Abstract This paper explains that Francis Ford Coppola's worldview of quiet, powerful, violent men making important decision in dark rooms while the unimportant real world goes on outside, is made evident in two of his most famous films, "The Godfather" and "The Godfather, Part Two". The paper presents an analysis of both films by focusing on the activities of the Corleone family.
From the Paper "This paper examines the worldview of director Francis Ford Coppola as it is expressed in two of his most masterful films, "The Godfather" and "The Godfather, Part Two". Although the original source material is the novel by Mario Puzo and Puzo co-wrote both scripts with Coppola, the consistent vision and themes presented in these two films of the way the world works and the importance of family is very much that of the filmmaker himself. Throughout Coppola portrays a world in which loyalty, honor and power..."
Tags: Francis Ford Coppola, Godfather, films, Corleone
Abstract The paper discusses how Francis Ford Coppola was an Italian filmmaker that sought to identify his own culture through a series of films that depict New Yorkers and the Mafioso mentality of class struggle. The writer examines how,by creating the Godfather Trilogy, Coppola has instilled a classic sense of realism in the crime genre, which transcends all previous films on the subject. Furthermore, Coppola was able to step out of his own tendency to film movies about his family and culture, when creating Apocalypse Now.
From the Paper "This film study will analyze the life and films of Francis Ford Coppola. Through an understanding of his difficult childhood, one can realize the cinematic energy and attention to family and cultural background, which helped him when creating his films as an adult. By integrating various films in this biography of Coppola's life, the unison of these themes can help bring about a clarity as to the inspiration and creation of his classic works. Francis Ford Coppola was born in 1939 while his parents lived in Detroit, Michigan. The move to New York City shortly after his birth allowed the young Coppola's parents employment in the music profession. This kind of background helped the young Coppola to realize a creative outlet through the various work his parents did in television and film."
Abstract This paper explains that Sofia Coppola in her film "Marie Antoinette" is successful in capturing the child-like play of the Queen's lighthearted personality. Coppola has been criticized as presenting the character as a modern day teenage mall-rat rather than a royal princess. However, the writer feels that this film is an accurate portrayal in that Marie was a child, fascinated by sparkling and beautiful clothes, shoes and furnishings. The paper stresses that, consistent with historic portrayals, Coppola's film is a commitment to showing the character and personality of the Queen not the stories and rumors the debates about conspiracies.
From the Paper "In the film, Coppola shows that there was a maturing in the relationship between Marie and Louis, but that that relationship was one of friendship, two young children having been thrown together, who grew together, as friends. Louis is not depicted as a jealous or over doting husband, in fact, it shows Louis as more interested in affairs of state, though it does not depict him as being in touch with his subjects by being out amongst them. The film is careful to emphasize that two young children, teenagers, were put together and became, still as teens, rulers of a country."
This paper reviews the three films in director Francis Ford Coppola's "Godfather" saga: "The Godfather" (1972), "The Godfather, Part II" (1974) and "The Godfather, Part III" (1990).
Abstract This paper explains that the three films in Coppola's Godfather saga, which is set in the world of the American Mafia throughout most of the Twentieth Century, explore the similarities between family and business interests as fundamental aspects of human behavior. The paper states that "The Godfather" (1972) tells the story of the end of Don Vito Corleone's reign as head of the family in the late 1940s. The author points out that "The Godfather, Part II" (1974) continues this story with his son Michael's transfer of the family business to Lake Tahoe and Las Vegas in the 1950s, and is intercut with the early years of Don Vito, from his childhood in Sicily to his rise to power in New York City. The paper continues that "The Godfather, Part III" (1990) presents the aging Michael and his struggle to legitimize the family's business while powerful forces, including his nephew Vincent Mancini, try to pull him back into crime.
From the Paper "The story begins, therefore, at a point where the broader implications of the family business are clear. But it also shows the awareness, at least of Don Corleone, that being in this business is a necessity but is not, in itself, desirable. He plans for his youngest son Michael--a college-educated war hero--to escape from it. Michael (Al Pacino) himself tells Kay Adams (Diane Keaton), after being quite frank about the nature of the family business, that all this is his family--not him. He understands his father's desire to protect him from it. The brutality of the business is fully revealed in the 'war' sequence that follows the request for accommodation in establishing a heroin importing operation which is favored by some members of the family but rejected by Don Vito."
Abstract This paper compares and contrasts Joseph Conrad's novel "Heart of Darkness" to Francis Ford Coppola's film, "Apocalypse Now" by choosing one symbol they both share. The author explains the similar or different approaches taken by the two artists and analyzes the respective effects of each on conveying the theme.
Abstract This essay examines the way that the story arc of the Hollywood episode is conveyed via editing. The author illustrates the use of continuity of shots. The paper describes the relationship between shots and setting.
