The Godfather Effect

“It starts with sad notes on a trumpet and an undertaker’s shaky credo, “I believe in America.” It ended as a critical and popular sensation, the first motion picture to take in a million dollars a day, nominated for ten Oscars and the opening salvo of a trilogy that has thus far taken in nearly a billion dollars in revenue worldwide.” — Kenneth Turan

Cinema impacts the public’s view of groups of people by perpetuating stereotypes. The movie The Godfather is an example of this, in perpetuating the connection between the mafia and Italian Americans.

The opening scene of The Godfather. It contains all the stereotypical aspects of the Italian Mafia; the idea of a close though extended family, justification of what the mafia does, and the culture of Italy blended with that of America.

In his book, The Reality Effect: Film Culture and the Graphic Imperative, Joel Black says, “The fact is that film is the medium of… mass culture. Not only is it consumed by he masses more than any other medium, but in no other commodity does mass culture itself provide the content to the degree it does in film.”(1) Movies have a profound effect on the people who watch them, and leave viewers with new or reinforced impressions of groups of people. The behaviors and values that characterize the stereotypical Italian-American family are drawn most often from the media rather than from everyday, not publicized people that are Italian-American. These broad generalizations have come in part from of our culture, and in part from the media. As stated by Joel Black, cinema is one of the main instruments for communicating itself to the masses, just as the masses convey these stereotypes.(2) Therefore, these generalizations are not overtly false, and must be based in truth, but are exaggerated, occasionally fabricated, and sometimes satirized. Or, a small sample of one specific population is depicted, but, without more comprehensive knowledge, may be applied to the entire population.

For example, in the case of The Godfather, the story revolves around six Italian-American families who all have ties to the mafia. This is unrepresentative of the majority of Italian-Americans. According to a FBI report, only 0.00782 percent of Italian-Americans possessed any criminal associations. However, a national Zogby poll found a staggering 75 percent of the American public believed that Italian-Americans have ties to the mob.(3)

Al Pacino, as Micheal Corleone, is seen here depicting the typical Italian-American mafia member.

Has The Godfather positively influenced the perception of Italian-Americans? Tom Santopietro, a second generation Italian-American says, “The film changed Hollywood because it finally changed the way Italians were depicted on film. It made Italians seem like more fully realized people and not stereotypes. It was a film in Hollywood made by Italians about Italians. Previously, it had not been Italians making the mobster films featuring Italian gangsters. I feel it helped Italianize American culture. All of a sudden, everyone was talking about Don Corleone and making jokes about, ‘I am going to make you an offer you can’t refuse.’ I think it helped people see that in this depiction of Italian-Americans was a reflection of their own immigrant experience, whether they were Irish or Jews from Eastern Europe. They found that common ground.”(4)

A badge from circa 1972 from the Italian American Civil Rights league, who were active in the production of The Godfather.

The strong connection between the mafia and Italian-Americans did not sit well with the Italian American Civil Rights League, the leading voice of Italian-Americans during the time of production of The Godfather. They vied for the removal of references to the Mafia and Cosa Nostra in the film, concerned that the film would be anti-Italian, though both writers of the screenplay have strong Italian ancestry.(5)

“At the request of the Italian American Civil Rights League, the producer of the film “The Godfather” has eliminated all references to the Mafia and Cosa Nostra from the screenplay, which is based on the best-selling novel about a Mafia family.”

Attorney Genera; John N. Mitchell ordered Justice Department Officials to cease using the words ‘Mafia’ and ‘Cosa Nostra’ as a result of the Leagues protest of their uses in films and in the media.

Actors as well as the League were concerned about the impact The Godfather could have on the audience’s views of Italian-Americans. Vic Damone, cast as a singer with Italian heritage who lands a role due to underworld pressure, dropped out of the movie after reportedly reading only eight pages of the script. “[The movie] was not in the best interests of Italian-Americans” Vic Damone said.(6)

Gray Frederickson, Francis Ford Coppola, Fred Roos and Carmine Coppola with the Oscars for best picture.

