MJB SCRIPT REVIEW | THE GODFATHER

“𝗟𝘂𝗰𝗮 𝗕𝗿𝗮𝘀𝘀𝗶 𝘀𝗹𝗲𝗲𝗽𝘀 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲 𝗳𝗶𝘀𝗵𝗲𝘀”

This weeks Oscar winning classic is the king of crime films; THE GODFATHER.

Plot in a nutshell: When Vito Corleone, head of the most powerful Mafia clan in New York, is gunned down and his empire attacked, his youngest son Michael reluctantly takes up the reins of his fathers empire, determined to get revenge.

Often quoted, endlessly copied (and parodied), there is a reason this film is so legendary. It put order to crime films and created an atmosphere, a way of life, an imperceptible empirical model of how existing within the mafia could be. Simply put, there had been nothing like it before it came along. It is a true progenitor.

So what to the script? There have been famous quotes about Mario Puzo (author of the original book that the script is based upon) never having written a script before, and then he sat down and wrote this. Soon after the film came out, he learned that writing students everywhere were told to read his script as an example of how to write a successful script. Which always amused Puzo. But the truth is, Francis Ford Coppola helped with a lot of this and so credit must be shared between them both.

I’m going to get the gripes out of the way early on this one. Frankly, because I only have one. The action directions in this script are sparse at best (not necessarily a bad thing). But at times, they can feel clunky. Like notes for the director to reference (especially any montage sequence), rather than evolving the world for the reader. It isn’t absolutely necessary to have long ebullient passages (as witnessed with previous classic THE SHINING), but more detail could very well have been something quite remarkable and beautiful. But as I said, it’s literally the only gripe I have about the script.

What we have here is an immersive world, based entirely around one family and their interactions with the other members of this world. This world is utterly engrossing, showing no leaks or gaps, but rather inviting you in and welcoming you like your favourite aunt who feeds you too much fantastic food. After that, the abject stress of waiting to see what horrific action is going to take place next is constantly on the horizon. You can never truly relax, just as the Corleone family in this story can never truly relax. And every time there is violence (and it gets pretty violent), retribution is hot on its heels.

This script has such a powerful feel to it. Although the story travels around various locations, that sense of confusion never sinks in. You always feel a part of this family‘s life and the events surrounding it. Each character has their own individual crisis and ways of dealing with it. There is a character here for everyone; from the cool and calculating Michael, to the educated lawyer, Tom, to the hothead Sonny. You can relate to at least one character in this script. Everyone can.

There are many remarkable sequences during this film, especially Don Corleone meeting with well wishers at his daughter’s wedding at the start, the gunning down of Sonny later and the finale with Michael, executing his orders and realising his revenge. As always, I could go on, but this script is to be read and enjoyed, so that’s all I’m going to say about how much of an influential and rich piece of writing it is.

So, what did I learn from THE GODFATHER?

1. Though I griped about the action directions, when they work here, they are brilliant. Short and sparing, only describing what needs describing. Just what you see. Which, if that is a direction you wish to go with your writing, (I heartily embrace minimal action directions in my writing, though I have to admit that at times, it’s a battle to keep them minimal), then this is another worthy example, just like THE SHINING.

2. The dialogue in the script is so authentic and beautifully written, it can only have come from people who have experienced the actual world. Or at least a real sense of it. So for the umpteenth time, writing from a culture that you are thoroughly embedded in is nothing but beneficial in your writing when telling a story.

3. There is a wonderful little scene where Michael is being shown how to cook tomato sauce and meatballs by one of the foot soldiers midway through the script. There is absolutely no need for this sequence in the film, but it adds a human touch and really shows the family element that has been instilled in that house. Whether you are actual blood relations or employees, it’s all about being Italian and family. Once again, writing as part of the culture, but also a marvellous little scene to use to just emphasise that familial atmosphere.

4. If you’re going to write violence to emphasise a point, this is the perfect script to study for that. The violence is used as a storytelling tool. It has purpose. It has impact. Which is an essential element for the use of violence in scripts as a tool. For a perfect example, the legendary scene with the horses head in the bed (and the conversation that leads up to it) is a must read.

For a script that is 124 pages long, the read absolutely flew. I couldn’t put it down. Such a rich and powerful story. Very easy to get into, very hard to step away from. For those thinking of writing a crime-based script, this is definitely up there as a must read. Don Corleone would consider it a favour...

Linked to the script;

https://thescriptsavant.com/movies/The_Godfather.pdf