The Godfather

Alice Cacioppo 2-26-02 Ms. Avery Final Draft: Movie Paper         THE GODFATHER         In The Godfather, Francis hybridization Coppola builds the complex and dramatic Corleone family, which is built on pride, love, and crime. Murder and grip for business advantage are the principal mechanisms by which this knowledge domain moves. In The Godfather film the law of the civil order has been replaced by the iron law of familial self-preservation in the name of the father. This is wherefore the story of Michael and the development of his font is so important.

        As the help of the story Michael Corleone is the modern successor to the prewar routes of his father. With two war experience and a college degree, he creates a new(a) era in the world of business. Like his father, however, Michaels bear witness to power and his operational legitimacy are founded on a murder. The transformation of his personality (Thats my family, Kay, not me) toward ruthlessness is, however, a requirement to occupy his future position.

        Coppola elicits from actors, individually and to pop outher, performances that take the character across the changes of time and experience to render a authorized interpretation of the story as the decline of honor in the ascent to power. He shapes Don Corleones aging, judicious, distracted kindness with the emergence of Michaels movement away from simple filial duty toward the calculating, aggressive, and hypocritical killer of family and foe that he becomes. subsequently his father is gunned down, Michaels struggle between virtue, loyalty and revenge, ineluctably lead to the pivotal scene in The Godfather when Michael elicits revenge on Sollozzo and McCluskey. By doing what was necessary to eliminate the threat to his father, Michael inevitably goes from wanting nothing to do with the family, to having very much to do with them.



This forceful change in Michael, and the development of his character is shown from the beginning to the end. Michael goes from weighty Kay that he is nothing like his family in the beginning to having her wait in astonishment as the men around him candy kiss his hand out of respect for their new Don Michael Corleone in the end.

        Coppola uses a cinematic style which exists principally through build and composition of individual shots. It is almost transparent in the way it displays the theatricality of the action taking place. The framelines and the lighting create unnoticeable spaces which are paralleled by zones of significant illumination that give nitty-gritty to the movement and looks of the actors. The cinematic style he uses discloses the drama alternatively than presents it, and the frames function both to recount the story and interpert it.

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