The question of whether the influence of the film on Italian-Americans was positive or negative is a pertinent one, because whatever the influence of the film, it was most definitely profound. “Taking a best-selling novel of more drive than genius (Mario Puzo’s “The Godfather”), about a subject of something less than common experience (the Mafia), involving an isolated portion of one very particular ethnic group (first-generation and second-generation Italian-Americans), Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment” says Vincent Canby in 1972 following the release of the film.(7) Without a single bad review on Rotten Tomatoes (8) and number two on IMDb Top 250 Movies list(9), The Godfather has “attained mythic stature in American pop culture; decades after [its] release, [it] continues to fascinate and enthrall.”(10) Earning over 100 million dollars in its release in 1972, three Academy Awards, and a catalyst for the careers of Al Pacino, Robert Duvall, James Caan, Diane Keaton and Talia Shire, it “entered the pantheon of American cinema.”(11) Hardly a negative thing can be found about it in any legitimately sourced area of the internet.

Don Vito Corleone, The Godfather himself, laughs with his son. A close knit family is an integral part of the business.

The more negative effects of movies impact on culture are found in the perpetuation of stereotypes, instigating of sexual passions in youths, and encouragement of declining moral values. Laura Green, in studying the transmission of racial stereotypes and their effect on attitudes towards African-Americans, says “Movies were, and still are, a powerful medium for the transmission of stereotypes. Early silent movies… in 1915 offered existing stereotypes through a fascinating new medium. Acts of racial violence were justified and encouraged through the emphasis on [these stereotypes]... The urgent message to whites was, we must put blacks in their place or else.”(12) As far back as the origins of cinema, the impact of cinema on cultural stereotypes has been apparent. Films may also have an adverse effect on the social beliefs and wants of the general public. Movies like The Godfather, where the morally wrong characters are the protagonists, question moral values and attitudes towards the punishment of criminals. Also, blatantly stated by R. G. Walters, “movies stirred…sexual passions in juveniles. Forty-eight percent of a sample of… girls, for instance, reported that they usually ‘felt like having a man make love to them’ after they had seen a passionate love picture.”(13)

An enemy of the Corleone family is killed in an Italian restaurant in one of the many scenes depicting an assassination.

Conversely, there are many positive achievements that the film industry has accomplished. Movies are not all about violence, stereotypes, and over-sexualized. Nick Clooney puts it best when he says movies have taught us “simplistic lessons that we took to heart, most of us, and believed at some level for the rest of our days: That we were to protect those weaker than we and defy those who were stronger. That if we were honest and worked hard, life would reward us. That when we got a bad break, the best way to deal with it was with stoicism, or a joke, or a song. That dreams could come true if you had the courage to pursue them. That America was always right, that she always won, and that God was always on her side. And that enough kindness and understanding of human frailty, all endings could be happy.”(14) While this wonderful thought may not apply to every single movie made, it can be accurately stated about the average Americans movie experience. Forrest Gump, Star Wars, The Wizard of Oz, E.T., The Sound of Music, Indiana Jones, Willy Wonka and the Chocolate Factory, The Lion King, It’s A Wonderful Life…all these movies have good values and important lessons, and embody Nick Clooney’s positive quote.

The opening song of the trilogy, written by Nino Rota. It embodies a sense of nostalgia and has a primitive quality reminiscent of ‘a clarion call of yore’. It is played in varied styles throughout the film and is perhaps the most recognizable piece of music from the film.(15)

From the cinematography to the acting, The Godfather is undoubtedly a landmark in the film industry. Highly and critically acclaimed, it’s impact on the industry and on the public has been, and still is profound. Perpetuating the link between the Mafia and Italian-Americans, though arguably painting a more full and representative picture of that specific group, it has influenced the public’s vision of the stereotypical of Italian-American. It’s lingering effects can still be seen in the media today.

Thank you

Bibliography:

Periodicals

Allan, John H. “Profits of ‘The Godfather.’” New York Times (New York City, NY), April 16, 1972. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=101&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B91326198&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B91326198.

Canby, Vincent. “Bravo, Brando’s ‘Godfather.’” New York Times (New York City, NY), March 12, 1972. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=101&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B91322245&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B91322245.

— — — . “How Do You Top ‘Godfather’?” New York Times (New York City, NY), April 9, 1972. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=101&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B91324930&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B91324930.

— — — . “Moving and Brutal ‘Godfather’ Bows.” New York Times (New York City, NY), March 16, 1972. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=101&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B79429240&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B79429240.

Cawelti, John. “reviewed Work: Movie Made America by Robert Sklar.” Journal of American History 63, no. 2 (September 1976): 450–51. Accessed January 3, 2015. http://www.jstor.org/stable/1899722.

