GODFATHER ENCYCLOPEDIA OF POPULAR CULTURE The Godfather Brando during the shooting of Apocalypse Now (1979) and his ambitious attempt to form his own studio/distributor conglomerate, Zoetrope Studios, in 1980. One of American popular culture’s most resilient narratives is In 1972, Coppola adapted Mario Puzo’s popular novel for the that of the Mafia and its antiheroic gangsters, and one of this genre’s screen, and although the two worked together on the script, Coppola most popular and poignant products is Francis Ford Coppola’s The dramatically shaped the project during the shooting. The second Godfather trilogy, based on Mario Puzo’s novel of the same name. installment was entirely his creation. Cutting out much of the novel’s Released in 1972 to universal acclaim and rewarded with several romanticized violence, the director decided to instead focus on the Academy Awards, including Best Picture, The Godfather instantly Corleone family dynamics, personalizing the film in accordance with fixed its place in the American cultural psyche, establishing itself as his own experience growing up as the second-generation son of an the de facto gangster film to which all other subsequent exercises in the genre would be compared. Italian immigrant. The Mafia, as always, was the perfect vehicle for Powered by Marlon Brando’s timeless delivery of the film’s the consideration of American culture and values, Coppola asserted in namesake, Godfather Vito Corleone, the film also established the an interview: ‘‘I feel that the Mafia is an incredible metaphor for this futures of Hollywood royalty Al Pacino (Michael Corleone), Robert country. Both America and the Mafia have roots in Europe . both Duvall (Tom Hagen), and James Caan (Sonny Corleone), all of whom the Mafia and America feel they are benevolent organizations. Both are most recognized for the roles they played in this sprawling and the Mafia and America have their hands stained with blood from what sensitive study of two generations of Mafia membership and power— it is necessary to do to protect their power and interests. Both are especially Pacino, who would go on to the starring role in The totally capitalistic phenomena and basically have a profit motive.’’ Godfather Part II (1974) and The Godfather Part III (1990). More Indeed, the strength of The Godfather trilogy’s appeal lay in the importantly, the blinding success of the first two Godfather films collusion of the two phenomena, one which ran throughout the genre immediately marked Coppola as a major player in Hollywood, in its most moving expressions, from Paul Muni’s bravura perform- allowing him green lights on almost any project he set his hands on, ance in Scarface (1932) to Martin Scorsese’s immediately canonical leading to the legendary conflicts with his producers as well as GoodFellas (1990). All installments in the gangster genre engaged The cast of The Godfather: (from left) Al Pacino, Marlon Brando, James Caan, and John Cazale. 250 ENCYCLOPEDIA OF POPULAR CULTURE GODFREY the audience’s sympathies for the lead character as an independent it did not diminish the technical skill, daunting vision, and deeply businessman living out his version of the American Dream. In fact, personal attention which Coppola nevertheless employed in his there is a built-in bias toward the Mafia, especially within The following films. Regardless of his future projects, Coppola has Godfather, as a conglomerate of well-intentioned businessmen look- assured himself immortal status in film history on the strength of The ing out for the best interests of their families; as critic Roger Ebert has Godfather trilogy alone. The Godfather Part III, predictably, was a explained, ‘‘During the movie we see not a single actual civilian moderate success at the box office, garnering $70 million, but it was victim of organized crime . The only police officer with a another star vehicle for Pacino and newcomer Andy Garcia. It also significant speaking role [Sterling Hayden] is corrupt.’’ The ideas of fulfilled American popular culture’s desire for closure while fulfilling law and order are specific to the machinations of the various families Coppola’s desire for a sharp critique of the inherent destruction and of the Mafia, replacing the exterior world with the cloistered, fiercely corruption within the relentless pursuit of power and wealth which loyal world of organized crime; in fact, one of the first scenes in The lies at the heart of the American Dream. Godfather involved Brando castigating an undertaker, who describes himself as a ‘‘good American,’’ for going to the police for help. —Scott Thill Interestingly enough, the film’s violent finale, which juxtaposes the exhaustive murders of each of Michael Corleone’s opponents (a FURTHER READING: figurative baptism of Corleone power through death) with the literal Bergan, Paul. Francis Ford Coppola—Close Up: The Making of His baptism of his child, was cheered by audiences as a shining example Movies. New