Screenplay Analysis of The Godfather: Hollywood Three-Act Structure
Abstract
Telling stories through film can be accomplished in different ways. The most commonly used storytelling approach in film is referred to as the Hollywood three-act structure. Other approaches that do not comply with the traditional Hollywood screenplay design are known as the alternative style of screenwriting. This article provides a screenplay analysis of the American film “The Godfather”. The purpose of this article is to provide a screenplay analysis of “The Godfather” in terms of its story structure. I will accomplish this by first providing a brief description of the Hollywood three-act structure. Then, I will define the key terms that comprise a story’s design. After this, I will provide an analysis of the film using story design terminology relative to the overall structure of each screenplay.
Hollywood Three-Act Structure
The Hollywood three-act structure is the most common screenwriting approach used today. It is most widely used in films produced in America. The three-act structure is very easy for the viewing audience to comprehend and understand. “The first act gets the audience involved with the characters and the story. The second act keeps it involved and heightens its emotional commitment to the story. The third act wraps up the story and brings the audience’s involvement to a satisfactory end” (Howard 24-25). Basically, Act 1 is the beginning of the story, Act 2 is the middle, and Act 3 is the end of the story. For a typical 120-page screenplay, Act 1 is 30 pages long (or 30 minutes), Act 2 is 60 pages (60 minutes), and Act 3 is 30 pages (30 minutes). Usually, the Inciting Incident which is followed by Plot Point 1 occurs in Act 1. Plot Point 2 occurs after the midpoint of Act 2. Then, the Story Climax which is “the biggest scene in the movie, where good confronts evil and where the final battle is waged” (Keane 85) occurs toward the end of Act 3.
Act 1 is characterized by Setup, Act 2 by the Confrontation, and Act 3 by the Resolution. During the Setup phase in Act 1, the story begins with establishment of the characters, clarification of the “movie’s premise, location, and genre. In other words, you start with a main character whose entire world is about to be shattered, who is going to be more severely tested than ever before, and whose way of looking at life is going to be changed forever” (Keane 72). During Act 2 (the Confrontation Phase), “the character faces a series of obstacles” (Keane 79). As the story progresses in this segment of the story, the number of obstacles as well as their intensity increases as the story progresses forward (Keane 79). Act 3 (the Resolution Phase) is “where we find out if the main character achieves his or her goal… and… where the plot is resolved. Once resolution has taken place, the three-act screenplay is over” (Dancyger 56).
Story Design Terminology
In order to properly analyze a screenplay, an understanding of the key terms of story design along with their definitions is necessary. For ease of reference, the key terms are defined below:
- Genre: A category or style of screenplay depicting its content and affecting the author’s approach to writing the story.
- Setting: “A story’s setting is four-dimensional — Period, Duration, Location, Level of Conflict” (McKee 68).
- Plot: “To plot means to navigate through the dangerous terrain of [the] story and when confronted by a dozen branching possibilities to choose the correct path. Plot is the writer’s choice of events and their design in time” (McKee 43).
- Structure: “Structure is a selection of events from the character’s life stories that is composed into a strategic sequence to arouse specific emotions and to express a specific view of life” (McKee 33).
- Character: “A part or role, as in a play, motion picture, or the like (Random House College Dictionary 225).
- Scene: “A scene is an action through conflict in more or less continuous time and space that turns the value-charged condition of a character’s life on at least one value with a degree of perceptible significance” (McKee 35)
- Sequence: “A sequence is a series of scenes — generally two to five — that culminates with greater impact than any previous scene” (McKee 38).
- Act: “An act is a series of sequences that peaks in a climactic scene which causes a major reversal of values, more powerful in its impact than any previous sequence or scene” (McKee 41).
- Protagonist: “The leading character or hero of a drama or other literary work” (Random House College Dictionary 1063).
- Antagonist: The adversary of the hero.
- Inciting Incident: “The inciting incident radically upsets the balance of forces in the protagonist’s life” (McKee 189).
- Story Climax: “A story is a series of acts that build to a last act climax or story climax which brings about absolute and irreversible change” (McKee 42).
“The Godfather”
“The Godfather” (1972) is Part I of a trilogy of films directed by Francis Ford Coppola. Based on a novel by Mario Puzo, the screenplay was written by Mario Puzo and Francis Ford Coppola. From a story perspective, the motion picture won an Oscar for Best Screenplay Based on Material from Another Medium (Dirks). The film is of the gangster genre; however, it was different than the typical gangster films of the 1930s. “The Godfather” was a film that ”re-invented the gangster genre, elevating the classic Hollywood gangster film to a higher level by portraying the gangster figure as a tragic hero” (Dirks).
Synopsis
The film is about Don Vito Corleone (the patriarchal head of a Mafia family in New York) who is invited by Virgil “The Turk” Sollozzo (another New York family leader in the Mafia) to start selling drugs throughout the state. However, Don Vito refuses to get involved with the drug business. He is satisfied continuing with their gambling and protection efforts. As a result of his refusal, Sollozzo orders an attempt to be made on Don Vito’s life. As a result, Vito is gunned down in the middle of a street. Thinking Vito was dead, Sollozzo then tries to get Vito’s son (Santino “Sonny” Corleone — the new family leader) to agree to sell narcotics as part of the family business. However, Sollozzo’s plan is thwarted when he finds out that the ‘Don’ (i.e., Don Vito Corleone) did not die. Don Vito’s other son (Michael ‘Mike’ Corleone) kills Sollozzo which leads to a war among the gangster/mob families of New York. The war leads to Sonny’s death as well as the assassination of Michael’s wife (Appollonia) in Sicily. Michael later remarries his previous sweetheart (Kay Adams), the aged Don Vito Corleone dies, and Michael becomes the new “Don Corleone” (Howard 189-191).
