Depth and Frame for Corleone The depth of field and framing in the ending scene of Francis Ford Coppola’s 1972 film The Godfather uses an assortment of focuses and cunning surroundings to portray the sincerity and emotional concepts which aid in the expression and dramatic power of Michael Corleone’s rise as Godfather. Application of both soft and deep focus photography combined with tight framing greatly influence the meaning and structure associated with Michael’s growth of power and allows us, the audience, to pay attention to details of the event occurring.
In terms of depth of field, during the last few minutes of the ending scene, we see Michael Corleone and Kay are in the same room discussing whether or not Michael is responsible for the murder of his sister’s husband. We see his Kay ask the question if he’s guilty or not, but during the scene, as he begins his reply, we see a constant deep focus camera shot on Michael whereas a soft focus shot is almost always directed towards Kay. She is mainly drowned out of the picture as a soft focus remains almost constant on the back of her head leaving Michael as the main focal point and in a subjective point of view to Kay. These particular attentions to detail begin to show the lack of importance of Kay, and a more personal importance of Michael. By this, the audience can see a disconnection and assume that a separation into two worlds is now occurring. These focuses greatly affect the audiences’ view of a separation of Michael’s thoughts and actions towards his family and work.
We also find the relevance in depth of field through tight framing as well. Very little room for movement which is distinct with tight framing personally meant to me that Michael had taken over an empire, and he had made a choice which he could not undo. Moreover, remaining on a focus of Michael, the technique of framing allows for him to be the focal point for the last few minutes of the film. This ultimately creates appeal to the viewer which allows for particular attention and analysis to what is occurring. To give an example, after the conversation with Kay concerning the murder of his sister’s husband, Kay walks out of the room and then looks behind her to see her husband standing in the doorway. The doorway was used as a clever way to direct the audiences’ attention directly to Michael after his wife had left the room. The shot shows Michael standing in the doorway with very little room to move around. But, the doorway shows the audience the separation between Michael’s two worlds. On one side is his family, and on the other side is his work. The door shutting at the end of the movie shows how these two worlds will never be together.
Depth of field and cleverly adjusted framing aid the audience in figuring out the separation of Michael and Kay. An aid in determining who carries more importance as the film comes to an end. The ending scene where Michael is standing in the doorway where a deep focus fixated on him and a soft focus fixated on the back of Kay’s head, we automatically figure out that Michael is of the most importance between the two. Still seeing the back of Kay’s head as she watches Michael from the other side of the doorway, we see Michael being deemed Godfather, and then the door shuts. This part explains in complete detail what has occurred between Michael’s relationship with Kay and his newly formed standing as Godfather.