The tension created by cinematic drama often diverges significantly from the gritty realities they purport to portray. This dichotomy is starkly illustrated by the iconic mob film, The Godfather, whose dinner scene has become one of cinema's most talked-about moments, yet it fails to accurately reflect actual mob life.
James Caan, portraying Sonny Corleone, famously wore a dental prosthetic to heighten his character's aggression. Meanwhile, Marlon Brando was just 47 during filming but is made to appear significantly older through heavy makeup. Such creative choices did not just shape characters but also contributed to the film's romanticized version of organized crime.
Animator Ralph Bakshi famously criticized The Godfather for glamorizing the mafia, pointing out the inaccuracies of its portrayal. Speaking on this, former mob member Anthony Ruggiano Jr. opined about the narrative's believability, particularly during Michael Corleone's infamous murder of corrupt cop Mark McCluskey and rival mob boss Sollozzo. Ruggiano observed, "Michael should have just gone in and shot Sollozzo and McCluskey instead of dining with them first". This glaring deviation highlights how The Godfather transforms straightforward violence for dramatic tension, creating scenes brimming with dramatic weight—yet far removed from the cold calculus of real gangster life.
Unlike The Godfather, Martin Scorsese's The Irishman takes strides to demystify the quote-unquote glamour of the mafia, presenting killings with brutal directness and realistic backdrops. The contrasting approaches lay bare Hollywood's tendency to prioritize narrative over realism, particularly evident when considering Michael's calculated ruthlessness juxtaposed against mobsters driven more by profit than honor.
It is this crafted tension, particularly surrounding the dinner scene, which cements The Godfather’s legacy. The film's methodical pacing renders violence not just as action but as narrative crescendo—an artifice rarely found within any true history of organized crime.
Yet, The Godfather isn’t the only cinematic touchstone influenced by the glamorization of mob life. The recent Aamir Khan Film Festival commemorated the superstar’s 60th birthday with films showcasing his evolution as one of India’s great actors, shedding light not only on his successes but also on films often forgotten, such as Aatank Hi Aatank (1995).
Interestingly, Aatank Hi Aatank serves as Bollywood's nod to The Godfather, loosely borrowing many elements from Coppola's masterpiece. Starring Rajinikanth alongside Khan and Juhi Chawla, the film follows the story of a farmer turned gangster. Key scenes mirror those from The Godfather—the introduction at a marriage, the initial assassination attempt occurring near a fruit stall—and Khan's character's transformation echoes the arc of Michael Corleone himself.
Perhaps most telling is Akele Hum Akele Tum, where Aamir Khan starred opposite Madhuri Dixit, featuring the song “Raja Ko Rani Se Pyaar Hogaya,” which takes inspiration from The Godfather’s theme, emphasizing its influence permeates even beyond direct adaptations.
Last-minute additions to Aatank Hi Aatank include Kabir Bedi as police officer and Om Puri as hitman, adding layers of familiarity for audiences who followed Khan’s earlier hits. The film’s mise-en-scène hewed to the 1990s aesthetic—favoring blue Ambassadors over modern car chases to depict the gangster lifestyle. A song, Gunda Rap, encapsulates the era's style with Michael Jackson-inspired outfits, showcasing how late 20th-century Indian cinema attempted to capture and remix the aura of Western crime epic narratives.
Despite its connections to The Godfather, Aatank Hi Aatank stands as a reminder of Bollywood's tendencies to adopt and adapt iconic storytelling for local audiences, blending humorous parody with serious homage—a reflection of the often contradictory nature of cinematic representation.
Both The Godfather and Aatank Hi Aatank incite audiences to discuss and dissect the portrayal of crime, brotherhood, and morality through their layered narratives. While The Godfather romanticizes the mob lifestyle, it remains influential across borders, informing not just how stories are told but how they resonate culturally with audiences seeking to understand the darker sides of ambition and success. It begs the question: what does it truly mean to be good and evil when couched within the allure of cinematic storytelling?