Francis Ford Coppola‘s The Godfather revolutionized the gangster film genre, bringing to life the compelling narrative of Mario Puzo‘s acclaimed novel and solidifying its place as one of the most remarkable films in cinematic history. The franchise, which includes two additional films, continues to be celebrated as the quintessential representation of the mobster movie genre, renowned for its extraordinary storytelling, captivating performances, and setting a high bar for future films in this category.
Over the years, devoted fans and critics alike have analyzed Coppola’s masterpiece, engaging in discussions about the intricate details and rich symbolism that enhance the legacy of these classic films. A prominent symbol that recurs throughout all three installments is the presence of oranges, strategically placed during critical moments. Coppola has acknowledged that he originally included these vibrant fruits to create contrast against the darker tones of certain scenes; however, the appearance of an orange unmistakably signals that significant plot developments are imminent.
10
Engaging with Partners in Cuba: A Critical Turning Point
‘The Godfather: Part II’ (1974)
In The Godfather: Part II, the protagonist Michael Corleone (Al Pacino) travels to Cuba for a critical meeting with Hyman Roth (Lee Strasberg) and several other key figures involved in Roth’s investments during the Batista regime. As they convene around a lavishly set table, the presence of oranges among the other fruits is unmistakable. At this juncture, Michael has yet to solidify his partnership with Roth. Just after this meeting, he witnesses a shocking altercation involving Cuban rebels and government officers, forcing him to reevaluate his business dealings.
Before this pivotal meeting, Michael had deliberately misled Roth into believing he was committed to investing, all while being aware of Roth’s previous assassination attempt on him. Once they return to Roth’s residence following the meeting, Michael confronts Roth with his differing viewpoints, marking the beginning of a contentious dialogue that ultimately deteriorates their relationship. Following this disagreement, their bond irrevocably fractures, leading to dire consequences when the government falls into the hands of rebels and Michael uncovers the devastating betrayal by his own brother, Fredo (John Cazale).
The Godfather Part II
- Release Date
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December 20, 1974
- Runtime
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202 minutes
9
The Encounter with Don Fanucci During the Feast of San Rocco
‘The Godfather: Part II’ (1974)
The second installment of The Godfather franchise, The Godfather: Part II, is often hailed as one of the rare sequels that not only matches but exceeds the brilliance of its predecessor. The film delves into the origin story of Vito Corleone, enriching the audience’s understanding of this legendary character while establishing a profound contrast between father and son. A pivotal moment occurs when the local crime boss, Don Fanucci (Gastone Moshin), discovers that Vito (Robert De Niro), along with his associates Peter Clemenza (Bruno Kirby) and Salvatore Tessio (John Aprea), have been generating profits without offering him a share.
Vito, aware of the power dynamics, agrees to let Fanucci take a cut, assuring Clemenza and Tessio that Fanucci will not see a single cent—”I’ll make him an offer he can’t refuse.” Following their meeting, Fanucci leisurely strolls through the streets during the Feast of San Rocco, casually picking up an orange, a seemingly innocuous act. Yet, moments later, when Fanucci returns home, he is met with an unexpected fate as Vito lies in wait and eliminates him. The seemingly benign act of Fanucci picking up the orange heightens the tension, subtly hinting at the impending doom, and intensifies the suspense for the audience, showcasing Coppola’s masterful storytelling techniques.
8
Critical Meeting with the Commission Before an Ambush
‘The Godfather: Part III’ (1990)
In The Godfather: Part III, the Commission expresses interest in becoming involved in the Immobilaire deal. However, Michael seeks to legitimize the Corleone family business, prompting him to propose selling his Las Vegas interests to the Commission instead. During a meeting with these powerful figures, a large bowl of oranges, alongside other fruits, is prominently displayed on the table. In a dramatic turn of events, an orange rolls off the table just before chaos erupts as the group is ambushed by a helicopter assault.
After surviving this harrowing experience, Michael returns home, piecing together that Don Altobello (Eli Wallach), the New York mob boss and godfather to Connie, orchestrated the brutal ambush, leading to a diabetic stroke for Michael. In this pivotal scene, Coppola elevates the symbolism of the oranges, allowing the audience to perceive the ambush as more than just an attack on the Commission; it showcases the director’s remarkable ingenuity in crafting suspenseful narratives.