Main Characters
- Don Vito Corleone
- Don Michael ‘Mike’ Corleone
- Santino ‘Sonny’ Corleone
- Virgil ‘The Turk’ Sollozzo
- Kay Adams-Corleone
- Carlo Rizzi
- Constanzia ‘Connie’ Corleone-Rizzi
Act 1 – The Setting
In Act 1, the story’s setting is established; and we are introduced to “the main conflict around which the story will be built” (Howard 25). The “world of Don Corleone [is set up during Act 1]: his responsibilities; his family members and their conflicts; the difficulties he faces with the law and competing families; the statesmanship he must possess in order to keep his family and friends supportive of his leadership” (Ryan 97). “The story is told from the point of view of Michael Corleone… who is the emotional center of the movie” (Ryan 96). The time period is in the mid-1940s. The location of the story takes place in and around the city of Long Beach, New York, as well as in Hollywood, California. The level of conflict throughout the story occurs in the human dimension and depicts the struggles between the Corleone and Sollozzo families. In the first act, all of the main characters are introduced in the story. In fact, they are all introduced during the opening sequence of the movie at Don Vito’s daughter’s wedding reception. During the wedding, Michael Corleone tells his girlfriend (Kay Adams) about the murder and violence associated with his family’s business. Then he tells her, “That’s my family, Kay; that’s not me” (Ryan 97). This sets up an inquisitiveness among the viewing audience on whether or not Michael Corleone will be like his family or be different. Later into the act, the inciting incident occurs where the attempt is made to kill Michael’s father (Don Vito Corleone). During the first act, there are two protagonists in the story — Don Vito Corleone and Michael Corleone. They have “similar and related objectives, but they aren’t quite identical” (Howard 191). “Vito wants to maintain his power and wield it according to the traditions and expectations of his highly ritualized organized-crime upbringing. Michael is faced not so much with an established and stagnant power base as with one that is eroding; his objective is to recapture and consolidate that power base” (Howard 191-192). The antagonists to Don Vito and Michael are Virgil ‘The Turk’ Sollozzo and the other mob family leaders.
Act 2 – The Confrontation
Upon notification of his father being gunned down, Michael Corleone immediately comes to help and be with his family. With Vito being shot, the question looming over the minds of the audience is, “Who will now lead the family…?” (Ryan 97). The second act amplifies the intensity of the pressure being placed on Michael and the circumstances he is confronted with. During this act, Michael decides that Sollozzo must be killed, and he actually carries out the assassination by himself. After killing Sollozzo, “Michael must go into exile; he must lie low until the shock waves of his bold action have subsided” (Ryan 98). However, as time goes on, two other inciting incidents occur — Sonny (who was temporarily leading the Corleone family while Vito was recovering from his injuries) is ambushed and Michael’s new wife in Sicily is killed. This leads to the close of the second act by leaving a vacuum in the leadership of the Corleone family. With the loss of “the opportunity to start his own family” (Ryan 98), Michael now returns home and assumes leadership of the Corleone family.
Act 3 – The Resolution
During Act 3, Don Vito calls all of the families together in an attempt to resolve all of the differences and put an end to the war among the 5 mob families in New York. “In the spirit of resolution, Michael reconciles with Kay and achieves his goal of starting his own family” (Ryan 98). Subsequent to this, Don Vito officially retires from his family business leadership role; and Michael becomes the new head of the Corleone family. These actions all bring a sense of closure and resolution to the story. However, the story climaxes when Michael arranges for the murder of his brother-in-law, Carlo, who has betrayed the family and set up Sonny to be gunned down” (Ryan 99). It is at this time that Michael reveals his true character. He has now shown that he “will now murder not only outside his family but also inside it” (Ryan 99). He further demonstrates his lack of moral integrity when he “lies to his wife, Kay, about murdering Carlo” (Ryan 99). In this scene, his action is totally opposite to what he told Kay during the wedding reception in Act 1 when he said, “That’s my family, Kay; that’s not me” (Ryan 99).
Closing Comments to “The Godfather” Screenplay Analysis
“The Godfather” is built on the traditional Hollywood three-act structure. It does a good job in setting up the story, developing the characters and their confrontations, and brings resolution to the story’s conclusion that all of the key conflicts are somewhat over… in spite of the prevailing winds of another storm about to enter over the horizon as revealed in the subsequent film, “The Godfather – Part II.”
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WARNING (SPOILERS) -- Please be advised that the following excerpt from The Wolves of Trisidian novel contains SPOILERS. It reveals elements from a climactic event in the story that threaten to give away important details of the plot and the dramatic turn of events contained in the book.
Sample Application of Three Act Structure to Novel Writing
I applied the Hollywood Three Act Structure to my epic medieval fantasy novel, The Wolves of Trisidian. In the following synopsis, you will find a description of the Three Act Structure that I used in the novel, to include: Act 1 (Setting), Act 2 (Confrontation), and Act 3 (Resolution).
