Abstract This paper examines one of the most effective business leadership examples ever created in American cinema, that of Vito Corleone in Francis Ford Coppola's film "The Godfather". It analyzes how Corleone's style shows a high regard for both the productivity of his business and the welfare of the people in his employ, a regard that relies on a strong sense of honor and loyalty. It shows through examples how Corleone's organization exhibits many of the characteristics found in some of the most successful corporations in America and how he provides an excellent example of how to lead an efficient, profitable business.
From the Paper "First, we see Brando listening patiently to the recitation from an undertaker in his district who wants revenge against the men who attacked his daughter. Brando does not interrupt the man's story, allowing him to come to the point in his own way and in his own time. At the end, he spells out for the man what he expects from him: friendship, respect for himself and for the organization, loyalty, and honor. He makes clear how important these qualities are for the good of the business, and only then does he tell the man that he will give him what he has asked for, once he has been assured that his own expectations will be met."
Abstract This paper applies psychological theory to the analysis of Michael Corleone's personality as depicted in the film saga, "The Godfather". The paper applies Sigmund Freud's theory of personality to the character as well as Erik Erikson's approach to personality analysis. The paper explains how these two approaches lead to an understanding of Michael Corleone's character and behavior.
From the Paper "The character of Michael Corleone in "The Godfather" is a good candidate for a detailed character analysis of the self-conscious, making him a good example of Freud's so-called structural hypothesis which posits a theory of personality built on three principal components plus an ancillary feature the ego, superego and id plus the libido. Freud says that personality emerges in three states of being; the pre-conscious (PCS), the unconscious (UCS) and the conscious (CS). The push-pull dynamic is elaborated in Freud's distinction between the ego, id and superego. The Ucs however is the..."
Tags:Godfather, saga, Freud, Erikson, personality, theory
Abstract This paper discusses that the film, "The Godfather", brings us into the romanticized criminal underworld by asking the viewer to evaluate the Corleone family not based on traditional standards but on Mafia standards. The author points out Coppola's ability to present such a large cast so skillfully that within the first few minutes of the film, nearly all of the main characters are introduced. The paper states that ?The Godfather? redefined the genre of gangster films and shaped public perception of the Mafia.
From the Paper "Michael is the tragic hero of the film. He evolves from a na?ve, unwilling spectator into a Godfather. In the end, Michael becomes everything he despised about his family and more. After his father's heart attack, he realizes that his father is going to die, and he is the only one who can fill his shoes. It is clear that he had wanted something else out of life, but he feels the need to continue his father's legacy, inevitably becoming more merciless than he would have ever dreamed. "
Abstract This paper discusses the methods used by the author Mario Puzo in his novel "The Godfather" to involve the reader in the plot. His glamorous portrayal of the mafia in general and of the Corleone family in particular force a moral dilemma on the reader. This paper claims that the reader must suspend judgement to enjoy the novel.
From the Paper "The first moral dilemma is the dilemma that frames the narrative or the plot of the book. Don Corleone came to America to continue the family "trade" of crime and yet to become an American success story in a legitimate fashion. However, he is unable, after the war between the different Mafia crime factions takes his appointed successor Sonny, to enable his son Michael to lead the legitimate life the Don wished him to. The Don wished to win social as well as economic legitimacy for his family in America. He wished to life the American dream, although the dream began on ill-gotten gains. He wished to wash his blood money clean. However, because of the way he earned his money, his son must live an immoral life. Michael cannot distance himself from his family, emotionally. He knows that the reason he has been allowed to live the life of a typical American is because of his father's life of crime. Thus, when the need arises, he must put aside his "legitimate" desires and pursue a life of crime, coming to the head of the Corleone family."
Abstract This paper examines the structural design of the book, "The Godfather," by Mario Puzo. The author details how the narrative structure of the novel leads to many of the difficulties that readers of the novel will face. Some of the problems include difficulties in how the author of the novel can make his audience somewhat understanding and sympathetic to the character of Michael Corleone and the violence that is associated with the crime family. The theme of moral conflict and inner turmoil is found throughout the novel and unlike other books about the Mafia it is told solely from the perspective of the criminals, from the inside, not from the outside looking in. The author feels that the manner in which this material is presented forces individual readers to grapple with the questions and disturbing moral issues raised by this novel.
From the Paper "The first moral dilemma is the dilemma that frames the narrative or the plot of the book. Don Corleone came to America to continue the family "trade" of crime and yet to become an American success story in a legitimate fashion. However, he is unable, after the war between the different Mafia crime factions takes his appointed successor Sonny, to enable his son Michael to lead the legitimate life the Don wished him to. The Don wished to win social as well as economic legitimacy for his family in America. He wished to life the American dream, although the dream began on ill-gotten gains. He wished to wash his blood money clean."
Abstract This paper examines the depth of family loyalty which in confused with violent revenge in the movie "The Godfather." It focuses on the scene of the wedding of Don Vito Corleone's only daughter Connie and looks at how the relationships and interactions of the characters in this scene, represents these feelings.
From the Paper "Francis Ford Coppola's screen adaptation of Mario Puzo's best-selling novel "The Godfather" has become an American movie classic. Puzo's book and then Coppola's movie gave the general public its first true glimpse into the secret underworld of the Mafia, a world shrouded in family love and loyalty and defended by violence.'
Abstract This paper presents a short analysis of a sequence from Francis Ford Coppola's masterpiece, "The Godfather". The scene in question is the murder of the police chief and rival mob boss by Michael Corleone, played by Al Pacino. The paper focuses on the camera angles, motifs, etc.
