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Francis Ford Coppola's "Godfather" Saga, 2002.
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).
1,425 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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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."
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Francis Ford Coppola's "The Godfather", 1994.
This paper is a sociological analysis of family and community in Francis Ford Coppola's "The Godfather" about criminal group in 1940's.
2,250 words (approx. 9.0 pages), 2 sources, $ 79.95
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From the Paper
"Francis Ford Coppola's film "The Godfather" can serve as an artifact for ethnographic study, presenting as it does a full and detailed picture of a social subgroup in American society. The plot of the film focuses on the criminality of members of this subgroup, but in a broader sense the story of the Corleone family reflects a number of other forces in American society--the immigrant experience, the maintenance of certain Old World social structures in the New World, and a family organization that is different from the prevailing structure in American society at large. The film tells the story of a specific family in a way that reflects the experience of a large number of people from a similar background at this particular time in American history.
The story of The Godfather derives from a novel by Mario Puzo, an Italian-American familiar with this milieu and with the ... "
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Francis Ford Coppola's "The Godfather", 2005.
This paper analyzes the editing of one scene in Francis Ford Coppola's "The Godfather".
690 words (approx. 2.8 pages), 1 source, $ 23.95
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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 ..."
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"The Public Enemy" ( William Wellman ) & "The Godfather"( Francis Ford Coppola ), 1994.
Examines gangster films directed in 1931 & in 1972, focusing on social & family values.
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
" Motion pictures, though often viewed as no more than fantasy and escapism, often reflect the society and time in which they are produced, and for all the melodrama and "fantasy" of the gangster film genre, this is one type of film that seems destined to be a reflection on the society which produces it. The Public Enemy (William Wellman, 1931) and The Godfather (Francis Coppola, 1972) are separated by 40 years of time. The two films have much in common, but they also reflect different views of their respective social settings and specifically of the nature of the experience of organized crime in America.
Both films involve underlying assumptions about the force of the American Dream and the way in which that dream has been distorted as a justification for crime by certain individuals. Both films reflect the view that some criminals are born and some.."
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"Dirty Harry" ( Don Siegel ) & "The Godfather" ( Francis Ford Coppola ), 1997.
Examines plots, styles, social messages, characters, values of 1971 & 1972 films.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"The Godfather was the highest-grossing film of 1972, while Dirty Harry was a major success the year before. Both films can be defined loosely as being in the crime genre, but their generic differences are considerable. The Godfather is in the tradition of the gangster film, though it melds this with a traditional family drama, while Dirty Harry is a police drama that owes as much to television as to earlier movies for much of its structure and theme. The Godfather was directed by Francis Ford Coppola in his first major studio feature, while Dirty Harry was directed by Don Siegel, a veteran with many films to his credit by the time he directed this one. The way the two filmmakers approach their material is quite different, and yet in one respect they are similar--both filmmakers respond to the socio-historical forces of their time and embody some aspect of those forces in their.."
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"Godfather III" ( Francis Ford Coppola ), 1992.
Examines visual innovations and techniques and provides a brief comparison of the film and the director's life.
1,125 words (approx. 4.5 pages), 0 sources, $ 39.95
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From the Paper
"The Godfather (I) and Godfather (II) won best picture Oscars in 1972 and 1974 respectively. Godfather (III), the third chapter in the saga of the Corleone family, was also nominated for Best Picture by the Academy of Motion Picture Arts & Sciences. However, the visual awards (sets, costumes, cinematography) in 1974 went to Towering Inferno, and The Great Gatsby and in 1972 to Cabaret.
Godfather (III) is a visual feast for the audience, but its overall story is relatively weaker than its "Best Picture" predecessors. This report will give a visual design analysis and discussion of Godfather (III). Mise-en-scene, lighting, costumes, sets, hairstyles and other elements of visual design will be analyzed. A discussion of the major themes covered in Godfather (III) will also be presented. A brief conclusion will ..."
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Biography of Francis Ford Coppola, 2005.
A film study that analyzes the life and films of Francis Ford Coppola
1,125 words (approx. 4.5 pages), 1 source, $ 44.95
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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."
