There’s nothing worse than a book or film with one-dimensional characters. Not only are they incredibly unrealistic, but the whole time you feel as though you are being told what to think and feel about that particular character. Naturally, not all the characters in The Godfather are explored as deeply as others, yet, none of them seem like flat characters. Vito Corleone, for instance, is the protagonist which seems to guarantee that he will not be one-dimensional. However, the fact that he is the head of an Italian crime family has the potential to make him a flat, unsympathetic character. Thanks to the aid of mise-en-scene, (staging/design elements) Vito Corleone is more than just a Don, he’s a husband, father, a grandfather and in some respects, a regular man.
Throughout the entire film the subtle details of Mise-en-scene portray Vito Corleone in a way that seems classy and even sympathetic; it is easy to forget the nature of his work. Thus, it was difficult to narrow down one scene in which the Mise-en-scene does not contribute greatly to the depth of his character. However, the scene where Vito Corleone dies is one of the best examples because the mise-en-scene also conveys the change that has occurred in his life. At the end of the opening scene, after Vito agrees to help Bonasera, he states, “Give this to, uh, Clemenza. I want reliable people, people who aren't going to be carried away. After all we're not murderers in spite of what this undertaker thinks.” Even at the end of the film, after all he has done, this line is still believable. Much of this is due to the costume’s Vito wears. Throughout most of the film, Vito is attired in a tuxedo or the classic mobster suit; this gives him that classy, gentlemanlike look. At the end of his life, however, Vito wears flannel shirts and corduroys which demonstrate that he is getting older and make him appear very sympathetic. Like the early scene in the film where Vito is gunned down in the street, this look conveys that although he is a powerful, respected man, he is not invincible.
The scenery is also very important. Unlike the close, private business that takes place in the Corleone home, Vito is playing with his young grandson, Anthony in the tomato garden when he experiences the heart attack. Although this scene is quiet and intimate, the fact that it is outdoors and that the tomatoes are still green and growing gives the scene a great deal of liveliness. The open space and movement is a complete departure from the scenes which take place in the office.
Another important element of this part is who is present in the scene as well as who is not. In most scenes, Vito is surrounded by Sonny, Michael, Tom, etc. In this scene, however, Vito is alone with Anthony. The viewer may be subtly reminded that Vito is a powerful and dangerous man as he playfully scares Anthony with the “orange peel fangs” and chases him around the yard. Yet the overall image of him playing with his grandson probably leaves the viewer with sympathetic view of him. This is another scene which that hints that Vito is a regular man who loves his family.
The carefulattention paid to mise-en-scene in The Godfather is critical to the film, particularly the character development of Vito Coleone. Without such clever and subtle detail, he would have been an unrealistic, unsympathetic character which a viewer might judge solely on his role as a Don.
Picture from: http://daily.greencine.com/archives/the-godfather.jpg
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