Too many. The scene where Michael walks away after Clemenza kills Carlo. Literally the entire movie built up to that moment when Michael's transformation from being a timid college boy and war hero to being a ruthless boss was completed. The last scene where the capos kissed Michael's hand was just anticlimax at that point. Also, the baptism montage. But you have that in all three films.
It always impressed me how Michael's arc subtly moved him from the peripheral to the central. No cliched "chosen one" in this story, only a hint of the tragedy that lay ahead. Don Corleone: I never wanted this for you.
I think another way power is represented in this scene, is having Micheal seated at all times. Him being comfortable with his legs crossed in arm chair, shows his confidence, ability to keep calm aswell as assuring his power in the room. He dosent need to stand and shout like sonny to convince tom. Infact I think this scene represents every difference between Micheal and Sonny that decides who will be the next godfather.
So cool how they transition Michaels look. First when he's a non participant he looks as a young innocent Michael, focused on life and his love for Kay. Then he becomes the boss, slicked backed her, suit, power just emulating from his look. Michaels demeanor becomes intense and strong. His eyes do all the acting. Al Pacino did amazing as Michael
The Godfather is pretty much the perfection of the craft. Every aspect of The Godfather is outstanding. There are so many iconic lines and moments throughout the movie that have been replicated and entrenched in culture over the years. This is truly the peak of filmmaking.
Placing Michael in his chair and not having him leave it for the full scene was a genius choice. It shows his potential in the most brilliant and visual way possible by him having power over the rest of the room while not using big body movements like Sonny and Tom and being the person least connected to the family business. With everything against him he just takes control and doesn't let go until he's convinced the entire room that his plan is the best option they have.
The best part is that while in the chair. Michael litterly looks like a wolf in sheeps clothing. You suddenly see the sheep becoming the wolf as the camera goes in. His clothing says it all especially after he fully makes the transformation.
I love how the Godfather uses shadows. 6:06 the closer the camera comes to Micheal the more Robert Duvall bows his head in order to make his face darker to attract less attention and to bring Micheal into the spotlight
The other impressive part, is he does it right after Michael says he wants it to be a public place so he can feel safe. It also gives the implication that at first he probably was thinking that Michael was just making observation, but I feel like it’s also at this point he realizes exactly what Michael is planning on doing, and it’s almost like his head falling as to say “no no no what are you doing, this isn’t what your father wants.”
I always saw Michael as a Sonny -Tom hybrid .... balls and brains combined and the fact he sits in between them is visual representation of that ... the way the scene is set up...where Michael sits in the middle, in a luxurious chair, laid back and calm, laying out a plan that matches Tom's intellect and Sonnys ruthlessness and the fact he can commit acts of violence without hesitation like Tessio and Clemenza could is all meant as a foreshadowing event ... the zooming in, is to create tension in the scene... and in a way a first glimpse into the dark side of Mjchael Corleone...
Yes I love seeing people recognize proper film making and emotion. Notice how when it fully zooms in on Michael as he deliver the line “it’s strictly business” Tom is now completely out of the frame, as if the power was being transferred off Tom to mike. ♥️
The camera angle literally eliminates each person one by one until we see Michael grow bigger than all of of them, center frame, verbally accepting the role as the one who takes action. It’s perfection!
@@davidleonard7439 As Martin Scorsese said that Marvel and DC are not real cinema. You don't see any good acting. All you see is cgi galore. They are entertaining but not something I would rate as compared to greats like Godfather, Taxi Driver etc. I do love "Joker" so much but because it has nothing to do with the usual superhero theme.
Another interesting thing is that by the time that Michael starts talking, he’s sitting in between Sonny and Tom, who are on opposite ends in the room. These two men want two different things: go to the meeting and negotiate (Tom) or continue with the violence without much strategy (Sonny) with neither really willing to budge. What Michael does is essentially meet them in the middle. While ultimately his plan still centers on Sollozzo’s murder like Sonny’s does, he’s being clever about it, and addressing the main concerns Tom has without dismissing them, like Sonny did. On a side bar, one could argue that as the camera pans in, the chair Michael sits him transforms into something of a throne, just as he himself is transforming
I always like to believe that the cinematographers do most of this subconsciously and automatically. Much like how the audience understands the context of the scene in a subconsciously and not obviously.
Maybe but I think for the most part, they think about how they want the actors to move and how they want the shot to look to convey certain emotions. Yes some of it they will do automatically but I’d imagine most think it through first
Except that it must be planned well in advance of shooting, because so many things such as lighting and set design will be adjust for each specific shot. It can take hours to prepare for a given angle. So instinct had better come in the planning process.
Hopefully, in the not too distant future! 🤞🏻 Here's a director's chair we did for Scorsese, if you missed it: www.studiobinder.com/blog/martin-scorsese-filmmaking-quotes-interviews/ Fun fact: Coppola and Scorsese (including: Spielberg, Lucas, and De Palma) were and still are close colleagues
Fantastic analysis of a legendary scene and turning point. One reaction shot worth mentioning is when Sonny, Clemenza, and Tessio start laughing at Michael. There's a priceless shot of Tom who's got sadness in his face. Vito would later tell Michael, "...Senator Corleone...I never wanted this for you, Michael." Tom, who knows Vito's plans ("Many times, your father and I have discussed your future,") is visibly dismayed at the prospect of the good, clean, war hero son starting to get messed up in the family business.
