Character Analysis: The Godfather

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C. Comparison The film has a notable distinction in its characters. The Godfather has the honor of having a more refined set of characters in regards of execution and the distribution of traits, in comparison. Scarface has characters that are spread thin, with the few having the most concentration of traits. Tony, Manny, Gina, Elvira and Sosa are the only notable characters that have concentrated traits. Michael and Tony’s personalities are polar opposites. Michael is a law-abiding citizen, aspiring to live a normal life with his girlfriend, Kay. He was only dragged into family affairs after the attempted hit on his father, Vito. He still strives to be normal even when he is now a criminal yet the sequels suggest he failed. Tony is readily…show more content…
Most people in the same position in Scarface (Sosa, Frank, Diaz brothers) are just plain flat against the godlike features Vito has. Even his son and successor, Michael, can’t seem to come close to his father. 3. Music A. The Godfather The Godfather’s music is composed by Nino Rota. The score is mostly orchestral jazz with Sicilian-Italian themes mixed in. The music is mostly executed in loud and blaring crescendos, very defining, distinct from scene to scene. One notable example is the choir music accompanied by the baptism of Connie’s baby, where hit squads are killing notable people from the rival families. The film is mostly quiet and uses calm orchestral music to make a smooth transition, because of this, avoids indulging too much on its theme. B. Scarface Scarface’s music is mostly composed of 80’s techno-pop, synthesized music created by Giorgio Moroder. The main theme, Scarface (Push it to the limit) fits perfectly with Tony’s rise to power. The montages where they started doing business are accompanied by the song signifies the high point of the movie’s first part. A recurring song that was played in a nightclub was Frank Sinatra’s Stranger in the Night, a narrative parallel between Tony and Elvira’s relationship, only in the narration of

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