Mise En Scene Analysis of The Godfather

The shot, photographed by Gordon Willis, is an opening scene of The Godfather. The
viewer can see a humbled Bonasera (Salvatorre Corsitto) kissing the ring of Don Vito Corleone
(Marlon Brando) with Santino “Sonny” Corleone (James Caan) in the background. Bonasera, an
Italian immigrant undertaker, asks Don Corleone to help him obtain justice against the young
men who raped his daughter since his perception of the society’s legal system brings derision.
Upon hearing the title “Godfather” then proceeded by Bonasera kissing the ring on his hand, Don
Corleone agrees to help Bonasera. He regards this as a gift of justice from her daughter’s
wedding. Justice for Don Corleone is a favor by allying in his system of fear. The shady business
is concurrent with her daughter’s wedding signifying the image of Mafia as a royal family
having juxtaposed lives.

The dominant in the shot is Don Corleone as light is glowing overhead and upon his
face. The next focus of the eyes, the subsidiary contrast, is the light filtering through the half-
opened blinds as it occupies a large part of the frame. Since the frame is almost covered in
darkness, the lights filtering into the blinds casted light to the characters. The eye then travels to
the bald Bonasera, Sonny in the background and the red flower clipped to his suit. The red
flower symbolizes concealed danger. These elements are incorporated to give a medium density
– not too glossy and not too sharp – enough to show the features of the face of Don Corleone.

The density and the closed form enclose the space and the elements within the frame.
The mystery and suspense of the moment is emphasized by the low-key lighting. The shadowy
lighting infused the shot with shades of black and a contrast of brown, gold and white. The use of
these colors can be metaphorically identified as mayhem, crime, fascism, mystery and fear. The
overhead lighting and his approximately top-of-the-frame placement defines the powerful
character of Brando. His face is stern and menacing from the dark shadows confining the frame.
The bowing of Bonasera and kissing of the ring (though not visible in the shot) is a symbol of
respect and reverence for the Don as the head of the Mafia (also apparent in his bottom-left
placement in the frame). A hazy image of Sonny implies subordination to his father. The
characters are positioned by focusing on each other implying serious business for their wicked
schemes. Their close distance normally suggests intimacy but in this particular shot, respect and
power can be drawn.

The old lens is widely angled for a close-up shot of the three characters. The camera is
tilted diagonally – an oblique angle as made obvious by the blinds – creating tension and
distress to the viewers especially since the setting is framed in a dark interior. The triangle in the
suit of Don Corleone emphasizes his dominance. Granted the darkness of the shot, the stock is
slow and underexposed for a dim and classical effect and there is no depth of field.