The Godfather: Scene Analysis

Michael’s character is carried through the whole book and Walter providers his reader with encounters with Michael when he was just starting to make films. Michael is involved in a scandal in his film, Cleopatra, in which he told a doctor to tell Dee that she had stomach cancer instead of what she actually had inside her, which was a baby. Michael met with one of Dee’s friends to tell him that he asked a doctor to cover up the pregnancy, and he chose stomach cancer “...because the symptoms could match up with those of early pregnancy” (140). In these first encounters the reader gets to see Michael's original attitude and goals in life. His main goal is to make money. He doesn’t seem to care much for people and relationships as we see in his actions toward Dee and his wife, “He spots Wife No. 4 through the open kitchen door, in yoga pants and tight T-shirt. He gets the full protuberant effect of his recent investments in her, the top-of-the-line viscous silicone gel sacs implanted in her retromammary cavities, for minimal capsular contracture and scarring” (90). Michael Deane is clearing only looking for his own gain, treating both Dee’s and Wife No. 4’s body’s as his

John Lee Hancock puts emphasise on the fact that Michael is poor and the Touhy’s are rich and juxtaposes these two central characters repetitively throughout the film. This is done to portray to the audience that a person’s socio-economic status can affects an individual’s capacity to learn and excel at the things he may be talented at, in Michael’s case football. Another aspect which is explored throughout the film is the fact that attitudes towards belonging can change of time this is evident in Michael because at first he was hesitant in staying with the Touhy’s but later transitions into part of their family, Michael makes many transitions throughout the film which include from Illiterate to educated and from disrespected to honourable, this movie has a very motivational aspect to it in that it inspires people to push past any barriers they may be faced with. Michael is quickly accepted as part of the family and creates a connection with them and has a sense of belonging with them this is also done at his school when his football coach strengthens Michaels sense of belonging by describing him as “his son” this makes Michael Ohers feel a part of the group and encourages him to excel without the fear in his mind that he is not accepted in the environment he is faced with.

There are quite a lot of widespread stereotypes of Italian Americans in “The Godfather” movies which involve characters, Italian foods, family, and violence. Food plays a huge role in The Godfather movies. Characters in the movies are always seen eating Italian food such as pasta. If the directors were not referring to any specific ethnic group than why were all the movies showing characters with Italian names eating foods that were known to be “Italian” foods. Also, violence is a major key in the movie which is also stereotyped to Italian Americans by them being associated with crime and the mafia. “ Thus, rather than helping to overcome the negative image of Italian-Americans fostered by entertainment programming, the media reinforces

One of the greatest films and novels of all time, The Godfather by Mario Puzo is the book that I chose to write my report about. This book falls under the drama and crime fiction genres, due to its dramatic story of people being shot and murdered. The Godfather takes place in New York during the years 1945-1955, right after World War II. Most of the story is written from a narrator 's perspective, save for two points in the book in which the story becomes a first person point of view. One of the themes portrayed in the novel is that family always comes first, even if it isn’t a blood-related family, but a crime family. The novel’s theme is primarily that of loyalty, which is a crucial plot device because some of the Corleone family

The Johari Window is explained by a model showing the different ways of communication between yourself and others. The Johari Window goes to explain the different types of views of yourself. What you allow people to see, what you don't know that people see, what you don't let people see, and what you and others don't see. In the movie Gran Torino, the character Walt learns to allow people to see him as his true self, and not just how he allows people to see him. Which is explained using the Johari Window.

With Michael and his circumstances and the welcoming of him in the family this enhanced his

Nolan uses mise en scene to further develop the audience’s understanding and view of the protagonist, Shelby and his psychological struggles in the opening scene of Memento. Followed by the non-linear editing, Nolan uses low key lighting to create a dark and dangerous atmosphere, which shows Shelby as being vulnerable and in danger. However, the dim lighting suggests that Shelby is a murderous man as he is holding the gun. This helps build tension felt by the audience by making them want to understand who Shelby is and to learn why he has killed a man. At the start of the film, the audience does not know his motive and become intrigued as they want to solve the mystery as to why Shelby has committed murder. To further emphasise this, the setting is an empty, isolated room that is low-key lit. this is immensely ominous as all the features carries connotations of death. Shelby is wearing a suit, which suggests that the film is set in modern society. As it is set in the modern society, it accentuates to sense of danger and the ominous feel to the audience as it is seen as illegal and beyond convention to murder. The sense of danger is elevated by the fact that the scene is directly after Shelby has committed murder. It shows Shelby’s unperturbed facial expression and a scratch on his cheek. The cut illustrates that he has endured some physical altercation with his victim. Shelby’s facial expression is rather confusing and rather concerning as he seems emotionless after a

