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

Godfather

Abstract
This paper provides an analysis of Francis Ford Coppola's film "The Godfather," that addresses the following: 1) What is the crime in the movie, 2) What is the punishment, 3) Are the characters good guys or bad guys, and 4) What is the director doing to the viewer?

From the Paper
"There are numerous crimes in Francis Ford Coppola's film "The Godfather", a saga of organized crime that follows the Corleone family through a transfer of power, from Don Godfather Corleone to his youngest son Michael. Crimes in the film include numbers running, racketeering, bribery, prostitution, illegal gambling and murder. However, the biggest crime in the film occurs inside the world of organized crime. Disloyalty by any member of the family is tolerated under no circumstances, a crime punishable by death, as plenty of individuals who betray..."

Tags:mafia, organized crime, murder, coercion, criminal activity, Godfather, Coppola

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."

Tags:sparkling teenagers conspiracies necklace, historically documented

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."

Tags:film, study, crime

Abstract
The paper focuses on one of the predominant cultural themes within Francis Ford Coppola's "Godfather" that is the conflict between tradition and modernity, between Sicilian family values and the sweeping changes taking place in post World War II America. The paper looks at the major line of succession that passes from Don Vito Corleone to his reluctant son, Michael.

From the Paper
"The archetypal characterization of The Godfather is a rather sympathetic portrayal of a feudal empire. There is a clear hierarchy of characterization; from the King (Don Vito) to the serfs (for example, the baker Enzo, the undertaker Bonasera, who utters a classic phrase indicative of the best Tudor intrigue, "For justice, we must go on our knees to Don Corleone"). Thus, the feudal morality focuses on tradition versus economic necessity, much as it did during the medieval period. Don Corleone made his fortune in, what he considers, "soft" crimes: gambling, extortion, and black-market goods; passions he considers part of human weakness. He is not above horrific violence, witness the manner in which he deals with Hollywood producer Jack Woltz when Woltz refuses to allow Vito's godson an important role in an upcoming film - awakening one morning with the severed head of his prize stallion in his bed. However, Vito draws the line on what he considers "immoral" business - drugs.
"Feudal Vito continues to exemplify tradition when he remarks, "A man who doesn't spend time with his family can never be a real man," yet he insists that there be a separation from his business life and personal life, never including "the women" in any matter of "importance" other than the lives and maturation of family members. Michael, then, representing the new, is to find a legitimate (e.g. legal) job. Alas, the complications of Vito's morality in refusing drug dealer Virgil Sollozo's "request" for Vito's acquiescence and protection result in the death of Michael's brother Santino (the heir apparent) and the severe wounding of Vito himself."

Tags:characterization, morality, culture

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..."

Tags:Vietnam, combat, prejudice, stereotype, justification, morality, evil, good, Vietnamese, war

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."

Tags:mafia, crime, don, family, business

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 ..."

Tags:Godfather, Film, Coppola, Hollywood, Editing

From the Paper
"Francis Ford Coppola's long overdue, substantially over-budgeted, $30 million Vietnam war epic, Apocalypse Now, was finally released in America in the summer of 1979. For director Coppola, the film threatened to become a personal Waterloo ?- both financially and creatively. Originally budgeted at $12 million, Coppola risked his own assets, by borrowing $18 million against his homes, yacht, properties and residuals on prior films, in order to complete the project. He also seemed to lose control over the direction of the film, at one point admitting, "the film was making itself", and it is easy to draw parallels between difficulties in concluding the movie and those encountered in ending the actual war. But Coppola survived the risky artistic adventure. Partially due to Coppola's ... "