ABSTRACT
As Francis Ford Coppola’s The Godfather begins, the audience hears a disembodied accented voice declare, “I believe in America.” Although this appears to be a simple statement celebrating the possibilities of the American Dream, we shortly see this phrase connected to the political universe of the mafia and the Italian American community in post-World War II New York. While this declaration will become specific to the constituent story about Amerigo Bonasera (Salvatore Corsitto), an ambitious undertaker, and his relationship with Don Vito Corleone (Marlon Brando), it also defines the movie’s broader narrative discourse about the complexities and limitations of the American immigrant experience. In this opening sequence, Bonasera announces his belief in America while turning to the world of organized crime. The undertaker has come to Don Vito’s home “on the day of [the don’s] daughter’s wedding,” seeking the don’s services to avenge his daughter. Bonasera describes how she was assaulted by “American boys” who “tried to take advantage of her,” and was beaten severely for resisting their sexual advances. While the undertaker trumpets how “America has made my fortune,” it is clear that he has lost faith in its institutions. He initially sought justice through the American legal system, only to be astonished that the perpetrators received a “suspended sentence.” Following the trial, Bonasera was further humiliated when the boys “laughed in my face.” Enraged and dishonored, he told his wife that “for justice I will go to Don Corleone.” Bonasera’s proud declaration actually reveals the major theme about the relationship between ethnic identity and the American Dream that drives the narrative tension in The Godfather. Bonasera had hoped to distance himself from the Italian culture and traditions reflected in Don Vito’s ethnic community, pursuing his American Dream by disconnecting from this world because he “did not want to get into trouble,” a decision Don Vito clearly understands. But now he has returned to the protective social networks of the
Italian American community and the ethical system administered by the don, realizing that these ethnic institutions and its values ultimately provide the form of “justice” that will restore his family honor.1 As we quickly learn, Bonasera’s ethical and cultural dilemma will also trouble Don Vito’s youngest son Michael (Al Pacino) who, like Bonasera, has distanced himself from his father’s ethnic traditions, only to eventually accept the mafia’s moral philosophy in order to avenge the don’s attempted murder.
