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The Godfather’s Catholic symbolism is often overlooked during book’s 50th anniversary

The Godfather’s Catholic symbolism is often overlooked during book’s 50th anniversary

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.

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A movie god for sure: Journalists stumble to explain an Indian star's spiritual appeal

A movie god for sure: Journalists stumble to explain an Indian star's spiritual appeal

Ah, you tame Americans, with your talk about "idols" and "hero worship."  Until you know something of the frenzy around Indian movie star Rajinikanth, you ain't seen nothin'.

Stories abound about the action hero, who has just turned out his first film in two years. But few western news media have captured the fevered fervor like the Washington PostAnd it does so right from the start, with the headline: "India’s biggest action-movie star isn’t just an actor. ‘He is god.’ "

The religion ghosts are dancing right out in the open, in this report. Why didn't the Post team ask specific questions about that? We will return to that subject.

Meanwhile, one fan speaks of an "unmatchable energy" in a theater during a showing. Another compares viewing a Rajinikanth film with seeing his wife's baby for the first time. And in India, some companies are treating the release of one of his films like a religious holiday:

In Chennai, some companies gave employees the day off Friday so they could go see "Kabali," Rajinikanth’s first film in two years. Others had booked entire cinemas for their staff. Air Asia flew 180 fans to the city for the first-day showing in a plane ­custom-painted with the star’s likeness. One county was giving away free tickets to people who pledged to install an indoor ­toilet, taking advantage of the movie’s popularity to address the issue of widespread public defecation.
"Rajinikanth is not a human being. He is not an actor. He is [a] god," said S. Thanu, the producer of "Kabali."

And no, the producer isn’t the only one who talks like that.

Indiaglitz calls him a "demigod." 

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Three things to know about 'Spotlight,' the new movie about journalists investigating clergy sexual abuse

Three things to know about 'Spotlight,' the new movie about journalists investigating clergy sexual abuse

I saw "Spotlight" over the weekend and loved it.

Of course, I'm a journalist, so I obviously would appreciate a film in which all the actors dress as crummily as me.

Seriously, I identify with the reporters and editors who meticulously dig to tell an important story. They knock on doors to interview key players, sue for access to crucial court documents and develop relationships with inside sources.   

With cheap ink pens and notepads as their major tools, they change the world. That's journalism at its best.

For Godbeat watchers, here are three important things to know about "Spotlight":

1. It's a great movie.

A Wall Street Journal reviewer gushed:

To turn a spotlight fittingly on “Spotlight,” it’s the year’s best movie so far, and a rarity among countless dramatizations that claim to be based on actual events. In this one the events ring consistently — and dramatically — true.
The film was directed byTom McCarthy from a screenplay he wrote with Josh Singer. It takes its title from the name of the Boston Globe investigative team that documented, in an explosive series of articles in 2002, widespread child abuse by priests in the Catholic archdiocese of Boston, and subsequent cover-ups by church officials. The impact of the series, which prompted the resignation of Cardinal Bernard Law and won a Pulitzer Prize for the paper, was cumulative and profound — what began as a local story ramified into an international scandal. Remarkably, Mr. McCarthy, his filmmaking colleagues and a flawless ensemble cast have captured their subject in all its richness and complexity. “Spotlight” is a fascinating procedural; a celebration of investigative reporting; a terrific yarn that’s spun with a singular combination of restraint and intensity; and a stirring tale, full of memorable characters, that not only addresses clerical pedophilia but shows the toll it has taken on its victims.

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When faith enters the spotlight, should reporters dig into the personal details?

When faith enters the spotlight, should reporters dig into the personal details?

On one level, this past week's "Crossroads" podcast added a few extra layers of information to my recent Universal Syndicate "On Religion" column about the ministry of the late Father Jack Heaslip (video clip above), an Anglican priest who for several decades was the behind-the-scenes pastor to the members of U2.

But there's more to the podcast than that. Click here to tune into the whole discussion.

The key to the discussion is the conflicted feelings that I experienced, back in 2001, when I met Heaslip at a private gathering on Capitol Hill in which Bono address a strategic circle of Hill staffers who shared his convictions about hunger, AIDS and the Third World debt crisis.

The band's pastor asked if I was with the press and I admitted that I was. He said something like, "Well, we're here to hear that man speak," gesturing toward Bono, and slipped away to the back of the room.

I was very disappointed not to "land" a rare interview with this man, yet, at the same time, I admired the degree to which he managed to stay out of the spotlight and do his work without great fanfare. He didn't want to be turned into a "Father Jack Heaslip, secret pastor of U2 superstars!" headline. Instead, he wanted to continue his pastoral support for four men he had known since they were brash young teen-agers in the nondenominational school in which he was their guidance counselor.

So that journalistic tension is what the podcast is about, really.

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Low-budget Bible Belt films meet the bright lights of Hollywood

Low-budget Bible Belt films meet the bright lights of Hollywood

Hollywood has discovered the Bible Belt — again.

Here at GetReligion, our leader — Terry Mattingly — suggested in 2011:

Someone needs to copyright that phrase, "Tinseltown is rediscovering religion." You can make some money off it in three to five years.

Back in March, USA Today reported on Hollywood finding "religion and profits at theaters." Over at Religion News Service, Editor Kevin Eckstrom linked to a similar Los Angeles Times story in April and quipped:

Pretty sure we’ve seen about 5,429 versions of this story already

Right. We get it. Hollywood is trying to lure Christian audiences to the cineplex. Again. Meanwhile, in other news …

Which leads us to the subject of this post: an Associated Press feature this week with this headline:

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About those rough religious waters for the 'Noah' movie

Director Darren Aronofsky has seen his share of controversy in a body of work that has included uncompromising films such as Requiem for a Dream and Black Swan. But there hasn’t been anything quite like the storm that has erupted over his treatment of the Old Testament tale featured in Noah, out Friday. The maelstrom has battle-tested studio heads reaching for appropriate biblical comparisons.

“It’s been a unique journey,” says Rob Moore, vice chairman of distributor Paramount Studios. “I actually feel like some combination of Noah preparing for the storm, or Joseph, where you feel like you’re in some foreign land and you’re trying to figure out how to make it all work.”

The story of Noah’s construction of a massive ark to save Earth’s animals from God’s flood-borne wrath is sacred text in the Koran and the Bible, and is one of the most popular stories with children.

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