It’s no wonder that this film is not allowed to be viewed in some Italian households; it’s these particular scenes that account for the Italian’s perception of this film: that it is an inaccurate depiction of the mafia that uses violence to real in audiences. To American audiences, however, these scenes have become iconic in the film industry and helped The Godfather receive the reputation of one of the greatest films in
This creates a contrast with the darker and lighter parts of the scene, and creates the subject of the scene to be hidden in the shadows. This lighting technique is perfect for a gangster film such as the Godfather. Francis Ford Coppola’s has made apt use of lighting in this scene. In this scene, almost all the frames are low lit, especially the scenes where Don Corleone’s eyes are darkened. The Godfather series has always counted on Gordan Willis for its cinematography.
Moral corruption is a notable and recurrent theme of gangster films. The protagonist usually has an initial innocence, or ignorance of the means and ways of the life of crime. He gets involved with this world out of necessity due to financial problems, or comes from a social or ethnic background, where crime is an easier and more profitable way of living than legitimate business. In the beginning of his involvement the hero is reluctant to use violence and hesitant to manipulate people, as evidenced in The Godfather and Goodfellas. But as his ties with the world of crime strengthen and he gets caught up in it, he becomes disillusioned with the usefulness of morality, and starts to see his own survival and domination as more important than morality in the conventional sense.
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.
As a result, The Godfather ends up becoming a successful blockbuster, but it’s also artistic, and reflective of our society. The Godfather caters to both casual and critical audiences. Coppola uses graphic violence to draw in casual viewers, but he draws in critical viewers by having the film become a social critique of society. Auteur films are meant to give us a view of the world. In addition, the film draws parallels between the mafia and the police, by essentially stating that our society is corrupt.
There is a type in Hollywood’s crime films that deals with the criminology as a social phenomenon which controls the human beings or certain groups in a realistic style we all know it’s in our society or other communities, those films address the criminality in a sociological way. The second type of movies, violence and murder appears but they characters are actually not real, they are either a myth or some kind of fantasy that doesn’t exist, like zombies as an example, this type attracts a lot of viewers, however, the mental and emotional feelings interact with each but to a certain point, even if the viewer liked the plot or the story effected him, he still disconnects, loses concentration of the idea and realises that such a story is just a fantasy because in real life zombies don’t exist. Although, the effect of those films which focus on the instincts should still be in consideration because they could still effect some groups with psychological problems that are in a risk of schizophrenia through any kind of a shock, especially if they got addicted to those kind of films, it can push them to believe those stories and separate them from reality, the consequences can be bad that can actually lead them to have the desire to hurt others because of hallucinations or strange ideas that may
This leads to my second convention; betrayal. Whether someone in the gang is an undercover cop or they set up their boss for an assassination, there will be some sort of inside job. In the case of the Godfather, the rat is caught and dealt with before Michael gets assassinated. 6. Describe the icons (expected visuals such as props, costumes, sets, locations, etc.)
usually associated with important events like the climatic, anticipating moments in the novel or the appearance of the evil figure .84 Thirdly, the Gothic Hero (Protagonist) , in any gothic fiction a vicious character is substantial to establish the atmosphere of horror . However, a gothic hero is not necessarily a gothic villain . As in early gothic novels, specifically Radcliffean gothic fictions, the gothic protagonist is simply a helpless heroine: The very words "Gothic heroine" immediately conjures up a wealth of images for the modern reader: a young, attractive woman running in terror through an old, dark, crumbling mansion in the middle of nowhere, from either a psychotic man or a supernatural demon. She is always terminally helpless and more than a bit screechy, but is inevitably "saved" by the good guy/future husband in the nick of time.85
However, unlike A Doll’s House, the cast consists of five men, not including a female role. Seeing as Beckett does not incorporate a female role, readers can be led to believe that Samuel based this gender identity around the assumption that men are the more powerful sex and masculine gender presentations involve maintaining a powerful disposition. It can be said that this interrelates the idea that masculinity and power correlate.Vladimir’s masculine power in particular is displayed when he decides that himself and Gogo represent all mankind only when they are asked for help, as he states “But at this place, at this moment of time, all mankind is us, whether we like it or not. Let us make the most of it, before it is too late!”(Beckett, Act two). The use of the word “mankind”(Beckett, Act Two) particularly emphasizes the male dominance, adding to the gender specified form the play presents.