ACT 1 - SETTING
A local area farmer by the name of COSSUA LONGMIRE finds Geoffrey lying down on the river’s bank at the point of exhaustion. After hearing that Geoffrey was an orphan, Cossua offers to take Geoffrey under his care. When Geoffrey hears that Cossua is a former First Knight of Actalon, he asks Cossua to train and mentor him. Over the next two years, Geoffrey learns the skills and chivalric attributes of knighthood. As a result, Geoffrey receives new hope and ideas that provide a positive drive forward in his life
SIR VEZIAN CALDURO, the First Knight of Stonehaven, visits Cossua's farm to water his horses. To Sir Vezian’s surprise, he discovers that Cossua served with and helped his father, SIR AKNER OF ACTALON, in a time of great need at the Battle of Krandora many years ago. Due to Cossua’s efforts, Sir Akner offered to return the good favor he provided on behalf of his father. Cossua requests that Geoffrey served as Sir Vezian’s Page with the goal of later becoming a Squire and ultimately a Knight of Stonehaven. Sir Vezian agrees to Cossua’s request. Geoffrey accompanies Sir Vezian to Castle Stonehaven and enters the noble pathway to knighthood.
Over the next several years, Geoffrey fulfills the responsibilities of a Page. He is later promoted to the status of a Squire at Stonehaven. During his training as a Squire, he learns advanced skills of swordsmanship, horsemanship, and jousting. He also receives academic training in the arts and sciences. In this capacity, he becomes well acquainted with knightly manners of the court as well as how to play a musical instrument, the viol.
PRINCESS DRUTEERA, the daughter of LORD BRISHEN ALEXANDER and LADY SERENA OF STONEHAVEN, is attracted to Geoffrey. However, Geoffrey views their relationship more as like a brother-sister rapport instead of a romantic one. This frustrates Druteera. However, during a musical celebration at Castle Stonehaven, Geoffrey meets a beautiful young maiden standing in the Great Hall. Her name is CORTAY DEVEREAUX, a recently hired maidservant working for Princess Druteera. Druteera sees an invisible web of attraction building between Geoffrey and Cortay. Druteera becomes jealous and reassigns Cortay to work as a laborer in the fields that her beautiful face and skin would wrinkle from the drying effects of the hot summer sun. In spite of Druteera’s efforts to put a division between Geoffrey and Cortay, their relationship continues to flourish.
ACT 2 - CONFRONTATION
When Geoffrey’s trusted friend, Lucian of Trisidian, makes a surprise visit from Castle Trisidian to Castle Stonehaven, things start changing again for Geoffrey as another triggering event occurs that deepens the problem of Trisidian tyranny against the Alliance of Jandor. Lord Alexander learns from Lucian that Lord Randall’s Army of Trisidian will be launching a surprise attack upon the unwalled City of Granador in 3-days. Since Granador was part of the Alliance of Jandor, the Armies of Stonehaven and Actalon immediately depart to help their fellow alliance member.
After an initial wave of success at the Battle of Granador by the allied Army of Jandor against the Dark Riders and Black Wolves of Trisidian, another conflict is introduced to Geoffrey when the Alliance members are confronted with a battle dilemma that causes things to start changing with a reversal against them. Then, more conflict occurs for Geoffrey at another turning point in the battle when an arrow from a Dark Rider pierces Sir Vezian’s chest. When Sir Vezian dies in his arms, Geoffrey is now at the lowest point and absolute worst scenario of his life. Geoffrey builds toward resolution of the Battle of Granador as he steps forward to help defend Lord Alexander from two Dark Riders moving forward to kill him. After the two Riders are defeated, Geoffrey sees a Dark Rider in the distance firing a bolt at Lord Alexander. Geoffrey successfully pushes Lord Alexander out of the way of the streaming bolt’s path. However, in doing so, the bolt enters the side of Geoffrey’s chest instead. After Lord Alexander removes the arrow from Geoffrey’s chest, he discovers that it is the Arrow of Grief, sable in color with the triangular head of Trisidian. The bolt was launched by none other than Lord Randall himself. Geoffrey immediately stands to his feet and sees his blood father, Lord Randall, preparing to launch another bolt with Geoffrey being the target this time.
Geoffrey pulls his crossbow up and prepares to fire an arrow at his blood father, Lord Randall. He is conflicted as to whether or not to shoot with intent to kill or just wound him. However, Geoffrey receives new hope as he decides to show grace and only shoot to injure Lord Randall. Doing so, Geoffrey plans on taking Lord Randall as his prisoner of war with the hope of letting the Court of the Jandor Alliance determine his fate. However, after successfully striking Randall’s right shoulder with a bolt knocking him down to the ground, another complication arises for Geoffrey as he runs to take his father prisoner. Geoffrey sees an unidentified soldier plunge a dagger into the hollow of the Lord Randall’s throat putting an end to his life. Then, for some unknown reason, the soldier cuts the palm of his left hand with the bloody dagger he used to kill Lord Randall. Then, he pushes his cut palm into the pool of blood on Lord Randal’s throat. As Geoffrey makes his way to the scene, the mysterious soldier departs the area and escapes into the shrouded forest.
As Geoffrey stares at Lord Randall’s dead body, he experiences an ephipany moment of revelational insight as he hears the sounds of fighting men and screaming wolves engaged in battle. The sound of soldiers crying out from their injuries makes Geoffrey sick to his stomach. He wants to put an end to the senseless loss of human lives. He grits his teeth and finds myself inexplicably dissatisfied with the wages of war. A sudden thin chill hangs on the tip of Geoffrey’s tongue. His heart flames with such scalding fury that it almost chokens him. He knows that the only way to stop the killing that is filling the forest of Granador is to strike terror and dread upon the Dark Riders. Geoffrey decides to do something that will make their spirits motionless as a stone.
