Review of “The Godfather”

Review of “The Godfather”

By Roger Ebert

“The Godfather” is told entirely within a closed world. That’s why we sympathize(ˈsimpəˌTHīz) with characters who are essentially evil(ˈēvəl). The story by Mario Puzo(ˈpo͞ozō) and Francis(ˈfransəs) Ford(fôrd) Coppola(ˈkäpələ) is a brilliant conjuring(ˈkänjəriNG) act, inviting us to consider the Mafia(ˈmäfēə) entirely on its own terms. Don Vito Corleone (Marlon Brando) emerges(əˈmərj) as a sympathetic and even admirable(ˈadm(ə)rəb(ə)l) character; during the entire film, this lifelong professional criminal(ˈkrim(ə)n(ə)l) does nothing of which we can really disapprove(ˌdisəˈpro͞ov).

During the movie we see not a single actual civilian(səˈvilyən) victim(ˈviktəm) of organized(ˈôrɡəˌnīzd) crime(krīm). No women trapped into prostitution(ˌprästəˈt(y)o͞oSH(ə)n). No lives wrecked(rekt) by gambling(ˈɡambəl). No victims of theft(THeft), fraud(frôd) or protection rackets(ˈrakəts). The only police officer with a significant speaking role is corrupt(kəˈrəpt).

The story views the Mafia from the inside. That is its secret, its charm(CHärm), its spell; in a way, it has shaped the public perception of the Mafia ever since. The real world is replaced by an authoritarian(əˌTHôrəˈterēən) patriarchy(ˈpātrēˌärkē) where power and justice flow from the Godfather, and the only villains(ˈvilən) are traitors(ˈtrādər). There is one commandment(kəˈman(d)mənt), spoken by Michael (Al Pacino): “Don’t ever take sides against the family.”


https://www.rogerebert.com/reviews/great-movie-the-godfather-1972