In drama, not all things that captivate us as an audience are done in a negative or unseemly light. On the contrary, some of the greatest moments in drama occur when a character stays true to their values and ideals in the face of great corruption. Situations such as these abound in both The Godfather and Julius Caesar. The most apparent example of this is the plight of Brutus as he wavers between treachery and nobility in his decision to betray the trust of Caesar, and join in Cassius'conspiracy to assassinate him.  In spite of his great love for Caesar, Brutus declares that he "Did love Rome more," and is capable of moralizing his way out of any situation he comes across.

In The Godfather, the audience is equally transfixed by the dilemma of Michael Corleone, the family's youngest son, and the one least expected to follow in his father's, Don Vito Corleone footsteps. A recent college graduate and World War II veteran, Michael must choose between pursuing a life outside of his family business, or taking over his father's position as the patriarchal head. His decision to pursue the latter is done not only out of logical necessity, but also out of a greater love for his father and for the rest of his family. In the course of the movie's progression, we as an audience are held in suspense as Michael's character develops from that of an idealistic young man to a seasoned and tempered senior officer in a mafia super group.

This use of relatable human attributes such as honor and loyalty to the characters we see in movies and plays makes them all the more real to us, and prompts a closer evaluation of ourselves as people. These chracteristics make them likeable as well; can any work of drama be considered truly great if the characters are not likeable in some sense? No, and neither The Godfather or Julius Caesar fail to deliver.

Wrong-Doing in the Name of Good