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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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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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?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
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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. "
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"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
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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.'
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?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
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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."
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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
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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."
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Joseph O'Brien's "Boss of the Bosses:The Fall of the Godfather", 2002.
Reviews Joseph O'Brien's account of Paul Castellano's life in the "Boss of the Bosses: The Fall of the Godfather".
1,442 words (approx. 5.8 pages), 0 sources, MLA, $ 47.95
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This paper discusses O'Brien's historical account of the mafia godfather Paul Castellano. It explores the focus of the book and O'Brien's motives and messages in the book. This paper also reviews the information provided about the Gambino family and O'Brien's methods of obtaining the information.
From the Paper
"Because of the sensitive nature of some classified information that surfaced during the investigation, O'Brien had to curb his writing style to meet legal approval. He and Kurins had developed a relationship with Castellano while they were brining about his downfall. At one point O'Brien states, "a relationship developed between us. We were friends. It's hard to believe that." O'Brien also let's his readers know that Castellano was not an "irrational, ruthless boss" but rather a businessman. And that's one of the key points that he drives home in the book. Castellano was even against drug trafficking, which O'Brien assumes to be one of the reasons why he was gunned down. In many resects, he did not fit the image of a powerful Mafia don. O'Brien began to feel a grudging sympathy for this proud man, who tried to overcome the pressures he faced from rival mobsters."
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?The Godfather?, 2002.
A review of Francis Ford Coppola's 1972 film ?The Godfather?.
2,022 words (approx. 8.1 pages), 3 sources, MLA, $ 64.95
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This paper discusses how it is for its violence and portrayal of organized crime that "The Godfather" is so memorable, although this only provides details to the landscape of the plot. It examines how the theme it underscores is one where the protagonist returns from the pluralistic, ideological world of the United States during the forties to a more primitive one characterized by blood, danger, superstition and death. It looks at how the idealistic protagonist falls prey to the standards of conduct endemic to a society bereft of moral principle which must rely on the pack instinct and family loyalties in order to maintain some cogent structure.
From the Paper
"Firstly, The Godfather is a story where the gangster comes of age in a completely normative culture, which is bereft of the principles symbolized by service in the Allied forces. This culture is so lethal and estranged from the primacy of human need that the main character is only able to survive by adopting the ethics of a counter-culture in which he can gain status and approval through participation in a disruptive turf war that destroys many of his family members. In turn, the alternative society, where he earns his rite of passage by murdering an enemy of his criminal organization, provides him with dignity and fulfillment. We see a social criticism in the repetition of memes: the young Michael Corleone first enjoys the acclaim of his country for heroism because he is willing to kill Germans, and upon returning home is expected to perform the same task for a smaller, more intuitive group of people with whom he self-identifies."
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"The Godfather", 2002.
Description of the characters in "The Godfather".
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
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Abstract
The following paper describes characters in the "Godfather" by Mario Puzo.
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"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
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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."
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"The Godfather" by Mario Puzo, 2007.
This paper demonstrates the ethical superiority of the written prose "The Godfather" over the visual film directed by Francis Ford Coppola.
1,236 words (approx. 4.9 pages), 3 sources, MLA, $ 42.95
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The paper explains that one of the dangers of portraying violence on film is that anything on the cinema screen takes on a kind of glamour. The paper portrays how a shoot-out even has a kind of beauty in Francis Ford Coppola's "The Godfather." The paper contrasts this to the cool, blunt force of Mario Puzo's prose in the original novel that more effectively shows the consequences of living in a violent and lawless world. The paper demonstrates how Puzo's book ultimately forces the viewer to think critically about violence, rather than simply become drunk upon bloody, violent images of primitive Italian revenge.
From the Paper
"Mario Puzo places the Mafia's history and legacy in a historical context that takes away some of the glamour of its power. The Mafia is not a silent, deadly, unstoppable force that suddenly and inexplicably rears its head in history. It is not just an exotic Italian import, like pasta and oranges, in contrast to the rather bland wholesomeness of Michael's traditional American fiancee. In the film, the Mafia could be luring behind any corner, like a monster, which also makes it perversely attractive, like Dracula, while Puzo clearly situates the rules of the organization, how such apparently silent but deadly attacks can occur, and also shows how easily violence can become tolerable within a society, society, and an individual's psychology."
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Visual Analysis of "Godfather Part II", 2003.
Discusses issues related to visual structure of the "Godfather Part II".
1,380 words (approx. 5.5 pages), 4 sources, APA, $ 47.95
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This paper discusses issues related to the visual structure of the film, "Godfather part II." It provides a description of the plot and themes and looks at pictorial narrative, pictorial framing and lighting.
From the Paper
"Francis Ford Coppola's The Godfather Part II carries the story of The Godfather both backward and forward in time beginning in Sicily where the young boy ..."
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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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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, 2005.
An analysis of how Don Vito Corleone is portrayed by Francis F. Coppola in "The Godfather".
2,632 words (approx. 10.5 pages), 8 sources, APA, $ 79.95
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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."
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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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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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