Thanks for watching! Appreciate the good word! If you enjoyed this video, let us know what you think about a similar video we did for Spielberg, Kubrick, and Iñárritu: www.studiobinder.com/blog/blocking-and-staging-scenes/
Usually I'm annoyed when UA-cam videos plug in product placement and sponsoring but this series is the exception. This company doing top notch 10 minutes videos and they only promote their product for a few seconds! On top of that the product is 100% related to the content and useful to the people watching. This is advertisement done right; promotes their product while delivering real value to the people watching. I'm just interested in film theory, not gonna do a movie, but if I was, I'd for sure use their product. Way to go, StudioBinder!
Man it is magnificent! I am more and more understanding what a masterpiece this movie is. The whole movie is consist of scenes like this. You have done a good job!
Back in those days..this awesome guys knew how tell stories honestly , effectively...the character arcs are goldmines for film studies..the intense drama was more than enough to tell the stories ..the complicated staging was magically effective in moving the story forward...miss you all.
There are some amazing movies today (2019 was an exceptional year!), and there were tons of shitty movies then. The "good ol' days" rant sure provides some easy likes though
@@LPChipi oh come on...😂😂😂easy likes ?..sorry man...i believe you didn't understand what i was trying to say..i beg pardon...you wouldn't have said about easy likes...if you would have seen a John Ford,David Linn ,Henry Georges Clouzot movie...off course there were good movies on 2019...tell me how many movies this days are so well staged ...how many moviez are minimalistic yet emotionally resonating like The seven samurai ,a man escaped ..my point of saying was different...even the Twilight zone of 1959 had great character arcs with 20 mins of each episodes.
The quality of your videos is outstanding. These are helpful to me even with non-fiction documentary stuff. Would love to see some roundtable/ studio blocking breakdowns. Loving the voice over as always.
Thanks for watching! If you liked this video, check out our blog when you have a chance. Here's an article from there that breaks down this scene further: studiobinder.com/gf While you're on there, feel free to check out other filmmaking-related content! Enjoy! 🎬
Agreed, especially the camera going in on Sonny when he begins to reveal his plan. Amazing! I even noticed it when I was a kid watching for the first time
What I always noticed about that scene is that Michael just sits in the chair. Tom and Sonny move around a lot. Those are the three leaders. You can tell both Tom and Sonny, while speaking confidently, are unsettled by what's going on. Michael is the only one confident enough to sit still and talk. He knows, even before Tom and Sonny have their disagreement, what needs to be done. When no one else says it, that's when he speaks up. I think that was the key to the blocking, this little world in that room revolves around Michael.
Another thing worth noting is the volume in everyone's voices during this scene. Sonny immediately gets loud to try and show that he's in charge, when in reality he's showing the reckless instability that eventually leads to his downfall at the tollway. Tom counters Sonny with volume of his own, but then relents to make his point about killing a police captain. Michael, however, doesn't yell a single time in this scene. He's calm, methodical, and clear about what he's saying. He raises his voice a little when it comes to the captain's past in the criminal underworld, but he never yells. In the animal kingdom, as well as with arguments between humans, the first person to raise their voice loses. Or as Denzel Washington said it in "American Gangster": The loudest person in the room is the weakest person in the room.
It’s the scene when Michael lights Enzo’s shaking cigarette outside the hospital that begins the transition. Michael’s hand is steady and without fear and the flame represents the devil inside him coming alight. The end of the movie where the 5 families are being killed represent Michael becoming the devil at the christening.
Great analysis. You have really researched on the scene. I don't think a layman movie goer would have paid this much attention and given this much thought to the scene build up and the director's brilliance. For them, this is just a good crime drama.
With every video, this channel has allowed me to appreciate, more fully understand, and then re-watch a film as if it is brand new as I have those "ah ha" moments during specific scenes as if I am seeing its very architecture. What a wonderful resource this is.
I think you nailed the interpretation of the scene. You really emphasize the power of image and dialogue. When they are married well, the story is made deeper and more intense.
Every cinematographer/filmmaker has their own unique look at a film. I simply see interesting camera angles that can be viewed one way or another, similar to that of the blocking for a scene
If you notice also, when Sonny looms over Michael and belittles his idea and does his fake gun shot to the temple, Michael flinches, showing weakness and deference to the more aggressive Sonny. His slumping shoulders show lack of confidence also. He's kind of hoping they will listen to his plan. Its not until after he executes his plan that he gains the confidence and the sense of power.
I think something to talk about - in this scene as well as in others - is that inherently the less a character moves the more authoritative he is. So Sonny keeps walking around and slapping everyone’s butt and making faces, while Michael is absolutely still (and terrifying).
I appreciate your commentary so much.... as an aspiring film maker, myself... it really helps me realize whyyy... these creators became masters of their craft.....
