The Godfather
by Francis Ford Coppola
In 1972, director Francis Ford Coppola directed The Godather, which is based on a novel written by American author Mario Puzo. The film won Best Picture at the Academy Awards and received almost unanimous accolades from critics and film-goers alike. In 1974 Coppola would release The Godfather: Part 2, which would once again steal the Best Picture trophy.
Why does this film capture the imaginations of so many people? Is it the Shakespearean qualities of honour, loyalty, revenge, and courage, or the exploitation of the American dream? For many, the appeal is the sympathy and pathos that the characters bring out in ourselves despite their murderous and criminal ways. We gravitate towards the notions of family and loyalty that the Godfather himself emphasizes, but we are also seduced into accepting the dark side of the Corleone family. Likely, the appeal is also the tragic heroes and their respective tragic flaws that give these characters their human and sympathetic qualities. There seems to be great appeal and curiosity about essentially good people doing bad things. Above all, it is the appeal of wonderful story telling, compelling characters, and excellent acting.
The film boasts the talents of many veteran actors, such as Marlon Brando, but would also launch the careers of many little-known actors (at the time), like Al Pacino, Robert De Niro, James Caan, Robert Duvall, and Diane Keaton. Coppola was very much in touch with cinematography, setting and tone. As the film progresses, it folds out like a beautiful tapestry and immediately captures our imagination. Unlike many of the flashy special effects driven films of today, this film is a meticulous study of character and human drama.
In saying this, it is also important to understand issues such as stereotyping. Many Italian-Americans would cringe at the typecasting and copycat films that would follow. Shows like The Sopranos would continue this legacy, which has proven to be just as controversial in content. But while we can recognize the dangers of cultural stereotyping, we can also appreciate the scope and power of this film.
Why does this film capture the imaginations of so many people? Is it the Shakespearean qualities of honour, loyalty, revenge, and courage, or the exploitation of the American dream? For many, the appeal is the sympathy and pathos that the characters bring out in ourselves despite their murderous and criminal ways. We gravitate towards the notions of family and loyalty that the Godfather himself emphasizes, but we are also seduced into accepting the dark side of the Corleone family. Likely, the appeal is also the tragic heroes and their respective tragic flaws that give these characters their human and sympathetic qualities. There seems to be great appeal and curiosity about essentially good people doing bad things. Above all, it is the appeal of wonderful story telling, compelling characters, and excellent acting.
The film boasts the talents of many veteran actors, such as Marlon Brando, but would also launch the careers of many little-known actors (at the time), like Al Pacino, Robert De Niro, James Caan, Robert Duvall, and Diane Keaton. Coppola was very much in touch with cinematography, setting and tone. As the film progresses, it folds out like a beautiful tapestry and immediately captures our imagination. Unlike many of the flashy special effects driven films of today, this film is a meticulous study of character and human drama.
In saying this, it is also important to understand issues such as stereotyping. Many Italian-Americans would cringe at the typecasting and copycat films that would follow. Shows like The Sopranos would continue this legacy, which has proven to be just as controversial in content. But while we can recognize the dangers of cultural stereotyping, we can also appreciate the scope and power of this film.
Assignments:
1-the_godfather_fiction_terms_assignment.docx | |
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2-the_godfather_major_themes_assignment.doc | |
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3-the_godfather_assignment_a.doc | |
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4-the_godfather_assignment_b.doc | |
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