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The godfather film critique
The godfather film critique
Godfather part ii analysis
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“The Godfather II” is an American crime film that depicts the early life and criminal career of Vito Corleone in the 1920s, while in 1958, his son, Michael tries to expand the family crime syndicate while trying to protect the family business. The execution of the story of the “The Godfather II” stands out among many movies as retaining meritorious and lasting aesthetic values. The aesthetic merits that should be recognized in this film are the execution of the story in terms of its cinematography, the depiction of the relationship between power and corruption in human nature, and the film’s ability to convey the family values central to the Italian-American family. These aesthetic values help define the movie’s greatness of being superior to the rest of “The Godfather” movies. As the head of the crime family, Michael runs his family in a ruthless and violent nature, making those beneath Michael fear him. The role of power in the film acted as a blessing and as a curse, becoming a responsibility and burden to Michael’s character. Michael’s use of his power as leader has corrupted him and the rest of the Corleone family. In the closing scenes of the movie, Michael has alienated or murdered those closest to him, resulting in the assassination of his brother and his business rivals, the banishment of his estranged wife, and the suicide of a family friend. In the process of successfully accumulating power and protecting the family business, Michael paid dearly to get what he wanted with the loss of his humanity and compassion and the means of having a normal family life. This tragic story of Michael Corleone teaches the audience that the acquisition and retention of power can corrupt an individual and start them on a road to
Sex, love, depression, guilt, trust, all are topics presented in this remarkably well written and performed drama. The Flick, a 2014 Pulitzer Prize winning drama by Annie Baker, serves to provide a social commentary which will leave the audience deep in thought well after the curtain closes. Emporia State Universities Production of this masterpiece was a masterpiece in itself, from the stunningly genuine portrayal of the characters of Avery and Rose, to the realism found within the set, every aspect of the production was superb.
The film “Goodfellas,” directed by Martin Scorsese, is loosely based on the true story of mobster Henry Hill’s career with the mafia. The main characters in this movie are Henry Hill, played by Ray Liota, who was part of the mafia, James Conway who was a stickup/hit man, played by Robert De Niro, and Tommy DeVito, played by Joe Pesci, who was another gangster. At the beginning of the film a young Hill is seen admiring the gangsters who spend time across the street at one of their establishments. Hill can be heard talking about how much he admired gangsters, and that all he ever wanted to be was a gangster. Throughout the movie the audience gets a sense of what life as a gangster in the criminal underworld might have been like.
It is the Godfather that demands the family stick with family and never side with any one out side of the family no matter the situation. Vito the Godfather would remind them family is family and no one will miss treat or use any member of the family. He proves this point when his godson comes to him about a problem with a director name Jack Woltz. Because Jonny Fontane is the godson the Godfather Corleone will send his step son who is consigliere to the family to California to advise the director to hand the part over to Fontane.
The story of Charles Foster Kane was truly one that could go on as timeless. Born in poverty Kane was given away with the promise of having a better life. In a material point of view Kane lived a very fulfilling life filled with anything he ever wanted. Although throughout the movie, Kane despised the situation in which he was brought up in. Being placed under the care of his mother’s banker really influenced the way he viewed the world. He considered himself a people’s person a sort of hero for those in worse situations than his own. The mass appeal for this character along with the truly original storyline and plenty other factors led many people everywhere to gain a huge appreciation of this movie. Despise its early failure following its
An old man is sitting on an leather armchair, dressed in black and very expensive suit, smoking a cigarette and sipping his old whiskey from his goblet glass.He is short, squat, massive-skulled man. He was indeed a man to frighten the devil in hell himself. His presence sent out alarm bells of danger. His face was stamped into a mask of fury, the eyes were brown but with none of the warmth of that color. His mouth was not so much cruel as lifeless; thin and with the color of veal. He did not fear the police, he did not fear society, he did not fear the God or hell, he did not fear or love his fellow man. This old man was sitting all day on his armchair and offering his friendship to everyone who needed it because he is the only one who can help, he is the boss, he is the Godfather.1
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
The most important is a film that is consistent , that is like a spiral that lead the viewer to the unique and specific center that is related. Citizen Kane is one of the best films achieved in the history of cinema. But not only that characterizes this masterpiece, as it is also the riskiest film is conceived within a film , the film that broke with the classical language and inaugurated modernity in film communication. Today you can see still shots that mimic those made by the great Filmmaker Orson Welles and even do it as a tribute , but as something that comes from deep within the story itself that account since Citizen Kane is a classic film modern cinema.