York, Thunder’s Mouth Press, 1998. of American triumph. This moral ambiguity and veiled criticism of Cowie, Peter. Coppola: A Biography. New York, Da Capo Press, 1994. the American legal and political system’s inefficacy is one which has coursed through popular culture’s fascination with organized crime, Lebo, Harlan. The Godfather Legacy. New York, Simon and one which was an interesting accident to Coppola, who had actually Schuster, 1997. structured his movie to be a criticism of the ethnic and religious Lewis, Jon. Whom God Wishes to Destroy: Francis Coppola and the hypocrisy within the Mafia. Instead, the audiences were attracted by New Hollywood. Durham, Duke University Press, 1995. the poignant scenes of family cohesion in the face of social and economic pressure; in this sense, Coppola’s film had the endearing, if violent, nature of some of the best work of Frank Capra, including his classic It’s a Wonderful Life. Godfrey, Arthur (1903-1983) The Godfather Part II applied Coppola’s intended criticisms of organized crime and religious hypocrisy even further, culminating in The arrival of genial, folksy Arthur Godfrey on television was Michael Corleone’s assassination of his own brother Fredo and his the most publicized event of the 1948-49 season. The reviewers disruption of his marriage for the sake of the family business. There is pulled out all the stops in praising ‘‘the old redhead,’’ and he became no noble Brando figure in the second installment: everyone from the only personality in TV history to have two top-rated programs run Michael, his family, the Nevada governor, and local citizenry is simultaneously in prime time for an extended period. Arthur God- completely corrupt. The ethnic cohesion and protection which coursed frey’s Talent Scouts aired on Mondays and Arthur Godfrey and His through the first installment is totally disrupted, a monumental Friends on Wednesdays for eight-and-a-half seasons. In 1952-53, the disappointment augmented by Coppola’s insertion of an earlier scene programs ranked two and three, just behind I Love Lucy. Even more of a cheerful birthday party for Vito Corleone at the end of the film. remarkably, Godfrey’s morning radio show, every Monday through An ultimately tragic figure, Michael Corleone, by the end of The Friday, continued during this time with high ratings, his fan base Godfather Part II, has compromised not only his Italian heritage, his growing with multiple exposures. TV critic Ben Gross of the New ethnic identity, and his family, but has positioned himself as the type York Daily News summed up Godfrey’s appeal: ‘‘It is his friendli- of win-at-all-costs American immigrant criticized in the first install- ness, his good cheer, his small-boy mischievousness, and his ment, one who, even in the possession of unquestionable power and kindly philosophy.’’ influence, can no longer trust anyone because he can be trusted by no Godfrey’s Talent Scouts brought little known or newly discov- one. By The Godfather Part III, Michael has extended his power as far ered professional talent to perform before a live nation-wide audi- as the Vatican, which he implores for redemption for the murder of his ence, with an applause meter deciding the winner. The host’s witty brother, but he still ends up powerless as his daughter is murdered at banter and interviews with contestants plus a high quality of talent his side by the end of the film. delighted the listeners. Some of the winners—including Pat Boone, Resistant to the idea of establishing his Godfather series as a Carmel Quinn, the Chordettes, and the McGuire Sisters—later be- trilogy for years (Coppola asserted that if he ever did make a third came regulars on Arthur Godfrey and His Friends. Also appearing on installment, it would have to be a farce), the failure of his Zoetrope the show were many other soon-to-be-famous performers, including Studios (in which a good deal of his personal funds were invested) and Rosemary Clooney, Tony Bennett, Connie Francis, Steve Lawrence, the relative failure of his artistic product following The Godfather and Leslie Uggams, and Patsy Cline. Two big stars missed by the show’s The Godfather Part II (only one of his post-Godfather films, The screening staff, Elvis Presley and Buddy Holly, both flunked the Outsiders in 1983, met with any measurable mainstream success), show’s auditions. Coppola capitulated to the American infatuation with the Corleone For his weekly variety hour, Godfrey assembled a person- family business and released The Godfather Part III, inciting further able group of talented regulars, chosen with an eye to audience controversy by casting his own daughter, Sofia, as Andy Garcia’s demographics. Frank Parker and Marion Marlowe sang romantic love interest. Sofia Coppola’s mediocre delivery shattered the prodi- duets for the mature audience, and Julius LaRosa was the bright gious but deteriorating reputation of her father, whose legendary young singer with appeal to bobby-soxers.