The big thing no one ever mentions about Micheal is that he was a Marine officer in the Pacific theatre in WWII. If you haven't, watch The Pacific, then The Godfather back to back. It will completely re-frame how you see the actions Micheal takes and him as a character. The idea of him being wet behind the ears, and him taking control being happenstance wash away. The "this isn't the army, you don't shoot them from a mile away" line is so cripplingly nieve in reflection, it's a wonder Micheal has the composure not to laugh in Sonny's face . They later try to demonstrate Micheal's superiority in part 2, but I think the understanding of him in the context of the Pacfic theatre was too much to do within the film. It would mean shooting two films in one.
I really like this breakdown. I'm always at awe and mesmerized how we see the rise of Michael done so well. I just love these movies and Al Pacino and everyone part of it
WOW! This is exactly what I have been looking for. I am a screenwriter and a comic book artist. Natural progression into storyboarding. Blocking and staging!!!!!!! Love it! You have a new subscriber. Thank you.
Thanks. this scene was one of the best scenes, i admire. i am surprised to see this video. and this scene is analysed. Great job and thanks. from Australia
Yet long after this scene Francis pulls us back in to see Michael as a simple man as he quietly walks the hillsides of Sicily. Then he speaks to Apollonia's father and all of the dominant leadership qualities quickly charge back. Amazing.
When Michael first suggests killing the family's enemies, no one in the room takes him seriously. They all laugh at him. But ultimately they all come around. And the blocking shows how Michael has become the Godfather even though no one, not even the audience, realizes it yet. Sonny walks around the room, sits at Don Corleone's desk and then walks over to Michael. Michael on the other hand, sits in a chair and barely moves. And often his full body is shown. He gradually redirects power to himself from Sonny, who doesn't even realize that he is being displaced.
Great analysis of the blocking and staging. And yes, the effect is that Michael determines he is ready to lead while Sonny's star is starting to fade. But remember this is a close family where Tom is also brother. Sonny kissing Michael even after he dismisses his suggestion shows that their affections transcend ambition. Michael respects Sonny and Tom by working to persuade them of his plot.
The interesting dynamic in this scene is between Tom, the adopted lawyer, and Sonny the natural son of Don Corleone. It takes balls to tell a guy as tough as Sonny that he shouldn't retaliate against the people who just tried to murder "their" father. It isn't easy to reason with someone in that state and you notice Tom does so while walking away from Sonny. And you notice Sonny is only open to a "reasoned" argument after he sits at the desk of power. I always felt that part of the scene was brilliantly acted.
Marion Brando said he got a phone call late one night from what he suspected was the Mafia. They were asking in a cagy way about the makings of the Godfather movie and what was going to be in it. He said it was very eerie and quite unnerving .
A wonderful classic piece... Unless you have very daap understanding of characters their motive , blocking is meaning less.. these r master's of their work.. thank you so much sharing this to us.
I have a question! How do I know if this blocking/staging thing was done on purpose or if it’s just an interpretation of us over analyzing it? Does Francis talks about all this things? I’m curious I feel I can watch any scene and give it a meaning camera wise but it’s kind of personal and philosophical and I can go in any direction I don’t know if It makes sense what I’m saying, in the minute 3:34 tom stands up against sunny so I could say something like: Tom here is representing the old school way of of thinking and he is representing Vito Corleone even thou he is not here, there for its a fight between the the old generation of doing dealing with trouble and the way the new generation deal with it, so this moment it’s fight between the old and then new and Coppola display it here through blocking and staging. You see what I’m getting at? Thanks for the replies in advance! This is subject it’s quite interesting to me
I really enjoyed this. I think a missing element is the use of props. For example the lamp that is behind Michaels head that is shaped like a pyramid vs the backdrops on Sonny like the bar with liquor on it. I feel these are very significant placements in the film. They help to tell the future by their relative association’s.
I admire all the passion dedication you give towards filmmaking. But I request you to make a video on Akira Kurosawa. His direction, screenplays, film blocking techniques etc.. are impeccable. Even many great directors like Quintin Tarantino, bong joon ho, Stanley Kubrick are inspired by him.
Of course, getting a very young and relatively unknown Al Pacino to play the role of Michael helps the director quite a lot...and the studio said he was "too short."
In my mind, this scene is a catalyst for the change of power, not the fulcrum. If you notice in the beginning of the scene, Michael is hatless showing he is a boy among men. He is teased and ridiculed throughout the scene. But he wins on his one main objective -- to insert himself into the family business. You notice he volunteers himself to perform the assassination. He knows that while his father is in a coma he has a chance to enter the business that his father never wanted him to enter. And by carrying out the assassination himself, he realizes no one can thererafter remove him from "the game". Killing someone, especially a cop, means you are in for life.
