"You can act like a man!"

One of the aspects of the Godfather films that makes them so great is the high quality of narrative that they exhibit. Virtually every scene, every snippet of dialogue, every nuance has a purpose - either to develop or explore a character and/or a subculture, or to advance the plot. Very little of it is gratuitous; very little is inconsequential.

In the scene during Connie's wedding reception, while Johnny Fontane is unloading his troubles onto Don Vito, Vito suddenly erupts in anger:



It's not clear to me just what function this scene is supposed to serve. Is it simply to establish Vito's strict, traditional outlook on manhood - in order to flesh out the details of Vito's character for the audience? Or is it to set up Tom's visit to Jack Woltz and all that it entails - in order to establish even more important details about Vito's character and values?

Somewhat of both? Anything that I've missed? Something else?

~ Q

Q, i think it's both. If someone didn't read the novel, they may get the impression that Vito is an easy going guy who just happens to have alot of friends. I think that scene establishes that there is an element of his personality that asserts aggression when that aggression serves a purpose. I think it also establishes him as a man's man.

To me, the telling part is what comes next: "Do you spend time with your family? Good. Because a man who doesn't spend time with his family is not a real man." It just so happens that Sonny enters the room on the last sentence.

What Vito's saying is: "Ok, you philander, you run around with a Hollywood crowd, you screw around with the studio boss's protégé. It's all understandable, part of the human condition. But the bottom line is that you are anchored in your family--that's what counts."

I bet if Johnny hadn't answered, "Sure, I do" to Vito's question, Vito's help with Woltz wouldn't have been so forthcoming.

Also couple that look he gave Sonny when Sonny entered the office with his later admonition to Sonny at the end of the Sol meeting: "What'sa matter with you? I think all that comedy you're playing with that young girl is making your brain soft." He's giving Sonny a similar message: "Play around if you have to. But never let it get in the way of business."

That scene had me in stitches the first few times I saw it. We're used to a calm, mild mannered Vito and suddenly *WHAM*, that big outburst. Both Johnny and Tom are laughing during it all. I think Vito's intent there was to shut down Johnny's whining funk and to get his full attention. His outburst was an attention getter, and it definitely succeeded. Vito was then able to communicate man to man with Johnny, not man to whiny crybaby.

Ever try to talk calmly to someone who's on a roll of whining? You might as well be talking to a wall.

Questadt makes a great observation about how many "throw away" phrases carry a much deeper meaning in the Godfather. Latey I have been thinking about such a line, and eas going to start a thread, but it can just as welll go here. It is the line in the final scene with Michael and Vito together. During it, Vito asks Michael if he is happy with his wife and family, and he comments that Anthony is looking more and more like Michael every day. Michael retorts that Anthony is only three but he already can read the funny papers.
Vito/Brando takes note of this and reflects on it and repeats, with a smile, "Reads the funny papers." This summarizes the dream Vito carried with him his whole life. Vito at age three already knew the harsh violence of Sicily, and a few years later was smuggled to America, where he refused to dance on strings like a puppet. He is carrying great regret that Michael has had to get mixed up in all this family business, but in that throw away line, we see a spark of hope in Vito that at least Anthony may enjoy the fruits of all that went before. It sets the tale nicely for the tragedies that unfold in II and III.

Questdat, I understand why you question the function of this particular scene. As is so often the case, the novel gives us a better, more detailed account of what happened. Not only did Johnny rattle off his list of grievances as mentioned in the film, Johnny tells Vito 1) that he gave his ex-wife and kids more than the court ordered in financial support, 2) he hit his current wife after allowing her to cheat on him, 3) and that made propoganda films against the advice of Vito and which angered Woltz.

In the film, there are only about :20 - :30 for Johnny to account for his troubles. Regardless, I think this exchange is two-fold: 1) to demonstrate Vito's power and 2) to show that Vito will defend those who show him respect, loyalty, or who have blood-ties.

What really worked well in the novel that was impossible to put in the film was when Puzo asked how each of Vito's sons would have reacted to the reproach Vito gave to Johnny. Johnny and Hagen both chuckled. Puzo speculated that Sonny would have rebelled and stormed out, Fredo would have cowered to such a tongue-lashing, and Michael would have remained quiet and not be heard from for weeks.

Insightful analysis, dt.

Growing up in NYC, I noticed that Italians called the comic strips "funny papers"; Irish called them "the funnies;" Jews called them "the jokes."

I think all wiseguys are missing some balls.