The Godfather: Film Analysis

Abstract

The Godfather, Mario Puzo’s newsreel, was released in 1969, one of the most popular Fiction books ever— selling 21 million copies around the globe, producing three successful films that were critically and commercially made, and introducing their protagonists to American cultural mythology. While Puzo was unfamiliar with organized crime, thorough research provided him with the information he needed in order to write a fictitious Corleone community. Puzo was involved in The Godfather’s (1972) and its two sequels (1974-1990) screenplay, with director Francis Ford Coppola. In challenging the notion that as epigraphic by Balzac put it, ‘There is a fraud behind all the major riches,’ the novel raises questions concerning the source and authority of influence. The book aims to show that things work ‘actually,’ and to play games with the audience. The book redefined the category of gangsters to make the bad guys look good. The Puzo linguistic reversal tactic, the reversal of the traditional normative principles of right and wrong, reflects a new understanding of language’s manipulation and deception ability. Puzo’s fascinating story about the ‘family business’ of the Corleones and the history of Italian-American refugees, spinning the protagonist and the criminal, helps to reaffirm America’s general outlaw. While the Godfather has penetrated into culture primarily through film trilogy and other derivations, the novel remains the engine of the mobster culture industry.

Godfather Work With/Against The Film

The college-educated brother Anthony is Don Vito Corleone and Al Pacino, who eventually takes over the business and the family. The film was more than a gangster melodrama; a detailed depiction of an aggressive society as well as its own principles. Corruption has also been documented in a capitalist society. Vito does not want part of the heroin dealer because he knows little about Salatso’s moving to any mob boss. Which led Virgo’s people to be killed, but Vito was not murdered. This weakened Michael and his revenge on pursuing and assassinating Mr Salatso against the Virgo Police Captain.. After that Michael was sent to Sicily by the family to hide.

Stereotypes/Anti-Stereotypes At The Play

Through the godfather of Francis Ford Coppola, the stereotypes of wealth and corruption revealed many of the flagrant depictions of the Mafia. There are many obvious biases in the whole narrative. First of all, the gangster’s true look. They are all portrayed in their clothes during the movie, expensive jewellery, and intense publicity from Italy. The Godfather did not make these movies but included gangster films from the 1920s including 30s and Scarface (1932). While Michael is a gangster, you still see Michael as the one who went to college, educated, and became part of the New Italian Community. These were mobsters, but complete production of real human beings… Throughout movies such as Scarface[1932 ], the Italians are almost portrayed as creatures from another universe. We are so exotically behaving and sporting such disgusting garments. They’re so ashamed. Godfather proved that this is not the case.

“Behind every great fortune, there is a crime”

-Balzac

Mario Puzo proclaimed a general rule in his quote that larceny was at the heart of all good fortunes. He used this quotation to equate big fortunes with violence, but it was a complex comment about a sub-set of big fortunes. The fascinating story of Puzo centers around Corleone’s’ family business’ and history turning the protagonist and the villain through Italian and American refugees. His phrase has been significantly condensed over the years, and no one can be credited with creating the new, succinct and effective edition.

Conclusion

Michael is back home as a war hero and dedicated to pursuing his own life, New York Mafia clan leader Vito Corleone’s young and idealistic son. But he and his family were confronted with tragic circumstances.

References

1. Puzo, M. (1969). The godfather. New York: Putnam.
2. Coppola, F. F., Puzo, M., & Brando, M. (2001). The Godfather. Erscheinungsort Nicht ermittelbar: Paramount Home Entertainment.