ACT 3 - RESOLUTION
A climactic end and resolution finally comes at the Battle of Granador. Filled with potent rage, Geoffrey decides to pull Lord Ranall’s sword from its sheath. He lifts it high into the sky and brings it down with full force upon his dead father’s neck. The sharp blade separates Randall’s head from his body. Geoffrey lifts up Lord Randall’s head by its long hair and carries it about 50 ells outside of the forest ridgeline on the open Plain of Granador for all to see. With the fires still burning on the plain behind him, Geoffrey is in full view of everyone fighting within the forest ridgeline. As the Dark Riders and Black Wolves of Trisidian see their beheaded leader, their spirits plunge downward. They begin to tremble, and fear falls upon them. They become dismayed. Rather than seek a compromise or negotiate, the Army of Trisidian retreats from the battle. The Army of Jandor stands victorious against the Trisidian invaders.
After the Army of Trisidian departed Granador, Geoffrey’s eyes could scarcely take in the revulsion that existed before him. The blood of men, wolves, and horses paints the ground. Carcasses of beings who once lived in Trisidian, Actalon, Granador, and Stonehaven are strewn over the earth. The horror of the Battle of Granador envelops Geoffrey as he peers upon upon the massive amount of human and animal carnage surrounding him. Geoffrey approaches the desolate spear holding Lord Randall’s head in the sky. As he stares at Lord Randall’s head upon the bloody pole, the face haunts Geoffrey. Randall’s face appears cold and lashing as Geoffrey falls upon his knees to the ground. Geoffrey is crippled by the lonely silence at the foot of the spear that held Lord Randall’s head up to the eerie red sky.
Geoffrey looks down at the leather wristlet he is wearing on his left wrist. He reflects upon the inscription, “Geoffrey – Peaceful Pledge.” He comprehends how the love of power leads to death and how a humble spirit rooted in the power of love is the pathway to life. Geoffrey's way of thinking is thoroughly renewed. He has risen from the depths of being just a poor slave boy in Trisidian to new heights in his manhood as a Knight of Stonehaven. He is equipped with new thoughts and understandings about the issues of life. Geoffrey’s previous self is dead. He has risen from the crisis at the Battle of Granador. He knows his life was transformed there by the life-giving power of the God of Jandor. Geoffrey's old life is now passed, and all things are now become new for him.
Suddenly, Geoffrey hears a multitidue of footsteps approaching him from behind. The soldiers of the Jandor Alliance assemble around him. Geoffrey looks into the weary faces of men, young and old alike. Suddenly, one young soldier standing directly in front of Geoffrey says, “Sire, help us have hope.” Geoffrey knew that although the Army of Jandor was victorious, the Battle of Granador came with a great cost to the soldiers. As Geoffrey looks into the disillusioned eyes of the young soldier and those standing around him, he realizes the horror and trauma of war they experienced on the battlefield that day would change their lives and those of their families forever. Somehow, Geoffrey knows he needs to somehow help them overcome their sense of helplessness.
Armed with principles of righteousness and truth, Geoffrey is ready to show the discouraged soldiers that their lives can also be changed. He believes they can also rise to new heights they once before thought not possible. Geoffrey delivers a message of hope to the soldiers that they can recover their lost vigor and lost innocence. Geoffrey encourages the soldiers that they can embrace a new life, a new reality, and a new sense of being through the Good and Wonderful One.
After hearing Geoffrey’s words of encouragement and hope, the multitudes of soldiers are inspired. They have renewed courage and confidence in what the God of Jandor did for them and what He was going to do in and through them in the future. Their hope for peace in Jandor and the role they had in helping bring it about was renewed. The soldiers were filled with feelings of invigoration and excitement as they focused their expectations and hope for the future in the Good and Wonderful One.
As a result of the various trials and challenges Geoffrey has faced up to this point in his life, he finally comes to terms with himself. Geoffrey now knows that even though he may undergo trials in the future, he is able to overcome them. He has come to a point in his life that he knows his strengths and weaknesses. Geoffrey now knows who he is as a person, and he has come to terms with the difficult challenges of his past. He accepts and understands why he did not live a flawless, ideal life. Due to Geoffrey's renewed faith, understanding, and confidence in the God of Jandor, he knows that he will prevail no matter what may befall him.
As Geoffrey returns back home to his Land of Stonehaven, he takes everything he learned through his journey at the Battle of Granador with him. He is prepared to help awaken, lift up, and transform his formerly enslaved community of people in Jandor from their depths of dispair and disillusionment after living for years under Trisidian's reign of terror. Geoffrey commits himself to help the people of his beloved Land of Jandor in advancing their lives to greater heights. He seeks to encourage them to embrace the newly given freedom from Trisidian tyranny by embracing a renewed life through personal hope in the Good and Wonderful One.
REFERENCES
Dancyger, Ken. Global Scriptwriting. Boston: Focal Press, 2001.
Dirks, Tim. The Godfather (1972). (On-line). Retrieved October 22, 2002 from the World Wide Web ( http://www.filmsite.org/godf.html ).
Howard, David and Edward Mabley. The Tools of Screenwriting — A Writer’s Guide to the Craft and Elements of a Screenplay. New York: St. Martin’s Griffin, 1993.
Keane, Christopher. How to Write a Selling Screenplay. New York: Broadway Books, 1998.
McKee, Robert. Story — Substance, Structure, Style, and the Principles of Screenwriting. New York: Regan Books, 1997.
Random House College Dictionary (Revised Edition). New York: Random House Publishers, Inc., 1980.
Ryan, James. Screenwriting from the Heart — The Technique of the Character-Driven Screenplay. New York: Billboard Books, 2000.
