The Godfather, before it was an Academy-Award winning film, was a book. The crime novel, written by Mario Puzo, was released on March 10, 1969. The fictional account of Vito Corleone’s life is chronicled during a 10-year span starting in 1945.
The book’s 50th anniversary has been a great opportunity for newspapers, magazines and websites — especially the ones that cover the entertainment industry — to unleash nostalgia pieces looking back at the book and the three movies that later grew out of Puzo’s book and Francis Ford Coppola’s masterpiece films, the first of which was released in 1972.
Amid all the immorality, crime, violence and ultimately Michael Corleone’s final despair (for anyone who could sit through The Godfather III) isn’t just a series of mob movies. The Godfather book and movie trilogy is loaded with religious symbolism.
Anniversary journalism is a very big part of what reporters write and what Google search thrives on — so it’s important that The Godfather get the proper treatment. This is something another book/movie from that era, The Exorcist, also suffered the same lack of religion coverage.
Since Corleone (played by Marlon Brando and by Roberto De Nero in the sequel during the flashback scenes) is an immigrant from Sicily, the story’s symbolism is largely Roman Catholic. Like The Exorcist, The Godfather has suffered the same journalistic fate when it comes to lack of a religion angle. Even the book’s name, The Godfather, refers to a male godparent in the Christian tradition tied with baptism and original sin.
This is not to say the Catholic angle has been totally ignored. In 2013, The Georgia Bulletin, the newspaper of the Atlanta diocese, ran an opinion piece by Dr. David King, an associate professor of English and film studies at Kennesaw State University.
Though Coppola himself has struggled with his Catholicism, his imagination is so steeped in Catholic practice and atmosphere that he can never fully abandon the faith, any more than his greatest character Michael Corleone can. Coppola has often said that his favorite word is “hope,” and it is that sense of hope and belief in redemption that best defines “The Godfather” films as Catholic art.
King goes on to say that the films are “full of Catholic themes, including justice and mercy, fate vs. spirituality, the dialectic between family and country and community, the letter and the spirit of the law, and time and timelessness, they are also charged with a deep Catholic mise en scene, or atmosphere.”
The Church is everywhere in “The Godfather” films: baptisms, funerals, confessions.