The scope of Frances Ford Coppola’s gangster opus The Godfather is large, not only in its fairly cyclical nature and trilogy format, but also for the way it views the United States of America. In the first entry of the trilogy, Coppola draws a detailed map of the United States as a capitalist enterprise, where nearly every action any character takes is under the guise of one thing (family loyalty, masculine coda, etc.) but is merely another action taken by the business. Its enormous scope notwithstanding, Coppola paints an intimate portrait of a family business, keying in on the specific nuances of the family business. Business is booming.