The Godfather Scene Analysis

     The Godfather is an iconic classical masterpiece, that besides entertaining, has great examples of the power of a well crafted editing sequence. These include the use of sound manipulation, scene order and camera cuts. Perhaps one of the best examples of this is the climaxing scene in which Michael Corleone, played by Al Pacino, is at his first godson's baptism, while at the same time his men murder several of the rival mafia family bosses and important man at his command. 

     This sequence, besides becoming the moment in which the audience sees the dreaded change in the main character, explicit in his eyes through close-ups cross-cutted with the murder scenes, uses juxtaposition to show the character's real self and his change, as well as match cuts, establishing continuity, simultaneity and connection, also creating a strong sense of irony and cynicism.  Examples are seen right from the beginning of the sequence. The caring handling of the baby, as his hat is being taken out at the baptism is juxtaposed with a vely delicate handling of a gun by one of Michael's man. After the priest gently touches the baby's chin with ointment the scene cuts to a barber spreading foam over a man's chin. As one of Michael's man dresses up as a cop and wipes his face, the scene cuts to Clemenza, another of his man, going up the stairs and wiping his face as well.

     Furthermore, sound manipulation is also used. Throghout this sequence, the sound of the church music is always played, even in the scenes that do not take place in church, enhancing the connection between places, and possibly the connection in Michael's mind, who despite being phisically present at his nephew's baptism, appeared mentally absent, coming out as cold and uncaring. His asassins are all cautiously going about tasks, preparing themselves slowly, and this raises tension and creates suspense. The nature of this jusxtaposition between such opposite situations and the peacefulness or calm apparent in both creates expectation, as something is about to happen. The only real difference is the nature of the calm, as one comes from the general respect by the public who frequents church, and the other comes out of cold calculations and concentration. 

     As the scene progresses, the priest asks Michael if he believes in god and renounces the devil, as part of the ceremony. A close up of his face, showing his serious eyes as they slowly look up is combined with a brief pause of the church organ music, which restarts in a loud volume and more dramatic pace, which both keep rising until the end of the baptism/murders sequence. These techniques call attention and show the coldness, hipocrisy and irony of the character. Following this, the cuts from the church as the priest keeps asking Michael ceremonial questions and he states the he renounces the devil and all evil are juxtaposed with cuts of his man violently and quickly murdering the leaders of the rival mafia families, showing clear contradiction. Examples are Victor Strazzi and his man shot as they leave an elevator, by Clemenza, Moe Greene being shot in the eye at a massage parlour, Carmine Cuneo being trapped and shot in a revolving door, Phillp Tattaglia shot in bed with a mistress and Emilio Barzini in front of a courthouse.

     Moreover, as the priest blesses Michael's nephew and him at the end of the sequence, cuts of the dead bodies of the character's enemies are showed, as the audience hears the father slowly saying "in nomine Patris, et Filii, et Spiritus Sacnti," in a cutting rythm perfeclty timed and paced with his words. The sequence ends with the priest wishing Michael to go in piece as he keeps silently staring and the candle fire, showing an evil side of the character not seen before. Now he is indeed in peace, since he orderer the assassination of all of his enemies. This combination and contrast throughout the climax of the film serves it purpose to wrap up the story and show the complete arc of Michael's character, as he transfroms from the good son in the military, who wanted nothing to do with the family's business, into the new Don Corleone, a far more ruthless, cruel and cold version of the Don his father was, showing Michael becoming "The Godfather." 

 http://www.youtube.com/watch?v=EfbYp9oaIT8