| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "GODFATHER MOVIE CLASSIC": |
|
|
"The Godfather": Analysis of a Movie Classic, 2005.
A look at what qualities make the film, "The Godfather", a classic.
4,275 words (approx. 17.1 pages), 6 sources, MLA, $ 151.95
»
Click here to show/hide summary
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."
| |
|
The Making of the Movie "The Godfather Part Two", 1990.
Outlines the casting, directing, editing, and financial decisions for the making of "The Godfather Part Two".
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
»
Click here to show/hide summary
From the Paper
The Godfather Part Two
"The sequel to The Godfather was the follow-up to the highest-grossing film to that date, though it has been superseded since by a number of pictures. The sequel was also the first simply to call itself "Part II" and then to continue the story. Earlier sequels had different titles for their sequels, even if it was merely to add "Son of. . ." or "Return of. . ." to the original title.
The characters for The Godfather: Part II derive largely from The Godfather, the novel by Mario Puzo that was a bestseller before it was filmed by Francis Ford Coppola and released in 1972. The novel was published in 1969 and was on the best-seller list for 67 weeks, selling a million hardcover and twelve million paperback copies..."
| |
|
"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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
Women in the "Godfather", 2002.
Examines the roles of the women characters in Coppola's movie "Godfather".
1,457 words (approx. 5.8 pages), 0 sources, $ 48.95
»
Click here to show/hide summary
Abstract
This paper analyzes the movie "Godfather" and shows that the women in the film played a very important role for setting the tone. It looks at how stereotypes are fitted into the movie in many ways but with the women's role, this changes. Each of the important female characters are analyzed individually.
From the Paper
"Certainly, those qualities were not valued in Puzo's Italian-American female characters. The fact that Puzo?s women are not well-respected translates over into Coppola?s Godfather. Locked out of the family business, the women who were married to the mob seemed to have little to do beyond looking pretty and getting blown up. His men, on the other hand, were dynamic supermen -- cold-hearted killers, yes, but also devoted family men, guys who could go to work, knock off a few enemies, carve out a little more territory and still remember to bring home the cannoli. They were the inspiration for the generation of rising mobsters that included John Gotti. The Dapper Don with the sunlamp tan and Brioni suits carefully cultivated his image after that of Puzo's mobsters. Now, it turns out, the Dapper Don's role model was really a welfare mom who held her family together in the tenements of Hell's Kitchen while her husband broke down under the stress. This theme is carried well throughout Coppola?s film The Godfather."
| |
|
"The Godfather", 2002.
An essay discussing family feelings and violence in the movie ?The Godfather" by Francis Ford Coppola.
1,159 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
»
Click here to show/hide summary
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.'
| |
|
?The Godfather?, 2002.
This paper analyzes the movie, ?The Godfather?, based on the novel by Mario Puzo.
1,535 words (approx. 6.1 pages), 7 sources, $ 50.95
»
Click here to show/hide summary
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. "
| |
|
"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
»
Click here to show/hide summary
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."
| |
|
The Gangster Movie Genre, 2002.
An analysis of "The Godfather" films as examples of the gangster movie genre.
2,155 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
»
Click here to show/hide summary
Abstract
This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.
From the Paper
"Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."
| |
|
The Movie Remake, 2006.
This paper examines the movie industry's practice of remaking previously successful films.
2,786 words (approx. 11.1 pages), 9 sources, APA, $ 83.95
»
Click here to show/hide summary
Abstract
This paper explores movie remakes and questions whether the film industry uses its assets efficiently or wastes the audience's, as well as the film industry's, time and money by rehashing socially irrelevant characters and worn out plots. When a movie company produces a film, they have a tangible asset by owning the rights to that particular movie to do with as they please. The writer of this paper asserts that while the original movie may have been good in its time, it may not always stand the test of time when producers remake the film in an attempt to spark a renewed interest in it. This paper focuses on two films, "Shaft" and "Planet of the Apes," both socially controversial films from 1968 and compares them to their remakes in 2001.
