He has been transformed by ineluctable fate and the events of the past few years and it is obvious that he has internalized and accepted the values and the morals of the Mafia family of which he is now the head. He is now truly the Godfather. This is made dramatically clear in the final scene of the film where Kay observes Michael receives gestures of respect from there other members of the Mafia family. This scene immediately takes us back to the very first scene of the film where we saw the respect that was shown to Don Vito Corleane. This tradition is continued with his son, Michael.
In conclusion, the story of Michael's life in the film from his early refusal to take part in the family business to his rise to the head of the family is an engrossing and intriguing cinematic experience. It is also conceptualized and developed in such a way as to provide insight into the various factors and human relationships that make up the intricate mesh of the...
Atmosphere is particularly important as a means of conveying the intricate nuances of the Mafia family.
The positive aspects of loyalty and filial devotion are played off against the violence and ugliness of the world of organized crime. In a real sense, because Michael is a sincere and loving son he has no choice but to protect his father. This leads to his deeper involvement in the activities of the family. Finally, when his father dies he is placed in a position where the survival of those he loves and cares for is dependent on harsh and radical actions. Therefore, one could argue that Michael is man with good intentions who is placed in a position where he has no option but to use illegal and necessary means to ensure the safety and continuation of his family.
Analysis of the Trilogy of The Godfather In The Godfather trilogy, the character arc of Michael Corleone takes center stage when all is said and done. The universe of the film is sprawling with many characters, plots and subplots—but it is Michael’s character, played by Al Pacino, who serves as the focal point of each of the three films (though that point is shared to some extent with Michael’s father Vito,
In Yallop's book he writes that Cardinal Villot confirmed the Holy Father's death at 5:00 A.M. The Pope's slippers, glasses, and will disappeared, and "none of these items has ever been seen again," Yallop writes. There was speculation that if there had been vomit on the slippers - which there might have been, if indeed the Pope had been poisoned - it would give a conspirator a reason to remove
"Six hundred thousand dollars" lie dead beside him, a considerable sum in that day and age (69). The power of film is undercut by the superior power of violence, although ironically the viewer is watching a film, and is being taken into the foreign world of the Mafia through the medium that Woltz controls. To live by power outside the law flouts the American dream: "It meant you couldn't do
The archetypal characterization of the Godfather is a rather sympathetic portrayal of a feudal empire. There is a clear hierarchy of characterization; from the King (Don Vito) to the serfs (for example, the baker Enzo, the undertaker Bonasera, who utters a classic phrase indicative of the best Tudor intrigue, "For justice, we must go on our knees to Don Corleone"). Thus, the feudal morality focuses on tradition vs. economic necessity,
In this area, meanings with their endless referrals evolve. These include meanings form discourses, as well as cultural systems of knowledge which structure beliefs, feelings, and values, i.e., ideologies. Language, in turn, produces these temporal "products." During the next section of this thesis, the researcher relates a number of products (terminology) the film/TV industry produced, in answer to the question: What components contribute to the linguistic aspect of a sublanguage
The Godfather Film Analysis 1. Name of the Film: The Godfather 2. Director: Francis Ford Coppola 3. Screenwriter: Mario Puzo and Francis Ford Coppola 4. Year Made: 1972 5. Major Stars/Actors: Don Corleone, Michael Corleone, Tom Hagen, Sony Corleone, Kay Adams, Fredo, Johnny Fontane, Amerigo Bonasera, Jack Woltz, Emilio Barzini, Jr etc. 6. Genre: Crime and Drama 7. Characteristics of Genre: (1) Drug crime (2) Violence (3) Low-key lighting 8. Protagonist: Michael Corleone 9. Antagonist: Emilio Barzini, Jr. 10. Central