In one of the most important scenes, Michael’s last seconds before killing the corrupt cop and Solozzo, the camera pushes in on Al Pacino. We see the turmoil in his eyes because he knows that there’s no going back after this. The family he tried to avoid will finally consume him.
In conclusion, the absence of the things mentioned above wouldn’t make “The Godfather” an awful movie, even though it would rob it of its uniqueness, sophistication, and intelligence. The camera movement, the costuming, and film blocking all work hand-in-hand to convey the unexplainably rich and layered emotions.