The interpretation works but also a lot of this is standard practice. The push in on Michael for instance. That's a thing that's been done for a long time. One of the director's prerogatives is to maintain interest through visual variety. During a long monologue if the scene doesn't call for the speaker to be moving through the space then the option is to have the camera move. This has the added benefit of giving weight to what the speaker is saying as it has the psychological effect of us the viewer leaning in to pay close attention. You only get maybe one or two of those per movie because it says, "This is really important. Let's listen." If you're doing this all the time then nothing is important. The final shot is a scene button. The line is specifically designed to close the scene in a satisfactory way. Dramatically Michael's goal in the scene is to convince everyone that there's a thing that needs to be done and that he's the one to do it. He "wins" the scene so to speak. There would be an awareness on set that this line is the scene button and so one way to support it visually is to give it it's own unique shot in such a way that it sets up the transition into the next scene.
Tessio stands off towards the wall covered in shadow whereas Clemenza is on the other side of the room covered in the light from the lamp. Ends up mirroring their actual dynamic since Tessio was working for barizini and Clemenza was always aligned with the corleones.
Thanks for watching! Feel free to check out our blog! Here's the article that's tied to the video: www.studiobinder.com/blog/the-godfather-analysis/ Check it out and peruse through our archives for related articles! 😊
Michael is suffering from PTSD. That is his character arc. Coming home from WWII, he is in denial because he is back in his safe place. Back in the castle, the fortress, protected by the King and his Army. When the walls are breached with his fathers attempted assassination, his safe world has been compromised and it is the trigger that unleashes Michael's PTSD. Sufferers of PTSD will do anything to prevent triggers to their trauma. They will do anything to restore their safe world at any cost. Michael decides to begin the restoration of the Castle by eliminating every person that poses a threat. Sollazo and McCluskey are the highest threat, and McCluskey even more because he is a corruption of the law and order Michael respects. Brothers in Uniform so to speak. It's not entirely about revenge, it's eliminating the rotten apples from the basket of society. From there, Michaels character trajectory is to eliminate every threat to his family and his SAFE WORLD. Anakin Skywalker/Vader has the same Character arc. The pain of losing his Mother causes PTSD. After that, he will do ANYTHING to prevent the death of a loved one and create a world that he can control to prevent PTSD triggers.
I don't know why, but everytime I see Al Pacino seating in a chair in the trilogy I get a message of his status in the movie. The way he seats, at the beginning of the scene, finding the best seating position and all.... and then when he starts talking about his plan... he's seating perfectly comfortable, he's way ahead into his path to become what he becomes. Also, I have a "thing" with doors in this trilogy. Lol
![The Godfather Analysis - The Rise and Fall of Michael Corleone [Corruption Character Arc Explained]](http://i.ytimg.com/vi/hjEO3ijVwSU/mqdefault.jpg)
![The Godfather Analysis – The Rise and Fall of Michael Corleone [Corruption Character Arc Explained]](/img/tr.png)
Do you have a favorite scene from The Godfather? Let us know by replying to this comment 👇👇
the horse head scene 🐴 - got under my skin when I first saw that as a teen 😆
The opening scene "I'm going to make him an offer" sets up the entire tone of the movie. Excellence!
The scene with senator pat geary in the office “senator, you can have my offer now if you like?”
Every scene.
Too many. The scene where Michael walks away after Clemenza kills Carlo. Literally the entire movie built up to that moment when Michael's transformation from being a timid college boy and war hero to being a ruthless boss was completed. The last scene where the capos kissed Michael's hand was just anticlimax at that point.
Also, the baptism montage. But you have that in all three films.
It always impressed me how Michael's arc subtly moved him from the peripheral to the central. No cliched "chosen one" in this story, only a hint of the tragedy that lay ahead.
Don Corleone: I never wanted this for you.
UA-cam recommended a video I couldn’t refuse
They kept pulling you back in!
😂🔥
😂😂😂
Not youtube, universe provided this video
And Michael's swollen cheek makes him look like his father whom he's going to replace.
I always felt when Michaels Jaw was broke it made him look more like Don Corlone, and seen it as foreshadowing for his rise to Don.
Was his jaw broken
he certainly looks older too
I think another way power is represented in this scene, is having Micheal seated at all times. Him being comfortable with his legs crossed in arm chair, shows his confidence, ability to keep calm aswell as assuring his power in the room. He dosent need to stand and shout like sonny to convince tom. Infact I think this scene represents every difference between Micheal and Sonny that decides who will be the next godfather.
The set designers choice of chair design is important too. It is very throne-like in royal blue.
It's not personal, It's strictly business
Luis Sierra ‘its never strictly business’
@@oshin_aykaz6889 Personal,Period.
So cool how they transition Michaels look. First when he's a non participant he looks as a young innocent Michael, focused on life and his love for Kay. Then he becomes the boss, slicked backed her, suit, power just emulating from his look. Michaels demeanor becomes intense and strong. His eyes do all the acting. Al Pacino did amazing as Michael
From what I understand, they wanted Ryan O Neil for the role?
The Godfather is pretty much the perfection of the craft. Every aspect of The Godfather is outstanding. There are so many iconic lines and moments throughout the movie that have been replicated and entrenched in culture over the years. This is truly the peak of filmmaking.
Placing Michael in his chair and not having him leave it for the full scene was a genius choice. It shows his potential in the most brilliant and visual way possible by him having power over the rest of the room while not using big body movements like Sonny and Tom and being the person least connected to the family business. With everything against him he just takes control and doesn't let go until he's convinced the entire room that his plan is the best option they have.