The Wolves of Trisidian -- A Novel by Adrian Robbe
Telling stories through film can be accomplished in different ways. The most commonly used storytelling approach in film is referred to as the Hollywood three-act structure. Other approaches that do not comply with the traditional Hollywood screenplay design are known as the alternative style of screenwriting. This article provides a screenplay analysis of the American film “The Godfather”. The purpose of this article is to provide a screenplay analysis of “The Godfather” in terms of its story structure. I will accomplish this by first providing a brief description of the Hollywood three-act structure. Then, I will define the key terms that comprise a story’s design. After this, I will provide an analysis of the film using story design terminology relative to the overall structure of each screenplay.
Hollywood Three-Act Structure
The Hollywood three-act structure is the most common screenwriting approach used today. It is most widely used in films produced in America. The three-act structure is very easy for the viewing audience to comprehend and understand. “The first act gets the audience involved with the characters and the story. The second act keeps it involved and heightens its emotional commitment to the story. The third act wraps up the story and brings the audience’s involvement to a satisfactory end” (Howard 24-25). Basically, Act 1 is the beginning of the story, Act 2 is the middle, and Act 3 is the end of the story. For a typical 120-page screenplay, Act 1 is 30 pages long (or 30 minutes), Act 2 is 60 pages (60 minutes), and Act 3 is 30 pages (30 minutes). Usually, the Inciting Incident which is followed by Plot Point 1 occurs in Act 1. Plot Point 2 occurs after the midpoint of Act 2. Then, the Story Climax which is “the biggest scene in the movie, where good confronts evil and where the final battle is waged” (Keane 85) occurs toward the end of Act 3.
Act 1 is characterized by Setup, Act 2 by the Confrontation, and Act 3 by the Resolution. During the Setup phase in Act 1, the story begins with establishment of the characters, clarification of the “movie’s premise, location, and genre. In other words, you start with a main character whose entire world is about to be shattered, who is going to be more severely tested than ever before, and whose way of looking at life is going to be changed forever” (Keane 72). During Act 2 (the Confrontation Phase), “the character faces a series of obstacles” (Keane 79). As the story progresses in this segment of the story, the number of obstacles as well as their intensity increases as the story progresses forward (Keane 79). Act 3 (the Resolution Phase) is “where we find out if the main character achieves his or her goal… and… where the plot is resolved. Once resolution has taken place, the three-act screenplay is over” (Dancyger 56).
Story Design Terminology
In order to properly analyze a screenplay, an understanding of the key terms of story design along with their definitions is necessary. For ease of reference, the key terms are defined below:
- Genre: A category or style of screenplay depicting its content and affecting the author’s approach to writing the story.
- Setting: “A story’s setting is four-dimensional — Period, Duration, Location, Level of Conflict” (McKee 68).
- Plot: “To plot means to navigate through the dangerous terrain of [the] story and when confronted by a dozen branching possibilities to choose the correct path. Plot is the writer’s choice of events and their design in time” (McKee 43).
- Structure: “Structure is a selection of events from the character’s life stories that is composed into a strategic sequence to arouse specific emotions and to express a specific view of life” (McKee 33).
- Character: “A part or role, as in a play, motion picture, or the like (Random House College Dictionary 225).
- Scene: “A scene is an action through conflict in more or less continuous time and space that turns the value-charged condition of a character’s life on at least one value with a degree of perceptible significance” (McKee 35)
- Sequence: “A sequence is a series of scenes — generally two to five — that culminates with greater impact than any previous scene” (McKee 38).
- Act: “An act is a series of sequences that peaks in a climactic scene which causes a major reversal of values, more powerful in its impact than any previous sequence or scene” (McKee 41).
- Protagonist: “The leading character or hero of a drama or other literary work” (Random House College Dictionary 1063).
- Antagonist: The adversary of the hero.
- Inciting Incident: “The inciting incident radically upsets the balance of forces in the protagonist’s life” (McKee 189).
- Story Climax: “A story is a series of acts that build to a last act climax or story climax which brings about absolute and irreversible change” (McKee 42).
“The Godfather”
“The Godfather” (1972) is Part I of a trilogy of films directed by Francis Ford Coppola. Based on a novel by Mario Puzo, the screenplay was written by Mario Puzo and Francis Ford Coppola. From a story perspective, the motion picture won an Oscar for Best Screenplay Based on Material from Another Medium (Dirks). The film is of the gangster genre; however, it was different than the typical gangster films of the 1930s. “The Godfather” was a film that ”re-invented the gangster genre, elevating the classic Hollywood gangster film to a higher level by portraying the gangster figure as a tragic hero” (Dirks).
Synopsis
The film is about Don Vito Corleone (the patriarchal head of a Mafia family in New York) who is invited by Virgil “The Turk” Sollozzo (another New York family leader in the Mafia) to start selling drugs throughout the state. However, Don Vito refuses to get involved with the drug business. He is satisfied continuing with their gambling and protection efforts. As a result of his refusal, Sollozzo orders an attempt to be made on Don Vito’s life. As a result, Vito is gunned down in the middle of a street. Thinking Vito was dead, Sollozzo then tries to get Vito’s son (Santino “Sonny” Corleone — the new family leader) to agree to sell narcotics as part of the family business. However, Sollozzo’s plan is thwarted when he finds out that the ‘Don’ (i.e., Don Vito Corleone) did not die. Don Vito’s other son (Michael ‘Mike’ Corleone) kills Sollozzo which leads to a war among the gangster/mob families of New York. The war leads to Sonny’s death as well as the assassination of Michael’s wife (Appollonia) in Sicily. Michael later remarries his previous sweetheart (Kay Adams), the aged Don Vito Corleone dies, and Michael becomes the new “Don Corleone” (Howard 189-191).
