Francis Ford Coppola has amassed a reputation nearly as large as his film repertoire. He has worked as a director, producer, movie studio entrepreneur, and as a film writer. In each role he maintained a balance of working inside the studio system, while consciously maintaining a wary distant from it (Hill and Philips 167). The sweeping range of critical commentary on his films, paired with popular and profitable films, followed by complete flops led him to declare in 1987, “I’m embarrassed by my duality of failure and success.” (Bergan 7) Even two of his most successful and critically acclaimed films, The Godfather and The Godfather II did not completely fulfill him. He found that while doors opened within the industry, he was pulled from his …show more content…
After an evening and morning spent sleeping in damp clothing outdoors he came down with the often deadly disease polio. When he attempted to climb out of his hospital bed, he collapsed, finding that his left limbs and back no longer functioned. He was paralyzed, and told by a doctor that he’d likely never walk again. He remained in bed for most of the following year (Bergan 13). Without peers to interact with, he was left to his own imagination and ingenuity for entertainment. Reflecting on the ordeal, Coppola himself recognizes the impact that period of time had: “I think any tough time you go through, any real crisis where you break down, then survive, leaves you in a far different place from where you were. Generally, I feel that people who have been traumatized tend to develop levels and wrinkles that really add something to them (Schumaker 10).” Puppetry, manipulating his tape recorder and 16-mm movie projector, and exploring elements of physics and gadgetry occupied his time. He stated that his curiosity in film spawned from “…the two interests- the technical thing for gadgetry and the interest in plays and puppets and theater and musical comedy-sort of came together in film, which was like a playground for all of those things (Schumaker 11).” Coppola fully recovered, but his interest in film did not …show more content…
Coppola launched the studio, named after and born from his production company of the same name, in 1980 in Hollywood, although the studio would be pointedly out of tune with the norms of the industry at the time. Coppola longed for the old studio system he had been born too late to enjoy. He employed contract players, writers, and filmmakers so that each film would have a “distinct studio signature (Hill and Philips 54).” The company was markedly Coppola’s. Projects needed not be deemed commercially viable or within a reasonable budget to be made; but they had to enthrall Coppola. He hoped to marry the family-feel of old-Hollywood studios with the modern studio staples, like film-school grads and computer technology. In 1981, Coppola
Movies today are extremely expensive to make and are typically financed through either film studio contracts or from investors willing to take a risk. In order to be successful, movies need to be marketed and distributed either under contract by the film studios or by companies that specialize in such services. The aspects of financing, marketing and distribution of films have changed between the studio and independent systems over the years as the evolution of the film industry took place.
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
An obvious difference in these films is that the 1931 version played to a Depression audience and that the Coppola version played to a modern audience. (I am being extremely careful because, obviously, the 1931 audience was modern in 1931; however, we like to think of ourselves as being more modern than past generations. There are differences in the audiences which viewed the respective versions in their time, and I hope to prove this point as the paper unfolds.)
The notorious and capable Al Capone once commented, “This American system of ours, call it Americanism, call it capitalism, call it what you will, gives each and every one of us a great opportunity if we only seize it with both hands and make the most of it.” “This American system,” as referred to by Capone, is not simply one idea alone but a conglomerate of all ideals held to represent the American culture: capitalism, freedom, and opportunity. These ideals go hand in hand with each other; freedom allows for capitalism to flourish and, in turn, allows equal opportunity for every citizen. However, the key to success in the American system is not simply available by going through the motions of life, but rather requires determination, will, and an urge to succeed and capitalize on every opportunity provided to us. In F. Scott Fitzgerald’s novel The Great Gatsby, Gatsby, the poverty-stricken army officer turned eccentric millionaire, proves that the American system is one that does not discriminate between the rich and the poor, or by creed, or even by race, but allows for equal opportunity for all, supporting those with ambition and drive, while punishing those who lack purpose and initiative, one where everyone has a chance for greatness if they have the drive and initiative to seize that opportunity and “make the most of it” and that the resulting success derived from that motivation erases the significance of one’s background.
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.
One of the most prominent and influential directors in New Hollywood was Italian-American Martin Scorsese. His first major critical success, and what is often considered his “breakthrough” film, was 1973’s Mean Streets. This film helped to establish Scorsese’s signature style in regards to narrative and thematics as well as aesthetically. Scorsese developed a unique and distinct directorial flair to his films, with reoccurring themes, settings, cinematography, and editing techniques, among other elements. This led a number of film critics to declare Scorsese an “auteur,” similar to Jean-Luc Godard, Francois Truffaut, and other auteur directors of the French New Wave.
I believe the reason that, 'The Godfather', is such a great film is because it lets audiences decide whether they like the characters or not. Too many movies made about organized crime begin with some seemingly random act of violence. 'The Godfather', however, lets it be known from the start to judge the characters in the film based on what type of person they are instead of the criminal activities they may engage in.
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
The Studio System Key point about the studio system could be: Despite being one of the biggest industries in the United States, indeed the World, the internal workings of the 'dream factory' that is Hollywood is little understood outside the business. The Hollywood Studio System: A History is the first book to describe and analyse the complete development, classic operation, and reinvention of the global corporate entities which produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, over the decade of the 1920s helped to fashion Hollywood into a vertically integrated system, a set of economic innovations which was firmly in place by 1930.
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
People have many different dreams, and many different ingredients for happiness. Some people relay on love, others lean towards money, it may be achieved through money, relationships, or even the misfortune of others, but why does power have the persuasion to change a person and what drives them to gain more?
Thompson, K 2003, ‘The struggle for the expanding american film industry’, in Film history : an introduction, 2nd ed, McGraw-Hill, Boston, pp. 37-54
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this 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.
PTA moved on to begin his career by working as a production assistant on various television movies and game shows. After performing similar work for numerous low budget and independent films, PTA went on to write and shoot a short film titled, Cigarettes and Coffee. This 24-minute excursion into the world of film shorts made it’s premier at the 1993 Sundance Film Festival.