In the Name of the Godfather...

One of the most clever uses of montage editing in the history of film is the Baptism of Fire scene from The Godfather. In Anatomy of a Film, Bernard F. Dick discusses the way in which montage creates the desired emotional response. "Russian filmmaker Sergei Eisenstein believed that shots should not so much connect as collide, and that the viewer should be affected by their collision. Unlike continuity editing, which is supposed to be unobtrusive, montage calls attention to itself...Eisensteinian montage is based on contrast and conflict, which can exist both within the film as a whole and within a particular shot or scene. The Baptism of Fire is an excellent example of the latter.

Holy crap. That contrast just blows you away (no pun intended). The composition of images of a baby being baptized in white lace alongside shots (pun intended) of murdered crime lords is impactful and heart-wrenching.  The soundtrack and audio do even more to emphasize the violent disparity between Michael Corleone's words and intentions. That feeling like you just got punched in the gut, but in a beautiful, artful way? That was totally intentional. Some call this the best movie scene of all time.

As Dick shows in Anatomy of a Film, the mixture of close shots (such as Michael's face as he renounces Satan), medium shots (Don Cuneo being shot in the revolving door), and long shots (Don Barzini's murder on the courthouse steps) provide variety and add to the abruptness of the switches from shot to shot. The tonal montage, paired with the careful soundtrack, provide a richness of emotion.