Main Characters
- Don Vito Corleone
- Don Michael ‘Mike’ Corleone
- Santino ‘Sonny’ Corleone
- Virgil ‘The Turk’ Sollozzo
- Kay Adams-Corleone
- Carlo Rizzi
- Constanzia ‘Connie’ Corleone-Rizzi
Act 1 – The Setting
In Act 1, the story’s setting is established; and we are introduced to “the main conflict around which the story will be built” (Howard 25). The “world of Don Corleone [is set up during Act 1]: his responsibilities; his family members and their conflicts; the difficulties he faces with the law and competing families; the statesmanship he must possess in order to keep his family and friends supportive of his leadership” (Ryan 97). “The story is told from the point of view of Michael Corleone… who is the emotional center of the movie” (Ryan 96). The time period is in the mid-1940s. The location of the story takes place in and around the city of Long Beach, New York, as well as in Hollywood, California. The level of conflict throughout the story occurs in the human dimension and depicts the struggles between the Corleone and Sollozzo families. In the first act, all of the main characters are introduced in the story. In fact, they are all introduced during the opening sequence of the movie at Don Vito’s daughter’s wedding reception. During the wedding, Michael Corleone tells his girlfriend (Kay Adams) about the murder and violence associated with his family’s business. Then he tells her, “That’s my family, Kay; that’s not me” (Ryan 97). This sets up an inquisitiveness among the viewing audience on whether or not Michael Corleone will be like his family or be different. Later into the act, the inciting incident occurs where the attempt is made to kill Michael’s father (Don Vito Corleone). During the first act, there are two protagonists in the story — Don Vito Corleone and Michael Corleone. They have “similar and related objectives, but they aren’t quite identical” (Howard 191). “Vito wants to maintain his power and wield it according to the traditions and expectations of his highly ritualized organized-crime upbringing. Michael is faced not so much with an established and stagnant power base as with one that is eroding; his objective is to recapture and consolidate that power base” (Howard 191-192). The antagonists to Don Vito and Michael are Virgil ‘The Turk’ Sollozzo and the other mob family leaders.
Act 2 – The Confrontation
Upon notification of his father being gunned down, Michael Corleone immediately comes to help and be with his family. With Vito being shot, the question looming over the minds of the audience is, “Who will now lead the family…?” (Ryan 97). The second act amplifies the intensity of the pressure being placed on Michael and the circumstances he is confronted with. During this act, Michael decides that Sollozzo must be killed, and he actually carries out the assassination by himself. After killing Sollozzo, “Michael must go into exile; he must lie low until the shock waves of his bold action have subsided” (Ryan 98). However, as time goes on, two other inciting incidents occur — Sonny (who was temporarily leading the Corleone family while Vito was recovering from his injuries) is ambushed and Michael’s new wife in Sicily is killed. This leads to the close of the second act by leaving a vacuum in the leadership of the Corleone family. With the loss of “the opportunity to start his own family” (Ryan 98), Michael now returns home and assumes leadership of the Corleone family.
Act 3 – The Resolution
During Act 3, Don Vito calls all of the families together in an attempt to resolve all of the differences and put an end to the war among the 5 mob families in New York. “In the spirit of resolution, Michael reconciles with Kay and achieves his goal of starting his own family” (Ryan 98). Subsequent to this, Don Vito officially retires from his family business leadership role; and Michael becomes the new head of the Corleone family. These actions all bring a sense of closure and resolution to the story. However, the story climaxes when Michael arranges for the murder of his brother-in-law, Carlo, who has betrayed the family and set up Sonny to be gunned down” (Ryan 99). It is at this time that Michael reveals his true character. He has now shown that he “will now murder not only outside his family but also inside it” (Ryan 99). He further demonstrates his lack of moral integrity when he “lies to his wife, Kay, about murdering Carlo” (Ryan 99). In this scene, his action is totally opposite to what he told Kay during the wedding reception in Act 1 when he said, “That’s my family, Kay; that’s not me” (Ryan 99).
Closing Comments to “The Godfather” Screenplay Analysis
“The Godfather” is built on the traditional Hollywood three-act structure. It does a good job in setting up the story, developing the characters and their confrontations, and brings resolution to the story’s conclusion that all of the key conflicts are somewhat over… in spite of the prevailing winds of another storm about to enter over the horizon as revealed in the subsequent film, “The Godfather – Part II.”
The video "The Godfather Trailer (HD)" at https://youtu.be/sY1S34973zA was uploaded by Fan-Made Film Trailers to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use."
WARNING (SPOILERS) -- Please be advised that the following excerpt from The Wolves of Trisidian novel contains SPOILERS. It reveals elements from a climactic event in the story that threaten to give away important details of the plot and the dramatic turn of events contained in the book.
Sample Application of Three Act Structure to Novel Writing
I applied the Hollywood Three Act Structure to my epic medieval fantasy novel, The Wolves of Trisidian. In the following synopsis, you will find a description of the Three Act Structure that I used in the novel, to include: Act 1 (Setting), Act 2 (Confrontation), and Act 3 (Resolution).