Brilliant! Not moving is true power in this instance.
The best part is that while in the chair. Michael litterly looks like a wolf in sheeps clothing. You suddenly see the sheep becoming the wolf as the camera goes in. His clothing says it all especially after he fully makes the transformation.
yes, but not literally, hehehe, that would be ridiculous.
Yeah, he's literally wearing wool, so - sheep's clothing!
It should be noted that all this worked so well because of Pacino's excellent acting. He can just sit there and tell a whole story with his eyes.
Wow so many subtleties and layers, to a seemingly simple scene. You guys really reveal the nuances of great directing. Amazing job StudioBinder!
Godfather is a guaranteed like
I love how the Godfather uses shadows. 6:06 the closer the camera comes to Micheal the more Robert Duvall bows his head in order to make his face darker to attract less attention and to bring Micheal into the spotlight
The other impressive part, is he does it right after Michael says he wants it to be a public place so he can feel safe. It also gives the implication that at first he probably was thinking that Michael was just making observation, but I feel like it’s also at this point he realizes exactly what Michael is planning on doing, and it’s almost like his head falling as to say “no no no what are you doing, this isn’t what your father wants.”
I always saw Michael as a Sonny -Tom hybrid .... balls and brains combined and the fact he sits in between them is visual representation of that ... the way the scene is set up...where Michael sits in the middle, in a luxurious chair, laid back and calm, laying out a plan that matches Tom's intellect and Sonnys ruthlessness and the fact he can commit acts of violence without hesitation like Tessio and Clemenza could is all meant as a foreshadowing event ... the zooming in, is to create tension in the scene... and in a way a first glimpse into the dark side of Mjchael Corleone...
Yes I love seeing people recognize proper film making and emotion. Notice how when it fully zooms in on Michael as he deliver the line “it’s strictly business” Tom is now completely out of the frame, as if the power was being transferred off Tom to mike. ♥️
The camera angle literally eliminates each person one by one until we see Michael grow bigger than all of of them, center frame, verbally accepting the role as the one who takes action. It’s perfection!
the only movie i ever think of as a straight 10/10 , of those that ive seen.
Part 2 is a 10/10 as well.
I also think The Dark Knight is a 10/10
@@davidleonard7439 I agree on The Godfather part 2 but "The Dark Knight" I don't rate as real cinema.
@@Kashif314 huh?? Real cinema? That doesnt make sense
@@davidleonard7439 As Martin Scorsese said that Marvel and DC are not real cinema. You don't see any good acting. All you see is cgi galore. They are entertaining but not something I would rate as compared to greats like Godfather, Taxi Driver etc. I do love "Joker" so much but because it has nothing to do with the usual superhero theme.
@@Kashif314 ummmm the dark Knight had tons of REAL acting in it...but whatever
Another interesting thing is that by the time that Michael starts talking, he’s sitting in between Sonny and Tom, who are on opposite ends in the room. These two men want two different things: go to the meeting and negotiate (Tom) or continue with the violence without much strategy (Sonny) with neither really willing to budge. What Michael does is essentially meet them in the middle. While ultimately his plan still centers on Sollozzo’s murder like Sonny’s does, he’s being clever about it, and addressing the main concerns Tom has without dismissing them, like Sonny did. On a side bar, one could argue that as the camera pans in, the chair Michael sits him transforms into something of a throne, just as he himself is transforming
I love how small Michael look at 5:01 thank for pointing that out.
This entire movie needs a scene by scene breakdown like you've done. Thanks for sharing this.
I always like to believe that the cinematographers do most of this subconsciously and automatically.
Much like how the audience understands the context of the scene in a subconsciously and not obviously.
Maybe but I think for the most part, they think about how they want the actors to move and how they want the shot to look to convey certain emotions. Yes some of it they will do automatically but I’d imagine most think it through first
Except that it must be planned well in advance of shooting, because so many things such as lighting and set design will be adjust for each specific shot. It can take hours to prepare for a given angle. So instinct had better come in the planning process.
The minute Michael sat on the chair with his legs crossed and hand jesters, you knew he would take the lead as the Godfather.
When is the coppola directors chair episode coming. Desperately needed👌👌👌
Hopefully, in the not too distant future! 🤞🏻
Here's a director's chair we did for Scorsese, if you missed it:
www.studiobinder.com/blog/martin-scorsese-filmmaking-quotes-interviews/
Fun fact: Coppola and Scorsese (including: Spielberg, Lucas, and De Palma) were and still are close colleagues
@@StudioBinder watched it twice already😉
@@philtosson5619 🙏🏻
StudioBinder do Lynch aswell pls
Fantastic analysis of a legendary scene and turning point. One reaction shot worth mentioning is when Sonny, Clemenza, and Tessio start laughing at Michael. There's a priceless shot of Tom who's got sadness in his face. Vito would later tell Michael, "...Senator Corleone...I never wanted this for you, Michael." Tom, who knows Vito's plans ("Many times, your father and I have discussed your future,") is visibly dismayed at the prospect of the good, clean, war hero son starting to get messed up in the family business.