From the Paper "In "The Godfather", one of the main lines of narrative has to do with the fact that the Corleone family always returns insult for insult except that the returned insult is always at a higher level than the enemy's first action. That clarifies the lengths to which ..."
Abstract This paper argues that director Francis Ford Coppola demonstrates in his film, "Apocalypse Now" that those who kill are no better than those who they kill, if those who are killed are devalued solely because they are portrayed as the inferior "other."
From the Paper "The Vietnam War was one of the most divisive conflicts in American history. Within the controversy was the question of how many people one has to kill before one becomes a killer. Such valuations are often ignored because of ethnocentrism and the creation of an other, an other that is devalued in order to justify the destruction of life in combat. As Windschuttle argues, the construction of identity in every age and every society involves established opposites and others. This happens because the development..."
An analysis of the scene, in Francis Ford Coppola's version of "Dracula", involving the release of Dracula from his supernatural curse by his true love Mina.
Abstract This paper presents a shot-by-shot analysis of the final sequence from Francis Ford Coppola's version of "Bram Stoker's 'Dracula'." The paper describes how the sequence connects with the opening prologue and provides an emotional conclusion to the story. The restrained use of music as a cinematic technique is also discussed.
Abstract This paper details the plot and the main characters of Kurtz and Willard in Coppola's film which focuses on America's involvement in the Vietnam War. This paper also examines the plot and main characters of Kurtz and Marlow in Conrad's novel which depicts the devastation in central Africa brought on by colonialism and imperialism. This paper analyzes the similarities in the characters of Kurtz in both works. This paper discusses the similar endings in both stories in which Conrad and Coppola succeed in offering the reader and viewer a small glimmer of hope. This paper explores the manner in which Coppola and Conrad use nature, primarily the jungle, to depict basic human instincts such as anger and fear. This paper also analyzes Conrad's and Coppola's similar portrayals of the cruelty and devastation of colonialism and imperialism albeit in different parts of the world and in different eras.
From the Paper "For Conrad and Coppola, colonialism and imperialism destroys the psyches of both the oppressor and the oppressed. In Heart of Darkness and in Apocalypse Now, the protagonists struggle between their sense of duty, loyalty, and obligation with their sense of compassion and sheer disgust. Marlow and Willard both signify the probable state of mind of many American soldiers during the war in Vietnam, and of many European traders during the colonial era. Their illusions shattered by what they encounter in the jungle, Marlow and Willard can nevertheless not completely wrest themselves from their origin and cultural identity. One of the reasons Kurtz is such a legendary figure in both stories is that the man attempted to traverse the worlds. Both Kurtzes suffer immensely as a result, and both come across as being egomaniacal and completely deluded. The Kurtzes simultaneously despise the native peoples and love them, but their love is not borne of respect."
Abstract This paper discusses Francis Ford Coppola's film, "Apocalypse Now," which has been acclaimed as one of the most provocative and insightful films of the genre. The film is based on Joseph Conrad's novel, "Heart of Darkness". The paper examines how Coppola's film follows the text of the novel with regard to the main events, the central characters, and the central themes that appear in the book. The paper contends that Coppola also succeeds in capturing the atmosphere of the book and in translating the essential insights and questions that the book presents into a contemporary context.
From the Paper "Francis Ford Coppola's Apocalypse Now has been acclaimed as one of the most provocative and insightful films of the genre. The film is based on Joseph Conrad's novel Heart of Darkness. Conrad's novel deals ostensibly with the early years of the colonial invasion of Africa; while Apocalypses Now deals with Vietnam. Coppola's film follows the text of the novel with regard to the main events, the central characters and the central themes that appear in the Heart of Darkness. Coppola also succeeds in capturing the atmosphere of the book and in translating the essential insights and questions that the book presents into a contemporary context. "
Abstract This paper discusses the film "Apocalypse Now," directed by Francis Ford Coppola based on the book "Heart of Darkness" by Joseph Conran about the Vietnam War. It examines the different themes prevelant throughout such as horror, morality and good verses evil and discusses the accuracy of its historical and political content. It shows how Coppola has a way of meshing all these themes together until they make perfect sense and how one of them alone might be difficult to believe or experience in the film, but together, they form a bond that cannot be broken, one of horror, deception, morality and the question of what is truly good.
From the Paper "Morality is also a very prevalent theme in the movie. Who is really the moral one here, Kurtz or Willard or the U.S. Army? Not only does the movie question the characters' morality, it questions the entire morality of the Vietnam War. Some of the most horrific scenes are those showing how much some of the commanders really enjoy killing. There is a reason "I love the smell of napalm in the morning" is such a favorite and well-used line from this film. It is because the line conveys all the horror and lack of morality present during the war. It was every man for himself ? not for survival, but for pure selfishness and lack of feeling. When a fighting unit becomes as jaundiced as the men in this film, they are past usefulness, but as the film shows, this is a common occurrence in war ? people lose their morality."
