Through out the movie, the Godfather I, many of us would agree that Francis Coppolo is interested in the incorporating a variety of literary devices in the movie. Here is a link to a short ten minutes video clip about F.F.Coppolo called The Godfather Trilogy: Francis-Ford Coppola's Notebook.
In the video clip he talks about the using of imagery, tone, suspense, cliche and exposition in the Godfather.
Some of the examples he gave was:
Cliche: in the beginning of the movie where Connie's marrige was held, children were sliding around the sandwichman. He mentioned that it was a very typically way to begin a movie with.
Suspence: One of the key scenes in the movie was the part where Michael's initiate step into the family business, the killing of Sollozo and McClusky. Clemenza gave Michael instructions before he head off(drop the gun right after kill the two); however, Michael didn't drop the gun immediately which was what Clemenza told him to do: Coppolo wanted to create suspense for the audience. Audience sees that Michael is not doing what he was suppose to so "hopefully the audience is dying drop it drop it drop it”(from the video clip)
HERE--> http://www.youtube.com/watch?v=EPLAnJ8Xozk
Saturday, May 30, 2009
Meg's Godfather Week 3: The Human Condition
There is this great song from "Spoon" called "The Underdog." This song is about someone of power, that doesn't bother about people below him. I feel this song relates to The Godfather. Don Vito Corleone cared about respect for himself; however, never forgot about people less powerful than he was. Michael, on the other hand, sometimes forgets. So who is the better Don? According to "Spoon", Don Vito Corleone is.
"The Underdog"
Picture yourself in the living room
Your pipe and slippers set out for you
I know you think that it ain't too far
But I, I hear the call of a lifetime ring
Felt the need to get up for it
Oh you cut out the middleman
Get free from the middleman
You got no time for the messenger,
Got no regard for the thing that you don't understand,
You got no fear of the underdog,
That's why you will not survive!
I want to forget how conviction fits
But can I get out from under it?
Can I gut it out of me?
It can't all be wedding cake
It can't all be boiled away
I try but I can't let go of it
Can't let go of it,
Cause you don't talk to the water boy
And there's so much you could learn but you don't want to know,
You will not back up an inch ever,
That's why you will not survive!
The thing that I tell you now
It may not go over well
And it may not be photo-op
In the way that I spell it out
But you won't hear from the messenger,
Don't wanna know 'bout something that you don't understand,
You got no fear of the underdog,
That's why you will not survive!
"The Underdog"
Picture yourself in the living room
Your pipe and slippers set out for you
I know you think that it ain't too far
But I, I hear the call of a lifetime ring
Felt the need to get up for it
Oh you cut out the middleman
Get free from the middleman
You got no time for the messenger,
Got no regard for the thing that you don't understand,
You got no fear of the underdog,
That's why you will not survive!
I want to forget how conviction fits
But can I get out from under it?
Can I gut it out of me?
It can't all be wedding cake
It can't all be boiled away
I try but I can't let go of it
Can't let go of it,
Cause you don't talk to the water boy
And there's so much you could learn but you don't want to know,
You will not back up an inch ever,
That's why you will not survive!
The thing that I tell you now
It may not go over well
And it may not be photo-op
In the way that I spell it out
But you won't hear from the messenger,
Don't wanna know 'bout something that you don't understand,
You got no fear of the underdog,
That's why you will not survive!
Meg's Godfather Blog Week 3: Literary Feature Hunt
In The Godfather, there is a prominent symbol of doors throughout the film.
Men and women are constantly being compared and contrasted, and as I said in a previous blog post, the sterotypes of the genders are put to the extreme. Doors are a symbol for separating the women from the men both personally and for business. At the end of the film, the perspective is from Kay, and the audience sees the door being shut in her face while the men talk inside. During the wedding, the women are whispering and listening outside the door to the office of Don Corleone. Permission is often needed for women to come inside the office. This symbol is a physical act of seperating the sexes.
Men and women are constantly being compared and contrasted, and as I said in a previous blog post, the sterotypes of the genders are put to the extreme. Doors are a symbol for separating the women from the men both personally and for business. At the end of the film, the perspective is from Kay, and the audience sees the door being shut in her face while the men talk inside. During the wedding, the women are whispering and listening outside the door to the office of Don Corleone. Permission is often needed for women to come inside the office. This symbol is a physical act of seperating the sexes.
Wednesday, May 27, 2009
FION POST eight: COMMENT
i want to comment on David's blog
He talked about the relationship between the golden spruce and the Godfather; Grand Hadwin and Michael are both heroic because they sacrifice something significant but relatively small to the whole in order to achieve something better and valuable: Grand Hadwin cut down a 300 year-old golden spruce, a tree which was vital in the history of the haida. His intention was to make the Haida realized that not only the golden spruce but other trees in the forest are also important: he sacrificed the golden spruce in exchange of realization from other people, the idea that all trees are equal and should be treated equally. Similarly, as David mentioned, Michael continue to lead his family business; however, at the end, he has to pay with his own death.
I think this display another human condition: someone must take initiative to sacrifice sth in order for others to realize bigger important ideas or issues.