ACT 1 - SETTING
A local area farmer by the name of COSSUA LONGMIRE finds Geoffrey lying down on the river’s bank at the point of exhaustion. After hearing that Geoffrey was an orphan, Cossua offers to take Geoffrey under his care. When Geoffrey hears that Cossua is a former First Knight of Actalon, he asks Cossua to train and mentor him. Over the next two years, Geoffrey learns the skills and chivalric attributes of knighthood. As a result, Geoffrey receives new hope and ideas that provide a positive drive forward in his life
SIR VEZIAN CALDURO, the First Knight of Stonehaven, visits Cossua's farm to water his horses. To Sir Vezian’s surprise, he discovers that Cossua served with and helped his father, SIR AKNER OF ACTALON, in a time of great need at the Battle of Krandora many years ago. Due to Cossua’s efforts, Sir Akner offered to return the good favor he provided on behalf of his father. Cossua requests that Geoffrey served as Sir Vezian’s Page with the goal of later becoming a Squire and ultimately a Knight of Stonehaven. Sir Vezian agrees to Cossua’s request. Geoffrey accompanies Sir Vezian to Castle Stonehaven and enters the noble pathway to knighthood.
Over the next several years, Geoffrey fulfills the responsibilities of a Page. He is later promoted to the status of a Squire at Stonehaven. During his training as a Squire, he learns advanced skills of swordsmanship, horsemanship, and jousting. He also receives academic training in the arts and sciences. In this capacity, he becomes well acquainted with knightly manners of the court as well as how to play a musical instrument, the viol.
PRINCESS DRUTEERA, the daughter of LORD BRISHEN ALEXANDER and LADY SERENA OF STONEHAVEN, is attracted to Geoffrey. However, Geoffrey views their relationship more as like a brother-sister rapport instead of a romantic one. This frustrates Druteera. However, during a musical celebration at Castle Stonehaven, Geoffrey meets a beautiful young maiden standing in the Great Hall. Her name is CORTAY DEVEREAUX, a recently hired maidservant working for Princess Druteera. Druteera sees an invisible web of attraction building between Geoffrey and Cortay. Druteera becomes jealous and reassigns Cortay to work as a laborer in the fields that her beautiful face and skin would wrinkle from the drying effects of the hot summer sun. In spite of Druteera’s efforts to put a division between Geoffrey and Cortay, their relationship continues to flourish.
ACT 2 - CONFRONTATION
When Geoffrey’s trusted friend, Lucian of Trisidian, makes a surprise visit from Castle Trisidian to Castle Stonehaven, things start changing again for Geoffrey as another triggering event occurs that deepens the problem of Trisidian tyranny against the Alliance of Jandor. Lord Alexander learns from Lucian that Lord Randall’s Army of Trisidian will be launching a surprise attack upon the unwalled City of Granador in 3-days. Since Granador was part of the Alliance of Jandor, the Armies of Stonehaven and Actalon immediately depart to help their fellow alliance member.
After an initial wave of success at the Battle of Granador by the allied Army of Jandor against the Dark Riders and Black Wolves of Trisidian, another conflict is introduced to Geoffrey when the Alliance members are confronted with a battle dilemma that causes things to start changing with a reversal against them. Then, more conflict occurs for Geoffrey at another turning point in the battle when an arrow from a Dark Rider pierces Sir Vezian’s chest. When Sir Vezian dies in his arms, Geoffrey is now at the lowest point and absolute worst scenario of his life. Geoffrey builds toward resolution of the Battle of Granador as he steps forward to help defend Lord Alexander from two Dark Riders moving forward to kill him. After the two Riders are defeated, Geoffrey sees a Dark Rider in the distance firing a bolt at Lord Alexander. Geoffrey successfully pushes Lord Alexander out of the way of the streaming bolt’s path. However, in doing so, the bolt enters the side of Geoffrey’s chest instead. After Lord Alexander removes the arrow from Geoffrey’s chest, he discovers that it is the Arrow of Grief, sable in color with the triangular head of Trisidian. The bolt was launched by none other than Lord Randall himself. Geoffrey immediately stands to his feet and sees his blood father, Lord Randall, preparing to launch another bolt with Geoffrey being the target this time.
Geoffrey pulls his crossbow up and prepares to fire an arrow at his blood father, Lord Randall. He is conflicted as to whether or not to shoot with intent to kill or just wound him. However, Geoffrey receives new hope as he decides to show grace and only shoot to injure Lord Randall. Doing so, Geoffrey plans on taking Lord Randall as his prisoner of war with the hope of letting the Court of the Jandor Alliance determine his fate. However, after successfully striking Randall’s right shoulder with a bolt knocking him down to the ground, another complication arises for Geoffrey as he runs to take his father prisoner. Geoffrey sees an unidentified soldier plunge a dagger into the hollow of the Lord Randall’s throat putting an end to his life. Then, for some unknown reason, the soldier cuts the palm of his left hand with the bloody dagger he used to kill Lord Randall. Then, he pushes his cut palm into the pool of blood on Lord Randal’s throat. As Geoffrey makes his way to the scene, the mysterious soldier departs the area and escapes into the shrouded forest.
As Geoffrey stares at Lord Randall’s dead body, he experiences an ephipany moment of revelational insight as he hears the sounds of fighting men and screaming wolves engaged in battle. The sound of soldiers crying out from their injuries makes Geoffrey sick to his stomach. He wants to put an end to the senseless loss of human lives. He grits his teeth and finds myself inexplicably dissatisfied with the wages of war. A sudden thin chill hangs on the tip of Geoffrey’s tongue. His heart flames with such scalding fury that it almost chokens him. He knows that the only way to stop the killing that is filling the forest of Granador is to strike terror and dread upon the Dark Riders. Geoffrey decides to do something that will make their spirits motionless as a stone.