These scene breakdowns are amazing and straight to the point! Thank you!
Thanks for watching! Appreciate the good word!
If you enjoyed this video, let us know what you think about a similar video we did for Spielberg, Kubrick, and Iñárritu:
www.studiobinder.com/blog/blocking-and-staging-scenes/
When Sonny tries to interject in the godfathers meeting with solazzo is another classic. You guys should do a part 2 on that scene
Usually I'm annoyed when UA-cam videos plug in product placement and sponsoring but this series is the exception. This company doing top notch 10 minutes videos and they only promote their product for a few seconds! On top of that the product is 100% related to the content and useful to the people watching. This is advertisement done right; promotes their product while delivering real value to the people watching. I'm just interested in film theory, not gonna do a movie, but if I was, I'd for sure use their product. Way to go, StudioBinder!
6:14 is significant. In the Director's Commentary for this scene, Coppola states he used very limited push-ins/pull-outs. This is one.
Man it is magnificent! I am more and more understanding what a masterpiece this movie is. The whole movie is consist of scenes like this. You have done a good job!
Back in those days..this awesome guys knew how tell stories honestly , effectively...the character arcs are goldmines for film studies..the intense drama was more than enough to tell the stories ..the complicated staging was magically effective in moving the story forward...miss you all.
There are some amazing movies today (2019 was an exceptional year!), and there were tons of shitty movies then.
The "good ol' days" rant sure provides some easy likes though
@@LPChipi oh come on...😂😂😂easy likes ?..sorry man...i believe you didn't understand what i was trying to say..i beg pardon...you wouldn't have said about easy likes...if you would have seen a John Ford,David Linn ,Henry Georges Clouzot movie...off course there were good movies on 2019...tell me how many movies this days are so well staged ...how many moviez are minimalistic yet emotionally resonating like The seven samurai ,a man escaped ..my point of saying was different...even the Twilight zone of 1959 had great character arcs with 20 mins of each episodes.
The quality of your videos is outstanding. These are helpful to me even with non-fiction documentary stuff. Would love to see some roundtable/ studio blocking breakdowns. Loving the voice over as always.
Thanks for watching! If you liked this video, check out our blog when you have a chance.
Here's an article from there that breaks down this scene further:
studiobinder.com/gf
While you're on there, feel free to check out other filmmaking-related content!
Enjoy! 🎬
Agreed, especially the camera going in on Sonny when he begins to reveal his plan. Amazing! I even noticed it when I was a kid watching for the first time
What I always noticed about that scene is that Michael just sits in the chair. Tom and Sonny move around a lot. Those are the three leaders. You can tell both Tom and Sonny, while speaking confidently, are unsettled by what's going on. Michael is the only one confident enough to sit still and talk. He knows, even before Tom and Sonny have their disagreement, what needs to be done. When no one else says it, that's when he speaks up. I think that was the key to the blocking, this little world in that room revolves around Michael.
Another thing worth noting is the volume in everyone's voices during this scene. Sonny immediately gets loud to try and show that he's in charge, when in reality he's showing the reckless instability that eventually leads to his downfall at the tollway. Tom counters Sonny with volume of his own, but then relents to make his point about killing a police captain. Michael, however, doesn't yell a single time in this scene. He's calm, methodical, and clear about what he's saying. He raises his voice a little when it comes to the captain's past in the criminal underworld, but he never yells. In the animal kingdom, as well as with arguments between humans, the first person to raise their voice loses. Or as Denzel Washington said it in "American Gangster": The loudest person in the room is the weakest person in the room.
It’s the scene when Michael lights Enzo’s shaking cigarette outside the hospital that begins the transition. Michael’s hand is steady and without fear and the flame represents the devil inside him coming alight. The end of the movie where the 5 families are being killed represent Michael becoming the devil at the christening.
Exactly. & that's explained perfectly in the book.
Great analysis. You have really researched on the scene. I don't think a layman movie goer would have paid this much attention and given this much thought to the scene build up and the director's brilliance. For them, this is just a good crime drama.
With every video, this channel has allowed me to appreciate, more fully understand, and then re-watch a film as if it is brand new as I have those "ah ha" moments during specific scenes as if I am seeing its very architecture. What a wonderful resource this is.
Couldn’t have picked a better film to illustrate your (flawless) assessment of Coppola’s genius. Thank you!
I think you nailed the interpretation of the scene. You really emphasize the power of image and dialogue. When they are married well, the story is made deeper and more intense.
Every cinematographer/filmmaker has their own unique look at a film. I simply see interesting camera angles that can be viewed one way or another, similar to that of the blocking for a scene
Studio Binder is the one of the greatest channel I ever seen
If you notice also, when Sonny looms over Michael and belittles his idea and does his fake gun shot to the temple, Michael flinches, showing weakness and deference to the more aggressive Sonny. His slumping shoulders show lack of confidence also. He's kind of hoping they will listen to his plan. Its not until after he executes his plan that he gains the confidence and the sense of power.
I think something to talk about - in this scene as well as in others - is that inherently the less a character moves the more authoritative he is. So Sonny keeps walking around and slapping everyone’s butt and making faces, while Michael is absolutely still (and terrifying).
