Emotional Range in Gangster Films
An examination of the director's use of emotional range in the gangster films, "The Godfather," directed by Frances Ford Coppola, "Goodfellas," directed by Martin Scorsese and "Bonnie and Clyde," directed by Arthur Penn.
# 114657 | 1,911 words | 3 sources | APA | 2009 |
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This paper examines three gangster films in detail from the perspective of the director's use of evoking an emotional range in the viewer that causes the characters to be as powerful dead as they are alive. It specifically examines "The Godfather," directed by Frances Ford Coppola, "Goodfellas," directed by Martin Scorsese and "Bonnie and Clyde," directed by Arthur Penn.
From the Paper:"In each of these films, the directors have been able to kill off main characters, and create character personas that were in death equally as large as they were in life in the minds of the audiences. These are very successful films because of all the elements of filmmaking that were successfully pulled together; casting, directing, editing, scripting and wardrobe. Each of the three films are formulas for successful gangster films, which is a genre that is difficult to fail with because it is one with which Americans are endlessly fascinated with. However, add to that fascination the elements of success in filmmaking formula, and it is a box office smash."
Sample of Sources Used:
- Coppola, Frances Ford (dir). 1972. The Godfather, motion picture, Paramount Pictures, USA.
- Penn, Arthur (dir). 1967. Bonnie and Clyde, motion picture, Tatira-Hiller Productions, USA.
- Scorsese, Martin (dir). 1990. Goodfellas, motion picture, Warner Brothers Pictures, USA.
Cite this Film Review:
Emotional Range in Gangster Films (2009, June 17) Retrieved June 20, 2013, from http://www.academon.com/film-review/emotional-range-in-gangster-films-114657/
"Emotional Range in Gangster Films" 17 June 2009. Web. 20 June. 2013. <http://www.academon.com/film-review/emotional-range-in-gangster-films-114657/>