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
Mario Puzo, the author of “The Godfather” does an excellent job of showing the many outcomes that power has on people. He writes about Don Corleone, the head of the Corleone family whom has unlimited power and influence throughout the east coast, yet he remains a respected business man and negotiates with his pupils rather than command them. “Don Corleone was a man to whom everybody came to for help…it was not important that you had no means to repay him…it was only required that you proclaim your friendship.” He believed in good ties, and solid relationships. He used his power to advance his loved one’s happiness.
The movie starts off at the wedding of Connie and her husband Carlo. Vito promises Carlo a good future, but will not ever let him be a part of the family business. After the wedding, Virgo Salatso, a herione dealer from Italy is looking for the Corleone family backing by money and protection from the law, as they have control over the local government. Vito wants no part of the heroine dealer and little does he know all of the other mob bosses are going along with Salatso. Vito had no idea his noncompliance with Salatso would start a war between the families of New York. This led to Virgo's men to shoot Vito but not killing him. This outgraged Michael and this led to the revenge of him shooting a police captain under Virgo and the shooting of Mr. Salatso. After this, the family sent Michael to Sicily to hide out. While Michael was in Sicily, he fell in love and got married to a woman named Apolonia but their love was short lived because a hit was put out on Michael. Apolonia was killed by the car bomb that was intended for Michael. Also, while Michael was in Sicily, the bosses put a hit on Sunny. The other bosses used Carlo, Connie's husband to set him up. Carlo beat yup Connie and Sunny and was sent to her aid. On the way he had to ggo through a tollbooth where he was met by heavy machine gun fire and was killed. After everything died down, Michael was summoned back to America.
In Italy, post-World War II, a new film movement emerged amidst the collapse of the Mussolini regime, the desecration of a city and its historical landmarks, changes to social order and significant loss of life. Italian Neorealism embraced the harsh, impoverished and oppressive conditions being experienced by ordinary people trying to return to some normality (Film Reference 2015). Seizing an opportunity to discard popular Hollywood formula movies, directors such as Roberto Rossellini, Vittoria de Sica and Luchinio Visconti shifted focus to ‘lower-class characters and their concerns, using nonprofessional actors, outdoor shooting, (necessarily) very small budgets, and a realist aesthetic’ (Criterion, 2015). While the Italian Neorealism movement faded by the late 1950s, its impact and influence can still be experienced in cinema today.
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.
Under Mussolini’s rule the film industry in Italy predominantly created epic historical films or upper-class melodramas that only served as a form of propaganda, advertising to the world the magnitude of the country. In reality the Italy was far from flourishing, plagued by unemployment, housing problems and severe poverty, the population was suffering, an idea not reflected in the Italian film industry. Having seen the difference in film to reality, filmmakers started to rebel against Mussolini’s tightly controlled movie industry and portray Italy as it was, choosing to focus on the everyday problems of its citizens.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
The Prestige is a movie about magicians that turn into enemies when a magician’s wife dies in an accident on stage. Angier’s wife dies when she is doing a trick with him and another magician Borden. Borden is possibly the one that caused her death depending on the kind of knot he tied for the trick. Throughout the movie we see several different parts of what we have seen or read in the recent chapters. Anywhere from love and attraction to aggression to the law; this movie seemed to have it all.