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 Message: To a large extent, the central message in this particular film is that there is no way for a person to escape his or her destiny as well as responsibilities.
11. In essence, the film is full of dramatic sequence as well as action. It as far as lighting is concerned, it is a film that extensively utilized the dark mode/look. This appears to have been a departure from the past whereby most of the films at the time were all about screen blitz. The dark look/mode is supplemented by the voices of some characters like the Don which are essentially kept low so as…Next, the relevance of family cannot be overstated in this particular film. This family aspect is used to project key factors such as loyalty, respect, and strong bonds within a larger and more complex criminal enterprise.
14. Although I generally liked the film, I felt that it does in some instances promote gender stereotyping. For instance, we have the scene whereby Johnny Fontane is asked by Don Vito to act like a man – indicating that men are not supposed to be emotional.
15. I would definitely watch the film again. This is more so the case given that…
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
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
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,
"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
Asian Godfathers There has always been opportunity for the astute to accomplish what is known as asset farming, and the variants are as broad as domestic or native conditions provide (Studwell, 2007). The British in Malaysia, Hong Kong, and Singapore, and the Dutch in Indonesia, perfected asset farming, the idea being that an entity focused on extracting and exploiting assets from a country as quickly as possible will also have no