A friend of mine recently contracted a passionate regard for Francis Ford Coppola’s film, The Godfather (1972). So strong is his partiality that he has decided to go and make disciples of all men and women for this "greatest film ever." I saw the film more than a dozen years ago and was not eager to see it again. I dislike watching bodies being periodically peppered by bullets (or strangled, exploded, and so forth) regardless of the quality of the surrounding acting, but I decided to watch in the name of friendship and education.

If you have seen the film, you will remember that the Godfather, Vito Corleone (played by Marlon Brando), is the elderly head of a New York family crime syndicate. By the end of the film Vito is dead and his son, Michael (Al Pacino), has become the new Godfather. I once again found the acting, cinematography, and music impressive, but could not find the story very worthwhile, other than in remarking how the Godfather’s kingdom is a humorless parody of God the Father’s.

The Godfather, "like" God, lives in a palatial estate, surrounded by (mostly) loyal henchman, ready to run to the ends of the earth (New Jersey, Las Vegas, Hollywood) to carry out the master’s bidding. Somewhat like God, at least as represented in Job, his business consists of listening to a daily report of problems and opportunities brought forward by his chief counselor and rendering Solomonic decisions, which are immediately implemented by his operatives.

Again somewhat like God, on special occasions he entertains petitioners who come with prayers for assistance in personal or business matters. With considerable financial and political influence, the Godfather is often able to carry out his will in a cordial, even charming manner, but when thwarted he resorts to terrorizing his enemies into submission or rubbing them out.

The essential difference, which leads to many others, is that the Godfather’s kingdom is built on selfishness, while God the Father’s is built on love.

The Godfather’s kingdom preys on its subjects, creating and exploiting their vices for profit: gambling, prostitution, alcohol, and drugs. It is this larger evil that supports the "good" of its fine houses, clothes, cars. A privileged few (the "family") live high on the misery of others. God’s kingdom, it need hardly be said, is based on a generous invitation to all, and the plan of salvation is built around God sacrificing himself and his Son for the good of the masses, not the other way around.

Let me add something further about the difference between treating all others well, as a matter of principal, and treating selected family members well. It is true that the Godfather treats some of his relatives and associates well, kisses them on the cheek, offers encouraging words, does favors for them. But this is only as long as they are in his favor, and as long as they are promising to do favors for him when he requests them. Furthermore, those outside this favored circle are subject to any kind of reprehensible treatment, and those inside never know when they might suddenly be cast out.

The Godfather’s kingdom is pragmatic, and any means to a desired end is acceptable. Characters frequently lie to each other to gain a tactical advantage for plotting murders and other unsavory acts. For instance, Michael tells his brother-in-law Carlo he’s not going to get in trouble for confessing his part in the setup of Sonny, that he will be extended grace. Once the confession is obtained, however, Michael immediately has his brother-in-law strangled.

Even though family loyalty is occasionally touted as a virtue in The Godfather, it is readily dispensable when it conflicts with self-interest. The cryptic tag line "it’s nothing personal, just business," is used to excuse and even justify every kind of heinous action. In contrast, God the Father’s kingdom is idealistic, based on principle. Ends can only be accomplished through means that do not violate those ends.

In the short term, the Godfather’s way of doing business appears dramatically effective. Michael is able to arrange the assassinations of his immediate rivals and consolidate power. (In a scene of great irony, the assassinations occur while he is acting as Godfather at a dedication of his nephew and affirming his adherence to religious creed.)

However, not unlike Macbeth, Michael finds (as is further born out in Godfather II) that the seat of power is never secure, and he descends into a pitiful paranoia, all his good qualities and potential destroyed by his loss of character.

The tragedy of the film is that old Vito supposedly entered a life of crime in order to become a better provider for his family, but that choice leads instead to the moral degradation of the family and the loss of character of his prized son and heir.

God the Father, it seems to me, has it right after all. The Godfather makes "an offer we can’t refuse." God, on the other hand, makes an offer we can refuse—but after revisiting this film I appreciate the opportunity to be a part of his family more than ever.

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