Citron, Marcia J. “Operatic Style and Structure in Coppola’s ‘Godfather Trilogy.’” The Musical Quarterly 87, no. 3 (Fall 2004): 423–67. Accessed May 17, 2015. http://www.jstor.org/stable/3600932.

de Stefano, George. “The Godfather Effect: Changing Hollywood, America, and Me.” Review of The Godfather Effect: Changing Hollywood, America, and Me. New York Journal of Books. Accessed February 8, 2015. http://www.nyjournalofbooks.com/book-review/godfather-effect-changing-hollywood-america-and-me.

Farber, Stephan. “Movie Crazy.” Hudson Review 27, no. 2 (Summer 1974): 252–58. Accessed January 3, 2015. http://www.jstor.org/stable/3850005.

Ferretti, Fred. “Corporate Rift in ‘Godfather’ Filming.” New York Times (New York City, NY), March 23, 1971. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=search&start=1&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B82000572&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B82000572.

— — — . “Italian-American League’s Power Spreads.” New York Times (New York City, NY), April 4, 1971. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=51&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B93612398&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B93612398.

Green, Laura. “Stereotypes: Negative Racial Stereotypes and Their Effect on Attitudes toward African-Americans.” Perspectives on Multiculturalism and Cultural Diversity XI, no. 1 (Winter 1998). Accessed February 7, 2015. http://www.ferris.edu/jimcrow/links/VCU.htm.

Lichtenstein, Grace. “’Godfather’ Film Won’t Mention Mafia.” New York Times (New York City, NY), March 20, 1971. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=search&start=1&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B91273422&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B91273422.

Luconi, Stefano. “Becoming Italian in the US: Through the Lens of Life Narratives.” MELUS 29, no. 3/4 (Fall/Winter 2004): 151–64. Accessed May 13, 2015. doi:10.2307/4141848.

— — — . “Forging an Ethnic Identity: The Case of Italian Americans.” Revue française d’études américaines 96 (May 2003): 89–101. Accessed May 13, 2015. http://www.jstor.org/stable/20874906.

New York Times. “Damone Drops Role in ‘Godfather’ Film.” New York Times (New York City, NY), April 5, 1971. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=51&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B82000946&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B82000946.

Shannon, William V. “The Godfather.” New York Times (New York City, NY), August 1, 1972. Accessed February 8, 2015. http://hn.bigchalk.com/hnweb/hn/do/document?set=searchera&start=126&rendition=x-article-image&inmylist=false&urn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-article-image%3B80798930&mylisturn=urn%3Aproquest%3AUS%3BPQDOC%3BHNP%3BPQD%3BHNP%3BPROD%3Bx-citation%3B80798930.

Walters, R. G. “Reveiw on A Cast of Thousands.” Reveiws in American History 4, no. 3 (September 1976): 344–50. Accessed January 3, 2015. http://www.jstor.org/stable/2701448.

Nonperiodicals

Black, Joel. The Reality Effect: Film Culture and the Graphic Imperative. New York: Routledge, 2002.

Clooney, Nick. The Movies That Changed Us: Reflections on the Screen. New York: Atria Books, 2002.

Messenger, Christian K. The Godfather and American Culture: How the Corleones Became “Our Gang.” Albany: State University of New York Press, 2002. Accessed February 8, 2015. https://books.google.com/books?id=CWZw-4UGpJ8C&pg=PA116&lpg=PA116&dq=movies+american+culture+effect+godfather+list&source=bl&ots=lyay-Rg_H9&sig=kp69BiLAIy60kTDCgRSJUDuo0Z8&hl=en&sa=X&ei=5WLWVLKALoukgwSuuITAAQ&ved=0CFgQ6AEwBw#v=onepage&q=movies%20american%20culture%20effect%20godfather%20list&f=false.

Santopietro, Tom. The Godfather Effect: Changing Hollywood, America, and Me. New York, NY: Thomas Dunne Books, 2012. Accessed February 8, 2015. https://books.google.com/books?id=YhdU8thA6eEC&printsec=frontcover&dq=godfather+effect&hl=en&sa=X&ei=xGjWVKT6II77gwSL3IK4AQ&ved=0CB8Q6AEwAA#v=onepage&q=godfather%20effect&f=false.