I appreciate your commentary so much.... as an aspiring film maker, myself... it really helps me realize whyyy... these creators became masters of their craft.....
These videos you guys make are amazing. So well done and so educational. Who needs film school?!
Thanks for your support! Feel free to check out our article tied to this video when you have a chance:
studiobinder.com/gf
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Excellence. Pure experience. It’s a masterpiece of art. And the way you have reframed every bit of the scene is just great
The big thing no one ever mentions about Micheal is that he was a Marine officer in the Pacific theatre in WWII. If you haven't, watch The Pacific, then The Godfather back to back. It will completely re-frame how you see the actions Micheal takes and him as a character. The idea of him being wet behind the ears, and him taking control being happenstance wash away. The "this isn't the army, you don't shoot them from a mile away" line is so cripplingly nieve in reflection, it's a wonder Micheal has the composure not to laugh in Sonny's face .
They later try to demonstrate Micheal's superiority in part 2, but I think the understanding of him in the context of the Pacfic theatre was too much to do within the film. It would mean shooting two films in one.
I really like this breakdown. I'm always at awe and mesmerized how we see the rise of Michael done so well. I just love these movies and Al Pacino and everyone part of it
This was very well made, this is also my favorite movie.
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WOW! This is exactly what I have been looking for. I am a screenwriter and a comic book artist. Natural progression into storyboarding. Blocking and staging!!!!!!! Love it! You have a new subscriber. Thank you.
Every Single Shot has a Soul inside.
Intentions, Deeper Meaning and More sense. Fantastic Scene!
I’ve always thought part 1 is better than 2, 1 shows the rise, corruption, betrayal and fall. I love these films. The subtle music in the background.
“what you resist not only persists, but will grow in size.” - Carl Jung
This is the channel I've always dreamed of as a film junkie
Thanks. this scene was one of the best scenes, i admire. i am surprised to see this video. and this scene is analysed. Great job and thanks. from Australia
Perfect movie...... no shots wasted, every word needed.
Yet long after this scene Francis pulls us back in to see Michael as a simple man as he quietly walks the hillsides of Sicily. Then he speaks to Apollonia's father and all of the dominant leadership qualities quickly charge back. Amazing.
Sonny wasn't scared of Michael's leadership,he just thinks Michael is not experienced enough to run the business
Exactly
This channel taught me more about film in 5 days than all the filmbros on Twitter can tell you
When Michael first suggests killing the family's enemies, no one in the room takes him seriously. They all laugh at him. But ultimately they all come around. And the blocking shows how Michael has become the Godfather even though no one, not even the audience, realizes it yet. Sonny walks around the room, sits at Don Corleone's desk and then walks over to Michael. Michael on the other hand, sits in a chair and barely moves. And often his full body is shown. He gradually redirects power to himself from Sonny, who doesn't even realize that he is being displaced.
Video about one of the greatest movies ever from the greatest YT channel about cinema.
Great analysis of the blocking and staging. And yes, the effect is that Michael determines he is ready to lead while Sonny's star is starting to fade. But remember this is a close family where Tom is also brother. Sonny kissing Michael even after he dismisses his suggestion shows that their affections transcend ambition. Michael respects Sonny and Tom by working to persuade them of his plot.
The Godfather is a good movie to study so Im happy it's been a messy week this week so seeing a scene from one of my favorite movies is awesome😍
These videos are very inspiring. Can’t wait to start using your tools. Thank you.
The interesting dynamic in this scene is between Tom, the adopted lawyer, and Sonny the natural son of Don Corleone. It takes balls to tell a guy as tough as Sonny that he shouldn't retaliate against the people who just tried to murder "their" father. It isn't easy to reason with someone in that state and you notice Tom does so while walking away from Sonny. And you notice Sonny is only open to a "reasoned" argument after he sits at the desk of power. I always felt that part of the scene was brilliantly acted.
Marion Brando said he got a phone call late one night from what he suspected was the Mafia. They were asking in a cagy way about the makings of the Godfather movie and what was going to be in it. He said it was very eerie and quite unnerving .
you are the best! When start shooting my movies I'm gonna use your software. It looks so great! Thank you for breakdown video
A wonderful classic piece... Unless you have very daap understanding of characters their motive , blocking is meaning less.. these r master's of their work.. thank you so much sharing this to us.
I don't think Sonny was ever threatened by Michael's leadership potential.
neither do I! have a doubt on this part of their explanation
Every scene in this movie is a classic. Amazing storytelling.
Make more videos of godfather series like this🤗
I second this
I third this guy
I think this channel is gold.
Can You kindly break scenes and explain blocking from 'Zodiac'..I will love it.
Brilliant video, ill share this with my University's Film Club
That's awesome! Feel free to share the article tied to this video with your club as well:
www.studiobinder.com/blog/the-godfather-analysis/
Good analysis, excellent. Please make more of these film-making analysis videos!
Can you please pleas breakdown more shots from the godfather ( both parts 1 and 2) ? I would love it .