From the Paper
"The 1960s was a time of racial turmoil. After nearly 250 years of oppression, blacks had finally won equal rights with the 1964 Civil Rights Act. Gone were the Jim Crow laws and other attempts to legally separate people according to race. However, simply making a law did not automatically erase the social confines that surrounded the issue of racial differences. Blacks and Whites had been legally separated for many years. Their origins were two different perspectives and ancestries. Even though blacks could no longer be discriminated against according to the law, this did not mean that they automatically gave up their own unique styles and culture."
| |
|
"Of Mice and Men" - The Movie, 2005.
A comparative analysis of the two movie versions of John Steinbeck's novel "Of Mice and Men".
2,089 words (approx. 8.4 pages), 0 sources, $ 65.95
»
Click here to show/hide summary
Abstract
The novel "Of Mice and Men" by John Steinbeck has two movies based on it. This paper examines how these two movies have two slightly different interpretations on how the story should be depending on the specific year that it was made. One movie was made in the year 1939 while the other movie was made in the year 1992. It looks at how although these two movies share the same title as the original novel, both of them have to some extent, different perspectives on the opening sequence, elements of humor, character portrayal, the time the movies were made for and metaphors.
From the Paper
"For the 1939 version, there was less violence, subtle use of swear words and indirect language. Viewers in the 1930s lived in the era of the Great Depression that was occurring throughout the world at that time. Many people did not want to be reminded of the hardships all around them. And because of this, violence was not portrayed directly in the movie. The actors involved in a violent scene will practice 'self-censorship' in which they will cover-up their violent acts: George covering his gun with a handkerchief before shooting Lennie or the camera will not focus directly on the event: Curley's wife's neck being broken by Lennie."
| |
|
Revenge in "The Iliad" and "The Godfather", 2002.
An examination and comparison of the theme of revenge that runs through the book "The Iliad" by Virgil and the film "The Godfather" (Coppola, 1972).
1,101 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
»
Click here to show/hide summary
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."
| |
|
?The Godfather? and ?Goodfellas?, 2002.
Shows the common elements of Francis Ford Coppola?s 1972 crime drama "The Godfather" and Martin Scorsese?s 1990 film "Goodfellas".
859 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
»
Click here to show/hide summary
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."
| |
|
"The Republic" by Plato and the Movie "The Matrix", 2001.
A discussion on the concept of truth, righteousness and reality as portrayed in "The Republic" and in the movie "The Matrix".
1,630 words (approx. 6.5 pages), 0 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This essay discusses the issues of righteousness, truth and reality as depicted in "The Republic" and the movie "The Matrix". In addition, the author provides examples from the movie? The Matrix" to support his views.
From the Paper
"Where does the truth lie? And if we were to discover its hiding place, would we necessarily be happy with what we find there. Plato, in his allegory of the cave as put forth in The Republic, and the movie The Matrix each suggest to us a metaphor, a symbol, of the relationship between truth and the larger society ? although both the ideas of society and the ideas of truth vary dramatically.
The Republic was meant by Plato to be a criticism of the-current political system. Much of the criticism that Plato leveled against his own government was based in the philosopher?s metaphysical system, in his belief in a world of permanent Forms that existed well beyond the limitations of human experience. Plato argues that the state and political institutions should exist to promote these ideal Forms. "
| |
|
Movie: "Crouching Tiger, Hidden Dragon", 2005.
This paper review the movie "Crouching Tiger, Hidden Dragon", directed by Ang Lee, and taken from Chinese mythology.
915 words (approx. 3.7 pages), 0 sources, $ 32.95
»
Click here to show/hide summary
Abstract
This paper explains that the movie "Crouching Tiger, Hidden Dragon" means hiding one's strength from others, a skill mastered by most of the major characters. The author points out that both warriors and bandits were tied to their lifestyles as the very essence of their existence. The paper relates that the movie showed what it was like to live in China in the Qing Dynasty conveying the rich culture and personal conflicts of people in that era.
From the Paper
"Jiao Long aspired to learn more than what her master could teach her and hid her skills from her master. Not the way a disciple should act. She reacted to the attack by the bandits by chasing the head bandit Dark Cloud. This is not the way a young noblewoman should act. She later became his lover. Another action unbecoming of a noblewoman. She disdained marriage to another aristocrat and left her groom hanging by taking off. She resisted authority till the end, ending her life by jumping from Wudan Mountain, because it seemed like she was forever searching for more. A conformist, Jiao Long is definitely not."
|
|
|
