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."

Tags:film, personality, character

Abstract
This film review examines and analyzes the development of Michael Corleone's character over the course of Francis Ford Coppola's three "Godfather" films into a tragic figure. Michael is seen as the central character of the trilogy.

From the Paper
"Aristotle describes in the 'Poetics' 'is not a perfect person.' He is, however, meant to embody human nature better on the stage than most human beings are in real life. The hero is the kind of man who neither is distinguished for excellence and virtue nor comes to grief on account of baseness and vice but on account of some error a man of great reputation and prosperity. (Aristotle) For Aristotle a character is as tragic as the issues he..."

Tags:Godfather saga, tragic hero, Corleone, Coppola

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."

Tags:mafia, corleone, organization, business

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 naive, 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. "

Tags:corleone, family, mafia, coppola, genre

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."

Tags:mafia, mob, corleone

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 judgment 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."

Tags:mafia, crime, corleone, michael, sonny

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.'

Tags:marriage, loyalty, corleone

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."

Tags:structure, narrative, crime, mafia, lifestyle, characters, sympathetic, dilemma, family, trade, michael, sonny, life, immoral, struggle, criminals, mafia, morality, american, corleone

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."

Tags:trojan, death, hector, Achilleus, Agamemnon, Corleone, greek, mafia