1. The Most Memorable Shot:
9/13/2016
The film I have chosen for this week’s assignment is The Godfather, based on the book written by Mario Puzo
and directed by Francis Ford Coppola, made in 1972.
1. What, in your opinion, is the most memorable shot in the entire film? What makes that shot so memorable?
There are arguably many memorable shots in this movie. That being said, I believe the most
memorable shot in this movie is the very last scene of the film. The shot has Michael Corleone played by Al
Pacino, becoming the new Don of the Corleone Family. You can almost see Michael transform into an even
more ruthless version of his father, Vito, played by Marlon Brando (the former Don) right before our eyes. In
the beginning of the movie Michael, who has come home after serving in World War II to his father’s home for
his sister's wedding. Accompanying the decorated war hero is his girlfriend, Kay, played by Diane
Keaton. Despite just serving in World War II, he seems to be almost like a wide eyed, fun loving, naive young
man. While Michael is introducing Kay to all his family and friends, he almost jokingly/condescendingly tells her
that his family is involved in organized crime. Michael insists compulsively to Kay that he isn't like the rest of
his family. He is not a gangster or a mobster. Michael claims to have no desire to follow in his father’s
footsteps. Michael is very convincing and Kay is almost star struck by the whole traditional Italian wedding
experience and believes every word Michael says. At this point of the movie there is no reason to doubt
Michael’s sincerity. Seeing Michael the way he is in the beginning of the movie, so full of life, happiness and
hope is what makes the very last shot of the movie so powerful. At this point Michael has dispatched all of his
enemies and has assumed power over the entire illegal operation. He has become the one thing he never
wanted to be....his father.
What I like about the shot technically is the way Francis Ford Coppola framed it inside the door frame
of Vito's old office, Michael's new office. All you can see is Michael standing in front of his desk, being greeted
by his mob underlings calling him "Don Corleone." After he is given the new title the office door slowly starts
closing. Francis Ford Coppola slowed down the frames per second while the door is closing. The door closing
is symbolic of Michael closing the door on his past life and dreams. Begrudgingly starting this unwanted
chapter in his life. It is one of those shots that gives me goose bumps when I consider the intensely tragic
nature of the character.. It is a true fall from grace, but in a total bad ass way. You find yourself rooting for
Michael in a strange way, perhaps it’s our pity for him, but you want him to succeed despite what his future will
surely hold..
2. How would that shot have been less successful had the filmmaker altered the composition of the image
(consider mise en scene, as well as shot types and/or camera movement)?
I think if Francis Ford Coppola would have used real time speed for the shot, it wouldn't have given it
the same strength. Real time it may not have felt so ominous, overwhelming and permanent. I also think if
Francis Ford Coppola had moved the camera angle it would have taken away from the shot. The straight
forward shot is, metaphorically speaking, like a shot into Michael's heart and soul. You can see how truly
distraught and regretful he is taking over this unwanted post. If Francis Ford Coppola had taken a page out
of Yasuijiro Ozu's book and used a small tripod or a "tatami shot", in which the camera is placed at a low
height, it might have made him appear more powerful, and would have lost the straight to camera honesty that
he achieves. Or Coppola could have used the Godard style and given all the characters a close-up. Again, I
think that would have taken away from the shot, as you would have missed the symbolism of his new cohorts
closing ranks around him like a pack of bloodthirsty wolves. Granted you might have been able to see more
emotion on Michael’s face but it wouldn’t have felt the same.

2. 3. What lesson could other filmmakers learn from this shot? Why do you consider this an important lesson?
The lesson I believe other filmmakers can learn from this shot is that faster and bigger is not always
better. Sometimes the smallest thing or detail can make all the difference to the audience. Today's Mainstream
Hollywood seems to only want to make graphically driven films, but given the advances in technology it’s hardly
surprising. It has yielded some fantastic films, as well as some lacking seriously in the plot
department. Personally give me great dialogue and actual character development over blockbusters any
day. To me there is nothing better than a movie that I can quote over and over again while continuing to be
relevant.