Rating: 4 Stars
‘The Godfather’ is one
of those books that leave me awash in memories – how the first time I read it,
I finished it in one breathless sitting; how my friends and I discussed
character and motive with a passion that better students would have reserved
for Shakespeare; and more recently the recurrent allusions to the book and
movie versions that echo in other icons of popular culture – be it ‘Seinfeld’,
‘The Simpsons’, or the various movies that are unself-conscious in referencing
this work. The chance to read it again was an offer I couldn’t refuse.
The book begins with
the wedding of Vito Corleone’s daughter. While FBI agents parked outside the
house take note of the guests, the Don accepts the homage of underworld vassals
and hears the entreaties of supplicants. The Godfather, Don Corleone, the head
of the most powerful of New York’s five mafia Families dispenses justice like
an ancient god, either smiting mightily or granting favors according to his
discretion. But even gods fade out of fashion, and neither the Don’s legendary sagacity
nor his sons’ fierce loyalty can withstand the changes surging upon the
fortunes of the Corleone family.
One reason for this
book’s visceral appeal is the effortless ease with which it taps into our
fascination with power - power untrammeled by feeble notions of legality, or
the greater good, for in the Don’s mind, he
is the greater good. Yet, a closer glance reveals that Puzo is not an
unsophisticated writer waxing eloquent about the glories of violent
aggrandizement. In this world everyone pays the price; every victory comes at a
cost.
‘The Godfather’ is a
rare example of a book whose understanding would be incomplete without its
movie version, and it needs to be said that while the book may be an engrossing
read it’s the movies that are true works of art. Partly the credit for the
movies too belongs to the author because Mario Puzo co-wrote the screenplays
for The Godfather and The Godfather II, in both instances
sharing the Oscar award for Adapted Screenplay with Francis Ford Coppola, the
director. Whereas in the book the consequences of the ruthless pursuit of
ambition were merely hinted at, with the cinematic adaptation the author is
able to complete the narrative arc he had started.
While Puzo freely
admitted that his motive behind writing ‘The Godfather’ was to make money, yet
he shows flashes of brilliance in limning human nature, and in his plot construction.
There is an operatic crescendo to the waxing and waning of the Corleone family’s
power from the onset to the brilliant climax. If Vito Corleone is portrayed as a
Machiavellian Robin Hood, the concept of original sin colors the depiction of all
the characters in the novel, both major and minor. The teetotaler family man who
supports many dependents and carefully plans his children’s education happens
to be a corrupt cop; the battered wife is a shrill, self-serving harridan; kind-hearted
Sonny, who is incapable of lifting a finger against the truly defenseless is
also a savagely brutal mobster – these richly swirling complexities give hue
and depth to the novel that redefined Family and family business.
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