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Goodfellas film analysis
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Gabriela Raya | Sociology 135 | December 18, 2015
“For as long as I can remember I always wanted to be a gangster. To me that was better than being president of the United States. To be a gangster was to own the world” (Scorsese 1990). The American Film Institute for its representation of mob families has named Martin Scorsese’s 1990 film GoodFellas. GoodFellas is without a doubt the best American mafia film for several reasons. Not only is it a biographical crime film with the real events involving mob families, but it possesses originality with the narration of most of the film, it portrays a great picture of the lower and higher end of the mob families and organizations, but it also showcases a copious amount of humor that blends well with
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Henry got a part time job at a cabstand right in front of his home, whose owners were a part of the mafia, to help his family come out of poverty. After expressing his dreams and presenting his role models, Henry sticks with the same group of men and gradually makes his way up the ladder of the mob family. Henry’s change of social status from his early teen years to his early adult years is crucial to the resemblance the audience feels. It is easy to watch the film and agree that the perks of being a gangster were far better than living in poverty in a small apartment that housed 7 people. The power to not be restricted and doing whatever we want is something that everyone is familiar with and that is exactly what these people had. The gradual change of Henry’s social status is also important because it shows how someone at the bottom of the of the mob can rise to the top and as his teenage life is shown, Henry is given an acknowledgment of a hard worker for being able to amount that …show more content…
The plot of the film is actually based on a single mafia family and certain people’s lives. The real Henry Hill actually said that the film was about 90% accurate and it makes the audience appreciate the film even more. To be able to paint reenact a real picture and only have to make minor changes to it is great, especially when those minor changes make the picture golden. The portrayal of the mafia life, complete to the traces back to Italy, such as the made men, are an interesting thing to watch when there is a humorous cast. For example, towards the end of the film, Henry has a lot of tasks to complete by the end of the day – drop off guns at Jimmy’s, pick up his brother, make dinner, and make a really important drug drop off. The choppy scenes, the edgy music, and the close up shots that Scorsese showcases makes the audience also feel the nervousness and paranoia that Henry feels towards the end. It was evident that leading a life in the mafia was risky business and it even had me sweating bullets for
The film Sunset Boulevard, presented in 1950 is a black and white film. The film is about Norma Desmond an old actress, who has issues accepting that she is becoming old. The main actor in the film is Gloria Swanson, who plays Norma Desmond, an older woman who believes she is still young. Desmond is not content with the fact that Hollywood has replaced her with younger actresses. The next actor Nancy Olson, plays Betty Schaffer who falls in love with Gillis despite being engaged to his friend. The third actor is William Holden who plays as Joe Gillis, who has financial problems and decides to turn himself into a gigolo to earn money. The dilemma with Joe is he does not want Betty to know about his job because he knows he might lose Betty as
The characters in these films were savvy, secretive and wealthy unlike the gangsters seen in Little Caesar and Scarface: The Shame of the Nation. Brian De Palma’s Scarface (1983) payed homage to the original, and although they follow roughly the same storyline, De Palma’s remake is more reminiscent of The Godfather films than its predecessor. Tony Montana (Al Pacino), the film’s main character, worked his way up from poverty by selling drugs and committing horrifying acts of violence in order to attain the power, wealth and woman he so desired. In his 1983 review of Scarface, Pulitzer prize winner, Roger Ebert states “Al Pacino does not make Montana into a sympathetic character, but he does make him into somebody we can identify with, in a horrified way, if only because of his perfectly understandable motivations” (RogerEbert.com). More than fifty years later, Ebert expresses similar thoughts to those of Robert Warshow, esteemed film critic and author of “The Gangster as a Tragic Hero.” “…We [the audience] gain the double satisfaction of participating vicariously in the gangster’s sadism and then seeing it turned against the gangster himself.” (Warshow) These sentiments are exactly what the censorship of the 1932 version intended to prevent, yet Scarface (1983) did not receive the same scrutiny. Despite the mixed reviews that Howard Hawk’s original Scarface: Shame of the Nation and Brian De Palma’s
The film, Fruitvale Station, is based upon a true story of a young, unarmed African American male, Oscar, who was shot by a Caucasian BART police officer. The film displays the final twenty-fours of Oscar Grant’s lives going through his struggles, triumphs, and eager search to change his life around. There will be an analysis of the sociological aspects displayed throughout the movie that show racism, prejudice, and discrimination.