7
The Heartbreaking Death of Vito Corleone
‘The Godfather’ (1972)
Towards the film’s conclusion, Vito can be seen enjoying a sunny day in his garden with his grandson, sipping wine, and indulging in an orange. While he peels the fruit, he humorously attempts to entertain his grandson, inadvertently startling him. Once the child realizes his grandfather is merely playing, he joyfully pretends to chase Vito like a friendly monster through the lush tomato plants. However, this blissful moment takes a tragic turn when Vito suddenly collapses and passes away.
This poignant death scene serves as a striking example of how Coppola uses contrasting elements to evoke emotional responses. The vibrant colors of the scene—ripe tomatoes, green grass, and the bright orange in Vito’s hand—create a stark juxtaposition against the gravity of Vito’s fate. Notably, Vito’s earlier encounter with oranges during his attack earlier in the film underscores an intriguing coincidence: he is seen both buying and consuming oranges before his death. This foreshadowing encapsulates the bittersweet essence of Vito’s demise, revealing a side of him that is tender and playful, transcending his identity as a mere mob boss.
6
The Symbolic Orange in Front of Emilio Barzini
‘The Godfather’ (1972)
Following the tragic murder of his son, Sonny (James Caan), Vito Corleone takes decisive action by instructing Tom Hagen (Robert Duvall) to initiate a meeting with all the crime families, emphasizing the need to end the ongoing civil war and senseless violence. The primary conflict emerges between Vito and Philip Tattaglia (Victor Rendina), both of whom are grappling with the loss of their sons. During this pivotal meeting, Emilio Barzini (Richard Conte) is introduced, seated at a table adorned with various fruits, prominently featuring an orange positioned at the forefront.
On their way home from this crucial gathering, Vito reveals to Tom that while the majority believe Tattaglia is orchestrating the conflict, he has come to realize that Barzini has been the true mastermind all along. The deliberate placement of the orange serves as a visual cue, subtly signaling to the audience that Barzini is the real power behind the scenes. This revelation empowers Vito and Michael, allowing them to anticipate Barzini’s forthcoming proposal for a meeting with Michael, which is, in fact, a deadly trap, ultimately exposing the traitor within the Corleone family.
5
The Iconic Dinner with Jack Woltz
‘The Godfather’ (1972)
When Tom Hagen is dispatched to Los Angeles to negotiate with Hollywood producer Jack Woltz (John Marley) regarding the casting of Johnny Fontaine in an upcoming film, he is treated to a lavish dinner. During this meal, a shiny silver bowl brimming with oranges is prominently placed between the two men seated at opposite ends of the table. Unfortunately, the negotiation does not conclude favorably for Tom. Following this meeting, the audience is confronted with the shocking aftermath, as Woltz awakens in his bed to find the decapitated head of his prized horse resting at his feet.
This infamous scene featuring the horse’s head has become a hallmark of cinematic history, serving as a gruesome foreshadowing entwined with the oranges. While some may view the dramatic act as excessive, it gains an added layer of complexity when considering a deleted scene that reveals Woltz’s unsavory character in greater depth. In this omitted segment, Tom encounters an obviously underage girl at Woltz’s residence, raising ethical concerns that heighten the disturbing nature of Vito’s message.
4
The Tragic Death of Michael Corleone
‘The Godfather: Part III’ (1990)
In the aftermath of his daughter’s tragic murder, Mary (Sofia Coppola), Michael Corleone retreats from the world, choosing to live a solitary life at his Lake Tahoe residence. As the camera zooms in on the once-dominant mob leader, we find him sitting alone outdoors on a serene day, holding an orange in one hand. Shortly thereafter, Michael’s peaceful existence is shattered as he succumbs to death, and the orange tumbles from his grasp to the ground below.
In 2020, a re-edited version of the third film, titled The Godfather Coda: The Death of Michael Corleone, was released in commemoration of its 30th anniversary, culminating in Michael’s demise, paralleling the death of his father. The relentless pursuit of legitimacy for his family, in an effort to honor his father’s legacy, ultimately leads to Michael’s tragic downfall, resulting in the loss of everything and everyone he held dear. The imagery of the orange at this juncture powerfully symbolizes Michael’s profound solitude and the tragic void left by the departure of those he loved most.
3
The Foreboding Gift from Johnny Ola
‘The Godfather: Part II’ (1974)
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