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Godfather Baptism Analysis paper

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Introduction

A sound is an artificially created effect in the form of diegetic (sources seen on

the screen) or non-diegetic scores (source of sound beyond the elements seen on

screen) in a theatrical or motion piece, which contributes to heighten the drama and

progress the narrative (Wingstedt, 2008). A presence of these elements not only

contribute to the atmosphere to the film, but also helps in arresting the audience to the

storyline (Donnelly, 2009). The inclusion of these theatrical elements also contributes

to enhance the experience of the movie for the audience, and at the same time helps

in the retention of the cultural, ethnic and emotive aspects of the plot (Kalinak, 2015).

Through the course of the present review, the relevance of music in the context of The

Godfather, and particularly in the context of its climatic Baptism scene is studied. This

is a scene encompassed in juxtaposition, and the musical score of the scene

contributes to heighten the same.

Analysis

Sounds has always been used to heighten the dramatic aspects in a movie,

and The Godfather is no exception. Through the use of this element, Francis Ford

Coppola has allowed the audience to not only understand violence and the pain in the

movie, but also show the ugliness of the actions and the progress of the cinema

(Graham, 2016). In The Godfather, there are many psychological interpretations, and

anguish amidst the central characters. In such a story line, music also adds as a

catalyst of extending the psychological insight of the central character towards the

audience (Greene and Kulezic-Wilson, 2016).

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This is particularly a tale of an Italian-American crime family in New York

headed by Corleone (Marlon Brando). The central character is Al-Pacino (Michael)

who plays a reluctant son of the “Godfather”, who is unwilling to adapt to the familial

business. Throughout the movie, the anguish of the central character in accepting the

violence of this life is evident. However, the relevance of sounds is evident in the

climatic baptism scene towards the end of the film, where upon Vito’s death, the fear

of Michael’ assassination grips the family. At that time, the family attends the baptism

of Connie’ son, to whom Michael will be the Godfather.

This is a religious scene and catholic music such as the church organ precedent

the music here, owing to the ecclesiastical setting. This instrument is diegetic to this

setting, and is played throughout this sequence, even when the shift from the catholic

setting is made. Through a continuation of the same music during the sequence, the

audience is ensured that the two events (catholic baptism and the assassinations of

the heads of the opposing five families) are happening at the same time (Sciannameo,

2010). Furthermore, it adds to the dramatic tension of the film and prevents the event

from being too chaotic for the viewer.

As is expected from the catholic baptism, the scene starts with the succession

of the church organ, the faint baby cries and the sounds of proceedings by the priest

as the primary sounds. However, as we progress to an alternate scenario, the tempo

of the music changes and arrangement of Bach’s Passacaglia and Fugue dominates

the backdrop (Sciannameo, 2010). As the camera switches between the two

contradicting events (that of a religious proceeding and a killing), the music also varies,

even as the organ sustains the music.

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When the priest asks Michael- who is answering on the part of the baby, the

organ stops and Michael answers “I do”. At this time as well the use of silence and the

absence of music not only exhibits Michael’s declaration towards the baby, rather also

shows his acceptance of his new role as the godfather of the family business (Graham,

2016). Through this music and its ominous rising sequences, as well as the editing,

Coppola draws the audience towards the juxtaposition of the scene.

During the presentation of Don Barzini- one of the antagonist of the family, we

hear the cries of the baby, which when combined with the church music and the

recitation by the priest helps the viewer in understanding the discomfort of the

character (Greene and Kulezic-Wilson, 2016). In the scene, when Michael is asked to

renounce Satan, the church organ shows silence, however, once Michael answers

“No”, the organ returns with the startling rising figure. When Michael renounces

Satan’s work, the voice of the priest and church organ continue over massacre, and

thus the idea of irony is presented to the audience (Greene and Kulezic-Wilson, 2016).

Finally the end of the baptism scene, and the assassination is presented to us by the

church bells, which have a commencing ring (Graham, 2016).

In their review, Wingstedt (2008) notes that music often links religious events

in the films, and exhibits a sense of connectivity to the roots for the characters. In the

same manner, the presence of close ties between the family, the mafia business and

close ceremonies is made evident by this particular sequence, and its music. Through

this sequence we have witnessed the metamorphosis of Michael, as a godlike father

as well as an anti-hero, which is made evident by the dichotomy of church music in

the setting (Sciannameo, 2010). This contrast is reinstated throughout the sequence
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by the tempo of the soundtrack, the accelerated pacing of the music and the brilliant

use of the diegetic and non-diegetic sounds (Donnelly, 2009). It is through this way we

see Michael renounce the role and the title of “The Godfather” in its contrasting duality.

Conclusion

Sounds affirm the setting of a movie, and helps the viewer relate to the

emotions, the psychological setting and the narrative of the cinema. This aspect of

moviemaking is comprehended through the present review, where the baptism score

of The Godfather is reviewed. Through this paper it is noted that in a scene, with such

contrasting sequence of events, music can act as a tying influence, and helps in

transferring the essence of the story through aligning the events to the music.
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Reference

Donnelly, K.J (2009). “Saw Heard: Musical Sound Design in Contemporary

Cinema.” Film Theory and Contemporary Hollywood Movies.

New York, NY: Routledge. 103-23. Print

Graham, P. (2016). Revisiting Violence in- The Godfather: The Ambiguous Space of

the Victimage Model. Journal of Religion & Film. 9 (2): Article 2. Retrieved from:

https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2

Greene, L and Kulezic-Wilson, D (2016). The Palgrave Handbook of Sound Design

and Music in Screen Media: Integrated Soundtracks. Springer

Kalinak, K. (2015). Sound: Dialogue, Music, and Effects. New Brunswick,

NJ: Rutgers University Press.

Sciannameo, F (2010). Nino Rota's- The Godfather Trilogy: A Film Score Guide.

Scarecrow Press

Wingstedt, J. (2008). Making Music Mean: On Functions of, and Knowledge about,

Narrative Music in Multimedia. (Doctoral dissertation). Luleå University of

Technology, Dept. of Music and Media.