From the Paper "As he enters the stall, the camera pans right to follow him. It stops directly behind him as he begins searching behind a rectangular fixture on the wall for the gun that is hidden there. As he searches, he turns so that the left side of his face appears in profile. The left (or sinister, from the Italian) side of his face is swollen and slightly bruised because the captain at the table broke his jaw in an earlier scene. The injury has caused his cheek to swell and speech to slur, which makes him look and sound more like his father, the Don of the Corleone crime family. It is appropriate that the audience can only see his "gangster" side as he prepares to commit the first act in his life of crime."
Abstract This paper analyzes the different ways in which revenge is portrayed in this book and movie. It explains that revenge is a central motivation in both and issues of revenge are played out in carefully designed meetings between opposing forces. It discusses how the action of Homer's epic "The Iliad" brings two huge armies together, one inside the walls of Troy and the other outside, as a massive act of revenge for the stealing of Helen. The paper explains how in "The Godfather" the film is set around a family involved in organized crime and how the theme of revenge is thread throughout.
From the Paper "Achilleus withdraws from the fighting to brood, but he relents sufficiently to send his friend Patroklos in his place. Patroklos is slain by Hector, and Achilleus blames himself and seeks revenge. He feels great dishonor at having failed his friend, though in truth he has also failed all the Greeks by brooding rather than by fulfilling his destiny as a warrior. In Book IX, as noted, Agamemnon is about to give up and go home. He sends a messenger to try to assuage Achilleus and bring him back to the fight because he is sorely needed, but Achilleus will not relent. The leaders of the Greeks agree that they should never have appealed to anyone as conceited as Achilleus and that they must fight the Trojans without him. After the death of Patroklos, however, Achilleus will attack the Trojans as if he would defeat them single-handed. He is motivated by the desire for revenge, coupled here with a need to justify himself, and when he kills Hector, he goes too far by dragging Hector's body behind his chariot and by refusing to allow the body to be buried. This necessitates an even greater act of revenge and leads to Achilleus' death."
Abstract "The Godfather" (Francis Ford Coppola, 1972) and "Goodfellas" (Martin Scorsese, 1990) share common elements of theme and characterization; however, the two films differ in regards to tone, direction, and cinematography. The paper shows how both movies address the nuances and complexities of Italian Mafia life from the perspectives of the criminals. It examines how the directors of each of these films portray concepts of family, tradition, culture and religion without neglecting to graphically display the insensitivity, violence, greed and corruption that pervade Mafia life.
From the Paper "Coppola and Scorsese employ vastly different camera and filming techniques. The Godfather is famous for its large, panoramic images like that at the beginning of the film during the wedding. Moreover, the director pans the camera in scenes like the only in which Sonny is shot. In The Godfather, camera angles are instrumental in providing perspective, as in the first scene with Don Corleone behind his desk in his home, as well as the scene in which Michael shoots the crooked cop in the restaurant. Goodfellas contains more close-up shots, especially of Henry Hill."
Abstract This paper discusses issues related to the visual structure of the film, "Godfather part II." It provides a description of the plot and themes and looks at pictorial narrative, pictorial framing and lighting.
From the Paper "Francis Ford Coppola's The Godfather Part II carries the story of The Godfather both backward and forward in time beginning in Sicily where the young boy ..."
Abstract This paper discusses Francis Ford Coppola's 1972 film "The Godfather" and explains the qualities of the film that make it a classic movie. The paper also discusses the film's theme about the ambiguity of good and evil as well as the film's production history, sociologic context and composition. Additionally, several scenes in the movie are examined in detail.
From the Paper "What makes a movie a classic? Is it a powerful story, brilliant direction and strong acting performances? Or is it the interweaving of these key elements plus something more? Francis Ford Coppola's "The Godfather" epitomizes a classic movie."
Tags: The Godfather, film, Francis Ford Coppola, Mario Puzo, Al Pacino, Marlin Brando
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 This paper describes the way in which Don Vito Corleone is played in "The Godfather". It describes how Francis F. Coppola portrays his character perfectly and the way in which the audience is immediately attracted to Vito Corleone because he possesses this immense and far-reaching power in his hands.
From the Paper "My father [Vito Corleone] made him an offer he couldn't refuse. Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract." -Michael to his girlfriend Kay about his father, Don Vito The Godfather (1972) is one of the most significant works in Italian-American film. The film is saturated with images of family, honor, obligation, violence, loyalty, and many other forms of imagery. Many interesting and complex characters are presented by Coppola in the film. The majority of these characters are introduced in the first scene of The Godfather at the wedding party. Time and time again, the individual with the most presence is Don Vito Corleone, the Godfather. His manner, his speech, and his personality all immediately capture the audience."
Abstract This paper compares and contrasts the themes and characters of two of the greatest films of the 1970s, Francis Ford Coppola's productions of Mario Puzo's mob movies, "The Godfather" and "The Godfather, Part II". The writer explains how the films tell the story of Vito Corleone and his son, Michael, and their rise to power as godfather of a powerful crime family. They provide a rich chronicle of the underside of the American dream. It shows how the first film was highly influential and critically well received. This is compared to its sequel, which is widely regarded as even better than the original in the ways that it builds on and enlarges the original story. Although both include many of the same characters, the second movie is more complex and multi-layered, and its themes are deeper. Together, they form a fascinating commentary on loyalty, honor, and family and the ways these qualities are intertwined with the American experience during the 20th century.
From the Paper "The Godfather focuses on Vito Corleone (Marlon Brando) during his last, most powerful years as patriarch of an extraordinarily successful family business. The Corleone family runs an increasingly expansive collection of illegal operations, but Don Corleone has his own ethical standards that prevent him from moving into areas he considers to be sinful; he is especially against anything to do with drugs. The beginning of the end of his power comes when he is forced to surrender to what everyone around him believes is the inevitable wave of the future. By the end of the film, he has retired, turned the business over to his son, Michael, and died, a peaceful old grandfather, playing in his vineyards with his grandson."