ACT 3 - RESOLUTION
A climactic end and resolution finally comes at the Battle of Granador. Filled with potent rage, Geoffrey decides to pull Lord Ranall’s sword from its sheath. He lifts it high into the sky and brings it down with full force upon his dead father’s neck. The sharp blade separates Randall’s head from his body. Geoffrey lifts up Lord Randall’s head by its long hair and carries it about 50 ells outside of the forest ridgeline on the open Plain of Granador for all to see. With the fires still burning on the plain behind him, Geoffrey is in full view of everyone fighting within the forest ridgeline. As the Dark Riders and Black Wolves of Trisidian see their beheaded leader, their spirits plunge downward. They begin to tremble, and fear falls upon them. They become dismayed. Rather than seek a compromise or negotiate, the Army of Trisidian retreats from the battle. The Army of Jandor stands victorious against the Trisidian invaders.
After the Army of Trisidian departed Granador, Geoffrey’s eyes could scarcely take in the revulsion that existed before him. The blood of men, wolves, and horses paints the ground. Carcasses of beings who once lived in Trisidian, Actalon, Granador, and Stonehaven are strewn over the earth. The horror of the Battle of Granador envelops Geoffrey as he peers upon upon the massive amount of human and animal carnage surrounding him. Geoffrey approaches the desolate spear holding Lord Randall’s head in the sky. As he stares at Lord Randall’s head upon the bloody pole, the face haunts Geoffrey. Randall’s face appears cold and lashing as Geoffrey falls upon his knees to the ground. Geoffrey is crippled by the lonely silence at the foot of the spear that held Lord Randall’s head up to the eerie red sky.
Geoffrey looks down at the leather wristlet he is wearing on his left wrist. He reflects upon the inscription, “Geoffrey – Peaceful Pledge.” He comprehends how the love of power leads to death and how a humble spirit rooted in the power of love is the pathway to life. Geoffrey's way of thinking is thoroughly renewed. He has risen from the depths of being just a poor slave boy in Trisidian to new heights in his manhood as a Knight of Stonehaven. He is equipped with new thoughts and understandings about the issues of life. Geoffrey’s previous self is dead. He has risen from the crisis at the Battle of Granador. He knows his life was transformed there by the life-giving power of the God of Jandor. Geoffrey's old life is now passed, and all things are now become new for him.
Suddenly, Geoffrey hears a multitidue of footsteps approaching him from behind. The soldiers of the Jandor Alliance assemble around him. Geoffrey looks into the weary faces of men, young and old alike. Suddenly, one young soldier standing directly in front of Geoffrey says, “Sire, help us have hope.” Geoffrey knew that although the Army of Jandor was victorious, the Battle of Granador came with a great cost to the soldiers. As Geoffrey looks into the disillusioned eyes of the young soldier and those standing around him, he realizes the horror and trauma of war they experienced on the battlefield that day would change their lives and those of their families forever. Somehow, Geoffrey knows he needs to somehow help them overcome their sense of helplessness.
Armed with principles of righteousness and truth, Geoffrey is ready to show the discouraged soldiers that their lives can also be changed. He believes they can also rise to new heights they once before thought not possible. Geoffrey delivers a message of hope to the soldiers that they can recover their lost vigor and lost innocence. Geoffrey encourages the soldiers that they can embrace a new life, a new reality, and a new sense of being through the Good and Wonderful One.
After hearing Geoffrey’s words of encouragement and hope, the multitudes of soldiers are inspired. They have renewed courage and confidence in what the God of Jandor did for them and what He was going to do in and through them in the future. Their hope for peace in Jandor and the role they had in helping bring it about was renewed. The soldiers were filled with feelings of invigoration and excitement as they focused their expectations and hope for the future in the Good and Wonderful One.
As a result of the various trials and challenges Geoffrey has faced up to this point in his life, he finally comes to terms with himself. Geoffrey now knows that even though he may undergo trials in the future, he is able to overcome them. He has come to a point in his life that he knows his strengths and weaknesses. Geoffrey now knows who he is as a person, and he has come to terms with the difficult challenges of his past. He accepts and understands why he did not live a flawless, ideal life. Due to Geoffrey's renewed faith, understanding, and confidence in the God of Jandor, he knows that he will prevail no matter what may befall him.
As Geoffrey returns back home to his Land of Stonehaven, he takes everything he learned through his journey at the Battle of Granador with him. He is prepared to help awaken, lift up, and transform his formerly enslaved community of people in Jandor from their depths of dispair and disillusionment after living for years under Trisidian's reign of terror. Geoffrey commits himself to help the people of his beloved Land of Jandor in advancing their lives to greater heights. He seeks to encourage them to embrace the newly given freedom from Trisidian tyranny by embracing a renewed life through personal hope in the Good and Wonderful One.
REFERENCES
Dancyger, Ken. Global Scriptwriting. Boston: Focal Press, 2001.
Dirks, Tim. The Godfather (1972). (On-line). Retrieved October 22, 2002 from the World Wide Web ( http://www.filmsite.org/godf.html ).
Howard, David and Edward Mabley. The Tools of Screenwriting — A Writer’s Guide to the Craft and Elements of a Screenplay. New York: St. Martin’s Griffin, 1993.
Keane, Christopher. How to Write a Selling Screenplay. New York: Broadway Books, 1998.
McKee, Robert. Story — Substance, Structure, Style, and the Principles of Screenwriting. New York: Regan Books, 1997.
Random House College Dictionary (Revised Edition). New York: Random House Publishers, Inc., 1980.
Ryan, James. Screenwriting from the Heart — The Technique of the Character-Driven Screenplay. New York: Billboard Books, 2000.
The Wolves of Trisidian -- A Novel by Adrian Robbe
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