Shadoian, Jack. Dreams and Dead Ends: The American Gangster Film. 2nd ed. Oxford: Oxford University Press, 2003. Accessed February 8, 2015. https://books.google.com/books?id=yJ6vjIIHgyEC&pg=PA268&dq=godfather+effect&hl=en&sa=X&ei=xGjWVKT6II77gwSL3IK4AQ&ved=0CFIQ6AEwCQ#v=onepage&q=godfather%20effect&f=false.

Starr, Kevin. Americans and the California Dream, 1850–1915. New York: Oxford Univ. Pr., 1985.

Audiovisual

“The Godfather — Immigrant Theme.” Audio file, 4:13. Youtube. Posted by Henk5394, June 10, 2009. Accessed May 17, 2015. https://www.youtube.com/watch?v=R-bsuTT-tm8.

“The Godfather Opening Scene.” Video file, 6:53. Youtube. Posted by Camila Garrucho, May 18, 2013. Accessed May 17, 2015. https://www.youtube.com/watch?v=CV5QskX_oW4.

Gray Frederickson, Francis Ford Coppola, Fred Roos and Carmine Coppola with the Oscars for The Godfather Part II. Photograph. Accessed May 17, 2015. http://vignette1.wikia.nocookie.net/godfather/images/b/b4/GodfatherIIoscar.jpg/revision/latest?cb=20111220123700.

Paramount Pictures Cooporation. The Godfather. 1972.

— — — . The Godfather Is Now a Movie. 1972.

Web sites, e-sources

Brody, Richard. “The Negative Influence of Coppola’s “The Godfather”.” The New Yorker. Last modified July 31, 2013. Accessed February 7, 2015. http://www.newyorker.com/culture/richard-brody/the-negative-influence-of-coppolas-the-godfather.

Canby, Vincent. “The Godfather (1972).” Review of The Godfather (1972), 1972. The New York Times. Last modified March 16, 1972. Accessed February 8, 2015. http://www.nytimes.com/movie/review?res=EE05E7DF1739E464BC4E52DFB5668389669EDE&partner=Rotten%2520Tomatoes.

Flixster, ed. “The Godfather Reveiws.” Rotten Tomatoes. Last modified January 1, 2000. Accessed February 8, 2015. http://www.rottentomatoes.com/m/godfather/reviews.

Howe, Desson. “’Godfather’: Offer Accepted.” Review of The Godfather (1972), 1972. Washington Post. Last modified March 21, 1997. Accessed February 8, 2015. http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/godfatherhowe.htm.

IMDb, ed. “Francis Ford Coppola.” Internet Movie Database. Accessed February 8, 2015. http://www.imdb.com/name/nm0000338/.

Mejia, Michael. “The Godfather’s Impact Is Pervasive in Culture.” Trinity Tripod. Last modified January 27, 2009. Accessed February 7, 2015. http://www.trinitytripod.com/news/view.php/599534/The-Godfathers-Impact-is-Pervasive-in-Cu.

Murphy, A. D. “Review: ‘The Godfather’.” Review of The Godfather (1972), 1972. Variety. Last modified March 7, 1972. Accessed February 8, 2015. http://variety.com/1972/film/reviews/the-godfather-2-1200422863/.

New York Times, ed. “Francis Ford Coppola.” New York Times. Last modified 2010. Accessed February 8, 2015. http://www.nytimes.com/movies/person/85868/Francis-Ford-Coppola/biography.

Rosenberg, Howard. “Hollywood’s effect on Muslim world attitudes.” Los Angeles Times. Last modified July 14, 2003. Accessed February 7, 2015. http://articles.latimes.com/2003/jul/14/entertainment/et-howard14.

Santopietro, Tom. “Pop Culture And My Italian Heritage: Why Americans Love ‘The Godfather.’” Huff Post Books. Last modified February 24, 2012. Accessed February 8, 2015. http://www.huffingtonpost.com/tom-santopiento/americans-the-godfather_b_1280057.html.

— — — . “What is The Godfather Effect?” Interview by Megan Gambino. Smithsonian Mag. Last modified January 31, 2012. Accessed February 8, 2015. http://www.smithsonianmag.com/arts-culture/what-is-the-godfather-effect-83473971/?no-ist.

Turan, Kenneth. “A Revival You Can’t Refuse.” Review of The Godfather (1972), 1972. Los Angeles Times. Last modified March 16, 1997. Accessed February 8, 2015. http://articles.latimes.com/1997-03-16/entertainment/ca-38659_1_godfather-ii.