Tags: vietnam, war, joseph, conran, horror, morality, good, evil
Abstract This paper examines how there is no doubt that Stoker's "Dracula" is the literary locus classicus of the vampire,and how filmmakers across the world have used both names to depict horror in films. In particular it looks at how Francis Ford Coppola's distinctive 1992 version claims to adhere to much of the plot and characterisations of the novel with a metanarrative which is produced by a number of voice-overs and a cast of popular actors. It argues how Coppola's version claims no hold over the novel and is positively disappointing in its depiction of fear and fantasy that has maintained Stoker's novel in publication since the nineteenth century.
From the Paper "The horror of Dracula gains added impetus through Stoker's use of fear; fear of sexuality, and fear of regression. He chooses to elaborate on the dichotomy between the East and the West. The fear of a dead, feudal past, representing aristocracy, perversity and lust over a modern, living present, representing middle-class, normality and love. Dracula wants to relocate his horrifying operations in England, to seek new opportunities to satisfy his "sport" in the rational West that will be unsuspecting of his deathly activities. In moving these operations to contemporary London, Stoker is challenging present fears of a regression by using a power of a historically defunct aristocracy gaining control over the citizens of a modern, capitalist society."
This paper analyzes the link between the Catholic Church and organized crime, as depicted in Francis Ford Coppola's film "Godfather III," as well as in real life.
Abstract This paper examines how actual events surrounding the Vatican gave director Francis Ford Coppola the creative license to fictionalize a series of conspiracy theories involving the mafia and the church. This paper explores and details the events of the Roberto Calvi case. Calvi's case, of an Italian businessman and banker, who was involved with the Vatican, was found hanged in 1982, is similar to one of the sub-plots in Coppola's film. The writer presents published material which suggests Calvi may have been killed, in order to stop him from revealing certain secrets about Italy's political and religious establishments. This paper also discusses other events from the film, which were played out in real life, including one involving the death of Pope John Paul I.
From the Paper "The book contains a photo of the Pope taken reportedly three hours before his death, speaking "jovially" with a Cardinal, not looking like a man about to succumb. The official Vatican reason given for his death was a "possible myocardial infarction," according to press accounts of the Vatican announcement of Pope John Paul I's death. "Possible" myocardial infarction? And why, interestingly, was there no autopsy? These are all issues and questions that obviously played into Coppola's hands as he set out to produce the third in the Godfather trilogy.
The Pope was about to investigate the banking scandal, when he died on September 29, 1978. He was found by Sister Vincenza, at about 4:45 a.m., and according to Yallop's book. She was allegedly "forced to keep silent by the Secretariat of State, Cardinal Villot, who imposed a vow of silence upon her to cover up the whole affair," the reviewer continued."
This paper compares the methods of satirizing war and the military used in "Apocalypse Now", "Catch-22", and "Dr. Strangelove", with "Apocalypse Now" as the primary text.
1,915 words (approx. 7.7 pages), 3 sources, 2001, $ 61.95
Abstract This paper discusses how Francis Coppola's movie, "Apocalypse Now", satirizes war and the military. The author focuses on comparing how the satire in "Apocalypse Now" is serious in nature, and thus more deeply impacting than humorous satires such as "Catch-22" and "Dr. Strangelove" both of which are quoted and compared in the paper.
From the Paper ?Apocalypse Now uses its main plotline to exhibit the hypocrisies present in the United States Military. Willard's mission to kill Colonel Kurtz for murder is a perfect example. Willard comments on the charge against Kurtz by saying that, ?Charging a man for murder in this place is like handing out speeding tickets at the Indy 500.? (Copolla) When Willard narrates this line, the audience is forced to open their eyes to the ridiculously immoral reality of his task.?
Abstract The paper describes how the film shows the insanity of war and the madness that goes along with it. The author shows how "Apocalypse Now" uses narration, sound effects, music, and dialogue to portray its message. The paper focuses on Coppola's use of sound effects to reinforce the films theme of the horror and uncertainty of war.
From the Paper "Apocalypse Now begins by showing a scene with helicopters dropping napalm all over the jungle. The audience is treated to "The End" by Jim Morrison and the Doors. We hear: "This is the end"? mixed with the chopping of helicopters passing overhead. From the very beginning, Coppola lets the audience know that they are in for a journey of madness. The sound and music have a lot to do with the success of this scene (Dirks). It will not be the last time we hear the sound of the helicopters overhead."