Chinatown is regarded by many as one of the best films ever created. In 2007, The American Film Institute named “Chinatown” as #21 on their list of 100 greatest films! Chinatown is a great film because it is able to show how far people are willing to go to obtain riches and how a detective is willing to go to great lengths to solve the mysteries in front of him. The movie has been talked about in abundance and has even been influenced by real life events from the water company in Los Angeles. It is closely related to corruption and the 1% which people still talk about till this day. In the movie “Chinatown” directed by Roman Polanski, a private detective hired to expose an adulterer finds that he is caught up in a web of deceit, corruption, and murder. Somewhat relating to this is the article “Of the 1%, by the 1%, for the 1%” written by Joseph E. Stiglitz. In the article Stiglitz writes about how democracy in America is a mirage and that the rich
The movie “Scarface” is the story of one these immigrants who came to the United States seeking money and power but ended up with much more than he ever excepted. Al Pacino plays the main
There is a thin line that exists between the depiction of a villain and a gangster that Hollywood has mastered walking on. While villains and gangsters may do many of the same things in movies, like stealing and killing, they each do them for different reasons. Villains enjoy crime because that is what gets them off; some may feel they are doing society a favor, like Uncle Charlie in Hitchcock’s Shadow of a Doubt, and others are more simply portrayed as naturally evil or mentally ill. But Gangsters are doing what they do for something American society can relate to—to make a living and, ultimately, get to the top.
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American Mafia in cinema?
He was the “most powerful crime boss of his day” by 26, a mindless brute turned criminal mastermind (Sifakais, “Capone, Al,” The Encyclopedia, 157). The legendary Al Capone is one of the most well known mob leaders today and his legacy will continue on, but the infamous leader of the Chicago mob started off as a very different person. Before he was a businessman with the greatest empire in Chicago, he was just one more brutish bodyguard to the real masterminds (Sifakais, “Capone, Al,” The Encyclopedia, 157). Beginning with his expulsion from school and him meeting Johnny Torrio, Capone’s succession to Torrio’s throne culminated in their takeover of Big Jim Colosimo’s empire and the aftermath of an ambush during a gang war.
Another common theme of this wildly intoxicated era was that of the gangsters. In the twenty-first century when the word gangster is uttered, often times images of minorities in baggy clothes comes to mind. However, when discussing the Prohibition Era the lives of gangsters are seen as much more glamorous, and none were more glamorous than that of the ultimate American gangster, Al “Scarface” Capone. Capone’s name brings to mind images of pinstripe suits, underground bars, bootleggers, flappers, and gun fights. His image embodies that of the Prohibition Era and his influence throughout society carries through it. Alphonse Capone is the ultimate American gangster.
... educated the average person. The Mafia, as depicted by the Corleone family, is very close knit; those that are not even actual family members are still considered part of the “family.” This movie can be watched repeatedly and each time is as enjoyable as the first. It is a cultural eye opener and lead to two sequels and several other media items, such as today’s television drama The Soprano’s. Though the world does not condone what this lifestyle is about it will always be interested, and somewhat glorify the traditions and lifestyle of something so secretive and just plain bad.
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
A genre is a type or category of film (or other work of art) that can be easily identified by specific elements of its plot, setting, mise en scène, character types, or style. (Goodykoontz, 2014) The gangster film is a sub-genre of the broader genre of crime film. A genre main objective is to classify the depiction of entertainment. The genre of my movie is a gangster film. My movie I chose was Scarface. Directed by Brian De Palma.An update of the 1932 film, Scarface (1983) follows gangster Tony Montana and his close friend Manny Ray from their trip on the Cuban Boat Lift for refugees to their arrival in Miami. (Scarface, 1983a)
‘Our interest in the parallels between the adaptation inter-texts is further enhanced by consideration of their marked differences in textual form,’
The Godfather is most notably one of the most prolific films of its time. This "gangster" film displayed many transformations of permeating color to give the viewer observable cues in its mise en scene that drew one right into the movie. The dramatic acting set the tone of the film with a score that lifted the viewer right out of their seat in many scenes. The directing and cinematography made The Godfather ahead of its time. The nostalgic feel of family importance and the danger of revenge lets us into the life of the Mafia. Even though no other techniques would have given the viewer a feeling of inside the mob like the mise en scene of the power the godfather held, the characters are reinforced literally and figuratively because the story views the Mafia from the inside out, and the cinematography of the film gives it a dangerous and nostalgic feel.
For example the release of The Godfather, while considered by many to be one of the best movies of all time, also created a host of prejudice and negative stereotypes. Italian Americans gained a reputation for organized crime and were often associated by the public as mobsters. This paradox was greatly supported by the movie, The Godfather (Fordham). The success of this movie innately resulted in other films and shows that encouraged the negative stereotypes of Italian Americans in regards to the mafia and organized crime. Italian American fought these stereotypes back with media releases that romanticize Italian culture. For example, movies that involve large family dynamics that create, “deep-seated nostalgia for the ‘old neighborhood’” and enhance the appreciation for Italian culture and combat negative stereotypes