I have a question! How do I know if this blocking/staging thing was done on purpose or if it’s just an interpretation of us over analyzing it? Does Francis talks about all this things? I’m curious I feel I can watch any scene and give it a meaning camera wise but it’s kind of personal and philosophical and I can go in any direction I don’t know if It makes sense what I’m saying, in the minute 3:34 tom stands up against sunny so I could say something like: Tom here is representing the old school way of of thinking and he is representing Vito Corleone even thou he is not here, there for its a fight between the the old generation of doing dealing with trouble and the way the new generation deal with it, so this moment it’s fight between the old and then new and Coppola display it here through blocking and staging. You see what I’m getting at? Thanks for the replies in advance! This is subject it’s quite interesting to me
Brilliant analysis of the most brilliant film. Kudos
You guys deserve more subs, truly marvelous, the way everything is broken down into digestable pieces. Thank you.
Good explanation about camera movements.
This channel is highly underrated.
I really enjoyed this. I think a missing element is the use of props. For example the lamp that is behind Michaels head that is shaped like a pyramid vs the backdrops on Sonny like the bar with liquor on it. I feel these are very significant placements in the film. They help to tell the future by their relative association’s.
I admire all the passion dedication you give towards filmmaking. But I request you to make a video on Akira Kurosawa. His direction, screenplays, film blocking techniques etc.. are impeccable.
Even many great directors like Quintin Tarantino, bong joon ho, Stanley Kubrick are inspired by him.
wow... I never think such a way...please make such videos more.
Of course, getting a very young and relatively unknown Al Pacino to play the role of Michael helps the director quite a lot...and the studio said he was "too short."
In my mind, this scene is a catalyst for the change of power, not the fulcrum. If you notice in the beginning of the scene, Michael is hatless showing he is a boy among men. He is teased and ridiculed throughout the scene. But he wins on his one main objective -- to insert himself into the family business. You notice he volunteers himself to perform the assassination. He knows that while his father is in a coma he has a chance to enter the business that his father never wanted him to enter. And by carrying out the assassination himself, he realizes no one can thererafter remove him from "the game". Killing someone, especially a cop, means you are in for life.
The interpretation works but also a lot of this is standard practice. The push in on Michael for instance. That's a thing that's been done for a long time. One of the director's prerogatives is to maintain interest through visual variety.
During a long monologue if the scene doesn't call for the speaker to be moving through the space then the option is to have the camera move. This has the added benefit of giving weight to what the speaker is saying as it has the psychological effect of us the viewer leaning in to pay close attention.
You only get maybe one or two of those per movie because it says, "This is really important. Let's listen." If you're doing this all the time then nothing is important.
The final shot is a scene button. The line is specifically designed to close the scene in a satisfactory way. Dramatically Michael's goal in the scene is to convince everyone that there's a thing that needs to be done and that he's the one to do it. He "wins" the scene so to speak. There would be an awareness on set that this line is the scene button and so one way to support it visually is to give it it's own unique shot in such a way that it sets up the transition into the next scene.
Tessio stands off towards the wall covered in shadow whereas Clemenza is on the other side of the room covered in the light from the lamp. Ends up mirroring their actual dynamic since Tessio was working for barizini and Clemenza was always aligned with the corleones.
Great start of the video, I liked it in 8 seconds
Great video. Sound analysis. Worth studying.
Thanks for watching!
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Fantastic scene analysis I loved doing this back in school.
Love this content! Coppola was/is an absolute genius.
Pls make more analysis and breakdowns in pivotal scenes in The Godfather Yriolgy
Great breakdown. It’s really got me thinking twice about not using ECU without reason
This is new for me. Thank you. Subscribed.
Michael is suffering from PTSD. That is his character arc. Coming home from WWII, he is in denial because he is back in his safe place. Back in the castle, the fortress, protected by the King and his Army.
When the walls are breached with his fathers attempted assassination, his safe world has been compromised and it is the trigger that unleashes Michael's PTSD.
Sufferers of PTSD will do anything to prevent triggers to their trauma. They will do anything to restore their safe world at any cost. Michael decides to begin the restoration of the Castle by eliminating every person that poses a threat.
Sollazo and McCluskey are the highest threat, and McCluskey even more because he is a corruption of the law and order Michael respects. Brothers in Uniform so to speak.
It's not entirely about revenge, it's eliminating the rotten apples from the basket of society.
From there, Michaels character trajectory is to eliminate every threat to his family and his SAFE WORLD.
Anakin Skywalker/Vader has the same Character arc. The pain of losing his Mother causes PTSD.
After that, he will do ANYTHING to prevent the death of a loved one and create a world that he can control to prevent PTSD triggers.
I see a lovely family conversation with a hint of orange.
I don't know why, but everytime I see Al Pacino seating in a chair in the trilogy I get a message of his status in the movie. The way he seats, at the beginning of the scene, finding the best seating position and all.... and then when he starts talking about his plan... he's seating perfectly comfortable, he's way ahead into his path to become what he becomes. Also, I have a "thing" with doors in this trilogy. Lol
The last 2 minutes of GF1 is also riveting and perfectly sets-up Kate's betrayal in GF2.