Michael was brought up in poor project housing that was consumed by drugs, alcohol, and gangs. He was pushed in and out of foster homes forcefully being separated from his mother and siblings. As the movie showed in harsh flashbacks, Michael is deeply affected by the forceful separation from his mother. This constant absence from the mother or other supportive figures leaves Michael unable to make a secure attachment to any strong base. Erikson’s stage of trust versus mistrust is displayed due to Michael’s inability to count on the kindness and compassion of others which leads him to withdraw from his surroundings (p 248). This abrupt memory in life affects Michael in his idea of family and commitment. The harsh environment also kept Michael from attending school, and the times he did there was no support for him to even try in school.

8 When you refer to the narrative of the story, use the present tense, as in the following: “Sammy decides that he can no longer continue to work at the store.” Don’t write: “Sammy decided that he could no longer

The American films The Godfather I and II directed by Francis Ford Coppola, included mise-en-scene to emphasize certain characteristics and themes during both films. In this essay I will discuss how mise-en-scene was used to portray the lives of the Mafia families in the 1940s and 50s.

The hard cuts between such polar opposites as baptism and murder reflects on the contrasts in the main character. Overall, Coppola used this segment to communicate how twisted Michael has become. Michael can no longer distinguish between good and evil or right and wrong. He only evaluates his actions on whether or not they help him. It also shows the changes he has made in the movie. The baptism and

A blurb by Frank Lentricchia on the back of Chris Messenger's book calls it "a landmark in the study of popular culture." Most readers recognize academic hype and know that even the most cautious of scholars will risk indiscretion on a book jacket. But in this case the hyperbolic claim may be understated. Messenger's book is a phenomenon. I am at a loss to think what manifestation of The Godfather narratives (book, film trilogy, related movies, television programming), or what aspect of authoring, filming, marketing, or what theoretical perspective or intellectual framework Messenger overlooks in this comprehensive, intelligent, and definitive study of what is surely the twentieth century's most telling fable of the complex intersections of work and family in American

The film, American Gangster, directed and produced by Ridley Scott is a drama based on the biography of Frank Lucas. In the movie, Frank Lucas constructs his own business of illegal work after his boss, Bumpy Johnson, passes away. Frank builds a heroin business, following in the footsteps of Bumpy, and becomes the most powerful crime boss in Manhattan. Furthermore, because of Frank’s immoral ways, he gets caught by the police and is sentenced to 15 years in prison. As the movie progresses I form a couple assumptions of what could happen in the short term and long term. First off, when Frank Lucas attains his heroin I believe that in the short term he will succeed. Frank has established a vast amount of insights into the drug business from Bumpy, and from what he has learned he will take in and apply it to his situation. However, all immoral acts will have to be put to an end, so in the long term, Frank’s heroin business will be caught. If Frank’s business is the biggest thing in Manhattan then the police are bound to question where are all the illegal drugs coming from, how, why, and who. The police were already hunting him down so it was inevitable for him to get out of his illegal mess.

With his family and his passion for football, Michael has become more of a man. He finally speaks for himself as he did with the inspector lady and speaks for his family as he did when he beat up the gangsters that were insulting his “mother”. He is now more confident than before shown by

THE GODFATHER, made in 1974, details the Corleone crime family in Manhattan during the mid 1930s. The Don, Vito Corleone, played by Marlon Brando, leads his organization against a relentless narcotics push by a rival family, the Sollozzos. Vito Caleone does not want anything to do with drugs because he believes they will be the downfall of the Mafia. The story, covering a ten year time period, offers a rich tapestry of Mafia life from the inside, drawing the audience into witnessing the transfer of power within a close-knit family