By: Jay Dyer
Based on Mario Puzzo’s novel of the same name, Francis Ford Coppola’s The Godfather is known as one of the greatest films in cinematic history. Though the third installment has noticeably lower critical ratings, the trilogy as a whole is worthy viewing, but for JaysAnalysis, we will be taking a different route. Not only is the trilogy an enjoyable aesthetic experience, reviewing the series of late, I was surprised to see so many parallels to real-life conspiracies, assassinations, skullduggery and deep state agendas I’ve researched the last decade.
The Godfather garnered numerous awards in 1972, including Best Picture and Best Actor for Marlon Brando as Don Corleone, but the real message of the trilogy has gone unnoticed to most – it is my thesis the trilogy is an excellent insight into how the management of the world actually plays out. No, the world isn’t run by Italian mafiosos, and there are families much older and with much more clout than the composite Corleone Family in the narrative, but the means, methods, and machinations of the Family are how the world is really run.
The first insight is the family’s interest in maintaining their genetic lineage, tradition and culture through the preservation of their bloodline. An idea lost to most nowadays in our postmodern nihilism, the Don and his brood are not interested in outsiders. In fact, the Sicilian Mafia has always required a “made man,” that is, someone who is brought into the family network, be full-blooded Italian (though these ideas may have become relaxed). Immigrant families learned long ago the local police and law enforcement were often corrupt and bought off, so the need for internal justice among displaced groups was natural. This pragmatic insight occurs often in the film, as Michael, Don’s youngest and heir to the Family, tries to explain to his bewildered American wife Kay the importance of the Family.
As the Corleone’s rise to power, it is crucial to understand it is not achieved through honest, hard work, but through being clever, bold and mastering various black markets. Unwilling to descend into the drug trade, at a meeting of the bosses, Don Corleone explicitly refuses to enter into the drug trade unless the specification of no selling in Italian neighborhoods is met. Blacks, the bosses contend, were foolish enough to allow drugs in their areas without grasping the consequences. In other words, in this scene The Godfather shows that prohibition, criminality and the phony “drug war” and its endless litany of state programs are worthless. The prohibition of the vices allows the black markets to control those trades through government complicity.
While I’m not advocating anarchism here, I am trying to illustrate the mindset of the immigrant populace as portrayed in the film, and their mafia bosses. If the police and legal system are notoriously corrupt, justice could only be had internally. From the perspective of the bosses, the war between mobsters and cops or mobster and mobster is no different from any other war between one nation and another nation. In other words, the mafia dons recognized the point Augustine long ago made – “government” is quite often just another organized gang of thugs who legalize theft and criminality. It is worth noting that eventually the Corleone family is called before congressional hearings to account for their operation, yet even by 1951, according to J. Edgar Hoover, the mafia was explicitly said to not exist (showing public naiveté).
Growing beyond the confines of New York, the Corleones make the move to Vegas, projecting the future of the rising casino economy to be a boon. Ousting rival Jewish mafia dons, the Corleone discover shooting cops is not longer the way to achieve their agenda, as they require the vote of a Senator for the acquisition of certain casinos. Instead, they find blackmail through the network of their whorehouses to be far more useful in playing to the vice of an already crooked and arrogant Senator Pat Geary. We thus see the Family progressing beyond local enterprise into national ventures, as they start to use intelligence agency style espionage – a key factor in their rise. On top of that, Michael Corleone has killed all his rivals by this stage, and is the quickly becoming the chief Don as others are gradually eliminated. Also insightful is the deep connection of the mob with the rise of Las Vegas, which Coppola masterfully captures.
The rise of the casino and gambling industry is the path by which Michael goes international. In Godfather II, Michael and his brother are in Cuba, wining and dining the local elite, as well as Mafia Don Hyman Roth (is Roth symbolic of Meyer Lansky?), as deals are in the works to establish Michael’s buyout of Roth’s Cuban operation. The backdrop for this setting is the western corporate elite’s usage of Cuba for money-laundering operations that were united to mafia organizations. United Fruit Company, telecoms, and Michael’s casinos all have a hand in plans to set up Cuba as a major resort destination. Instead, the deal falls through as Michael backs out, realizing Castro’s revolucion will succeed. (Also worth noting is the CIA’s usage of Cuban exiles as a drug backed paramilitary force in that region during this period.) Although not mentioned directly, JFK was befriended by several sectors of the mafia, and for most analysts of the JFK assassination, there is a mafia connection, as exiled Cubans were involved in the plot.
From a deep state vantage, the third installment is the most revealing. By Godfather III, Michael and the family have become billionaires and are now international. Playing on the global scale, it is interesting to note that Michael never loses sight of the importance of blood over business. Having been betrayed numerous times, even by kin, Michael’s wisdom dictates that the bloodline is what endures. Though his son is now like the early version of himself, eschewing the family business, Michael has accepted the harsh reality that the game requires, now taking on global competitors. Accepting a high award from the papacy, Michael’s strategic alliance with the pope means his foundation (a front) will be able to broker one of the largest land deals in the world. From this we can see how, at this level, Michael has learned that playing the old Rockefeller game of establishing a tax-free foundation and accepting holy medals from the Archbishop is the best way to game the system – by becoming the system.
The most revealing aspect is the assassination of John Paul I – a striking scene I had forgotten and was not expecting. Having delved deep into the subterfuges of the Catholic world myself, viewing Godfather III the last time as a teenager, I was obviously unaware. Years later, it is evident that Puzzo and Coppola are revealing the actual story behind the death of John Paul I in 1978.
Mirroring the death in the play Michael and the family are watching in a theater, simultaneous to the attempt on Michael’s life, Michael learns there will be an attempt on the pope’s life by the P2! The P2 is of course the Italian Freemasonic mafia, long rumored to be involved in the Vatican Bank scandal that was intimately tied to the death of Roberto Calvi and John Paul I. Considered a “conspiracy theory,” there is much more at work here with the ritual deaths of Calvi and John Paul I (after 33 days as pope – a significant masonic number), and explicit mention of both occur in the conclusion of trilogy. It should also be noted that reports of mafia initiation rituals require blood oaths and symbolism that resemble masonry.
I wrote previously in my Fatima and Bankster Fraud article as follows:
“This would suggest the co-opting of the Vatican was much earlier than the Vatican II conspiracy most traditional Catholics adhere to. The anti-Russian stance thus betrays a specific anti-Russian bias that continues today, as the mega banking houses of our day are still embroiled in Vatican Bank scandals, recalling the ritual death of Roberto Calvi and John Paul I. With this geopolitical setting in mind, we can consider Fatima within this milieu and my thesis is as follows: The Western Atlanticist powers had planned World War I and II, and the miraculous “revelations” of Fatima specifically target Russia as the villain that will “spread her errors” to the globe. As Sutton and Quigley detail, funding for world communism and fascism came from western capital.”
Just as Michael Corleone discovers (all too late), even as one rises to the pinnacles of global wealth and power, there are always other mafiosos waiting in the wings to take you down. As the beautiful Italian lead is murdered in the play they are watching, so does the metanarrative become real as Michael exits the theater only to witness his own daughter’s assassination. The cold, dark lighting Coppola chose for the trilogy speaks to the cold, dark reality of the fallen world we inhabit, where earthly wealth, power and vanity soon fade, and like Michael, we are left with the tears of an aged repentance.