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Francis Ford Coppola's "Apocalypse Now", 2004.
An analysis of the message about those who kill in wartime in Francis Ford Coppola's film "Apocalypse Now".
900 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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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..."
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Francis Ford Coppola's " Apocalypse Now", 1981.
This paper discusses Francis Ford Coppola's epic film of the Vietnam War " Apocalypse Now": Plot, characterization, structure, themes, costs, setting, innovations and test marketing.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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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 ... "
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"Apocalypse Now" by Francis Ford Coppola and " Heart Of Darkness" by Joseph Conrad, 1994.
A comparison of the 1979 film and the novel on which it is based. Includes scenes, characters, symbolism and the ending.
1,575 words (approx. 6.3 pages), 8 sources, $ 55.95
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From the Paper
"The film Apocalypse Now (1979) is a translation of Joseph Conrad's short novel Heart of Darkness to the milieu of the Vietnam War. In doing so, screenwriters John Milius and Francis Coppola utilize the basic plot structure of the novel, with elements altered to reflect the horrors and terrors of the war. Underlying both the novel and the film is the idea of the journey into the darkest areas of the human soul. The film indeed carries this much further than does the novel because where Conrad features a central character who comes to question his own righteousness and to wonder whether all men could not become a Kurtz under the right circumstances, Milius and Coppola see the war in Vietnam as made up of precisely the "right" circumstances. The war is a veritable cauldron of evil forces in which the central character not only fears he might be just like Kurtz, but..."
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The Deer Hunter by Michael Cimino & Apocalypse Now by Francis Ford Coppola, 1989.
Analyzes films in terms of their portrayal of American involvement in Vietnam.
1,800 words (approx. 7.2 pages), 5 sources, $ 63.95
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From the Paper
""The Deer Hunter" and "Apocalypse Now" were the Vietnam War films that first dealt seriously with the Southeast Asian conflict and that first received critical attention. Michael Cimono's "The Deer Hunter" won many Oscars in 1979 because the public was ready to accept a vision of the war that had brought the United States to the brink of a civil war in a clash of sympathies. Francis Ford Coppola's "Apocalypse Now" was his major follow-up to the enormous success of "The Godfather II," and the director was able to create a surreal statement about the destructive effects of the war. It is the purpose of this paper to fully analyze all the important aspects of the films, and include how society's attitude toward Vietnam was portrayed in both films."
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"The Godfather" and "The Godfather, Part II.", 2002.
Examining Francis Ford Coppola's two movies and how they compare to each other.
2,205 words (approx. 8.8 pages), 2 sources, MLA, $ 68.95
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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."
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?The Godfather?, 2002.
A review of Francis Ford Coppola's film "The Godfather" with an emphasis on leadership styles.
785 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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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."
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"The Godfather" and "The Sopranos", 2006.
A comparison between Francis Ford Coppola's "The Godfather" and David Chase's "The Sopranos".
2,210 words (approx. 8.8 pages), 0 sources, $ 68.95
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Abstract
This paper compares the main themes and characters of the popular television series "The Sopranos" and the famous film "The Godfather". The author explores the similarities and differences in their approach to religion, family, morality and humor. The paper also includes society's reactions to these two works. In conclusion, the author offers a personal opinion on the reason for the productions' successes.
From the Paper
"In assessing these two different approaches to the Mob, the question is not "Do the writers and producers 'use' religion?" but rather, it is obvious that religion plays a role in the real life of gangsters - particularly Italian ones. For instance, we do not see Hyman Roth (a prototype of the real-life Meyer Lansky) attend a synagogue. Yet, we see various scenes of interplay with the clergy, and attendance at baptisms, marriages and funerals within a church or cathedral- not in the U.S. and in Sicily. We cannot eliminate the influence of the church- whether we can consider it positive, neutral, or negative. Religion is there. It cannot be eliminated, even from fiction pretending to be real life."
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"The Godfather", 2004.
Analyzes a sequence from the movie, "The Godfather", directed by Francis Ford Coppola.
955 words (approx. 3.8 pages), 0 sources, $ 33.95
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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."
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