The Dialects of Sin in Shakespeare's Macbeth and Francis Ford Coppola's The Godfather Trilogy

Abstract

Since its first performance in or around 1606, Shakespeare's Macbeth has been the target of a vast number of theatrical and cinematographic reproductions. This paper claims that, rather than giving its direct rereading, Coppola's The Godfather Trilogy applies the tragic mechanism of Macbeth and thus diverges from other types of gangster films. This is shown through the discussion of the consequences of sin and the problem of free will with respect to Macbeth, and the protagonist of the Godfather-saga, Michael Corleone. In both pieces, sin is interpreted as a work of art, which through its directive inspiration provides complete artistic freedom to the protagonists, yet at the same time heavily determines their action through that very work of art itself. Resulting from the differences of the two genres, in Macbeth's case the dramatic portrayal of sin condenses into a single act of murder, while in the epic saga of Michael it is broken up into smaller episodes, manifesting themselves in different deeds, which one by one echo various aspects of Macbeth's predicament. However, the two protagonists also create their respective worlds which enclose them more and more; their attempt to escape will prove to be an illusion, and what is most valuable for their lives is destroyed through their own actions.