Day 2: Forced to Violate Their Own Values – THE WALKING DEAD

[Sandeep Gupta]

Once again presuming this thread is going to be renamed Godfather…. Ah Well.

I often nod yes to, “if someone takes six hundred lines to explain something, they probably do not know what they are talking about.”

Here, therefore, a share of something I haven’t a clue about. My explanation has too many lines. There has to be a simpler way to explain this magic.

I doubt this opening would convince anyone today to read the whole screenplay if it wasn’t a co-author director, maybe named Francis seeing the movie in his head. Most of the scintillating darkness of this scene is not written in at all and it is integral to scene and the answers for this assignment.

As I see it at the moment, for me to make an opening work with two 90+ second monologues I will have to write-in those nuances, so in this answer I will consider all that as part of the writing. That’s not even counting the acting. I think we need to do this exercise for DON VITO as well as for BONASERA. Both have visible and mysterious layers enticing us into the scene, both put each other into an uncomfortable situation. So first, looking at these layers as a background for the scene’s depth.

Bonasera telegraphed something we have seen as hidden and suspected in his stiffness. We see that layer manifest, when he is called for Sunny’s service. Something we suspected less than nebulously that he was only acquiescing out of his need for revenge and not offering a relationship of trust.

Even if it pays off much later in the movie, that is not only written in, but at that later moment also, cashed in for showing Don’s character at that heartbreaking moment.

Don is helping him at the moment, one for the sake of honoring an Italian father-of-the-bride tradition, then for gaining influence as well, for bringing him into the fold, for banking a favor, and all that not for someone with whom he has any deeper connection than “this undertaker.”

In my take, everything is built over that relationship in which he gets his way from the scene.

One amazing thing is the choice of Bonasera to open the scene. For most of us, the opening is mediated by us knowing this is a movie about a powerful don played by Marlon.

Bonasera is unknown to us, we are wondering who he is, and what jeopardy is he in to speak that way. The dark background gives us zero information, so we are literally forced to interpret every nuance in his voice. Is he a patriot trapped by the mob? Is he Eliott Ness? He is clearly not a powerful man at ease.

Only when we are settled in wanting to comfort him, we realize someone else is patiently listening to him, like us. Perhaps that helps us identify with Don? But clearly now something is going to happen to help Bonasera. And something touching does close to the end.

Although meanwhile Don, a mob titan, finds murder unacceptable instantly, naturally, pointedly giving the justification for his choice without missing a beat. Boy. Why don’t we make criminals this decent again, before we let them run….

The Don is almost pained by the offer of money from “this undertaker,” whom he — until after Bonasera’s departure, in his last word to TOM HAGEN — treats with as much reverence as for the priest of a small parish or a lost brother-in-law.

In spite how little he thinks of him. All in the writing.

In his “I understand” (and Marlon’s deeply empathetic delivery) we realize the Don is neither a sociopath nor does he resent law abiding citizens wanting to stay aloof of this type. We are already on this guy’s side comparing him to the irrational, “law-abiding-until-it-hurt-his-toe” everyman Bonasera. Frankly at this point in the movie I’d trade half my own overtly law-abiding acquaintances to be nice to this guy’s moral code. From those six minutes alone, not … on the other hand I don’t think I ever disliked him. I have to watch this movie again.

There is a lot more introducing/expressing Don’s profile. In his patient silence and command of the room, we see him listening, and can only presume listening with empathy as he asks Sunny to help. People in the room are revealed slowly, and only when Bonasera offers him money, we are hurriedly introduced to the quorum of respectfully silent but imposing gentlemen each with presence, elevating the Don’s presence as the chief. None of this, or his silences when he figures out how to explain it to this “prodigal petty man” is written in the script. But 100% germane to “writing” the story today, unless the writer is an auteur. Is there a single moment when he takes any action or refrains from moving a finger, that doesn’t present this man to us? Them big shoes, methinks.

Finally, briefly what I referred to above, they both put each other in a challenging situation. Don is “required” by traditional norms to help anyone on his daughter’s wedding day but this man is an : ) apostate. Bonasera is challenged to accept a relationship he has despised for decades.

• This reply was modified 1 year, 11 months ago by  Sandeep Gupta.

[Deb Johnson]

Really appreciated the following insights:

“Only when we are settled in wanting to comfort him, we realize someone else is patiently listening to him, like us. Perhaps that helps us identify with Don? ”

I think you’re right.

“Bonasera is challenged to accept a relationship he’s despised for decades”

One thing that adds depth/intrigue to this scene is that the relationship goes way back – and as far as Don Corleone is concerned, it hasn’t been a friendly relationship. This is not just someone off the street asking for a favor.

[Deb Johnson]

<div>The Godfather</div>

The writer creates suspense as we listen to the man’s story and wonder who he is talking to. They don’t reveal the Don’s face till the man whispers his request (which is denied).

The Don is a great character because he is relaxed, reasonable, and a family man – yet he’s the head of a crime family. He wants people to respect him and extend to him friendship – he’s not interested in their money… only in what they may be able to do for him someday in return for the favor. There is a lot of talking, yet it’s engaging because it reveals the depth of the character.

[Sandeep Gupta]

oh boy, thanks, i missed that! yes, i think so too, that’s yet another key. the first time we see his face we are seeing him reject a “disproportionate response.” duh, this writer is of course brilliant. i just wondered why he didn’t intercut footage of the girl in the hospital during Bonasera’s monologue, to intensify the moment, and realized it’s probably a “negative” red herring. we want to know more about the girl’s situation, and pinned to the chair to know more and he takes us into the story about something else …

also, thanks for reading my attempt Deb.

[Karyn Laitis]

THE GODFATHER–Character Introduction Week 3, Day 2

The scene positions Don Corleone as more powerful than law enforcement and the “American” judicial system. But He is very clear that he is not about “justice” for hire. That’s not how family works. As head of the powerful family, he expects respect, he expects friendship and loyalty. He expects to be addressed as “Godfather”. He will help a friend with an expectation of a yet to be determined favor in the future.

The “Don” made it clear that had the father come to him, rather than the police, justice would’ve been served and any outsiders would be fearful of the of that relationship-no one would dare to mess with him or his daughter.

In a very short scene, a lot was conveyed to the audience.

What I learned from this assignment: Again, I’m not yet in writing my characters for the script idea. These exercises provide a wonderful approach and methodology to build great characters.