He talked about the relationship between the golden spruce and the Godfather; Grand Hadwin and Michael are both heroic because they sacrifice something significant but relatively small to the whole in order to achieve something better and valuable: Grand Hadwin cut down a 300 year-old golden spruce, a tree which was vital in the history of the haida. His intention was to make the Haida realized that not only the golden spruce but other trees in the forest are also important: he sacrificed the golden spruce in exchange of realization from other people, the idea that all trees are equal and should be treated equally. Similarly, as David mentioned, Michael continue to lead his family business; however, at the end, he has to pay with his own death.
I think this display another human condition: someone must take initiative to sacrifice sth in order for others to realize bigger important ideas or issues.
Thursday, May 21, 2009
POST 7[FION]
Today we have watched an interview of Joseph Campbell called The Power of Myth; he talked about mythology and how does it associate with the human society. I find it especially interesting when he talk about the little voice we have inside our-self and that sometimes what we intend to do doesn’t match with who we are. The little voice, I think, has a good sense of what is moral and what is immoral(we understand them through experiences); however, the way we act is not always right. For example: all of us understand that lying is a bad thing, but in our daily life, despite that our little voice tells us not to lie(because we know lying is not a right thing to do), many of us still do.
Thursday, May 14, 2009
Meg's Godfather Week 2: Comment
I made a comment on Georgia and Aaron's blog. I liked the vocabulary that either Georgia or Aaron wrote describing all the different sons and Don Vito Corleone. The blog post wrote that Vito Corleone had all the traits of his sons. I raised the question that if a parent has more children, perhaps their personalities are more refined and specific, rather than one child with a personality very similar to their parents.
Meg's Godfather Week 2: Literary Feature Hunt
In "The Godfather", Francis Ford Coppola likes to play with juxtoposition.
At Michael's nephew and godson's baptism, there is this great scene where the shooting is mixed with the baptism, with a voiceover of the priest and Michael. There is the baby crying the background, and the priest asks,
"Do you renounce Satan?"
Michael says, "I do renounce him" as the shootings of the Corleone family's enemies fallout. The priest continues to ask this question, and the tension is built up like the scene where Michael shoots McClusky and Sollozzo in the restaurant.
This juxtoposition seems to shed light on the theme of "The Godfather." That whatever is done has consequences, concequences that cannot be forgotten.
At Michael's nephew and godson's baptism, there is this great scene where the shooting is mixed with the baptism, with a voiceover of the priest and Michael. There is the baby crying the background, and the priest asks,
"Do you renounce Satan?"
Michael says, "I do renounce him" as the shootings of the Corleone family's enemies fallout. The priest continues to ask this question, and the tension is built up like the scene where Michael shoots McClusky and Sollozzo in the restaurant.
This juxtoposition seems to shed light on the theme of "The Godfather." That whatever is done has consequences, concequences that cannot be forgotten.
Meg's Godfather Week 2: The Human Condition
"Women and children can be careless, but not men." (Don Vito Corleone)
"Let still the woman take
An elder than herself: so wears she to him,
So sways she level in her husband's heart:
For, boy, however we do praise ourselves,
Our fancies are more giddy and unfirm,
More longing, wavering, sooner lost and worn,
Than women's are." (Twelfth Night, Orsino, 2.4.28-34)
Both "The Godfather" and "Twelfth Night" illuminate truth about men and women. The roles of both genders play an extremely important part in these stories and further investigate the minds of the sexes.
In "Twelfth Night", Viola disguises herself as a man to gain work, and ends up falling in love with Duke Orsino. This notion is absurd and hilarious to its audience, because we cannot understand how this is possible. For example, take the book, "Men are from Mars, Women are from Venus" by John Gray. Most psychologists and doctors tend to focus on similarites, but what is interesting...is the differences. John Gray brings up that men descend into a cave to feel in control and put up a sign that says "Do not Disturb." Women also do this, but put up a sign that says, "I need to talk." This quote from Twelfth Night shows that women tend to have one true, dear love that they put everything into, while men are "giddy" and more "longing" where they jump from love to another love.
"They're all so pretty! Who do I stay with? Who do I commit?"
"The Godfather" on the other hand, shows women as the supporters on the outside. A symbol of a door is consistently shown throughout the movie. This usually demonstrates the woman on the outside listening or trying to get in, and the man on the inside working, being with friends, and discussing something important. Women, in "The Godfather", are the sweet, careless, emotional counterpoints to the men. As Vito Corleone says, "Women and children can be careless, but not men." Men are supposed to be the strong, powerful, stable people in this film, that do not make mistakes nor does anything personally before business. However, the finale of the movie shows Kay on the outside of Michael's office. (He is the new Don Corleone after the passing of his father.) The audience wonders when things will go wrong for Michael as it has to his brother, father and other members of the family who let their emotions get in the way.
It's funny that women like their men to be a little emotional when supporting or understanding them, but not as emotional as themselves. Men prefer to be appreciated as they make the way up the ladder, and women tend to create problems to gain support. So, are women needy and men un-emotional? In relation to both "Twelfth Night" and "The Godfather", "Twelfth Night" switches the roles of men and women (showing men as emotional, and women as stable and strong) while "The Godfather" takes the stereotypes to the extreme.
"Let still the woman take
An elder than herself: so wears she to him,
So sways she level in her husband's heart:
For, boy, however we do praise ourselves,
Our fancies are more giddy and unfirm,
More longing, wavering, sooner lost and worn,
Than women's are." (Twelfth Night, Orsino, 2.4.28-34)
Both "The Godfather" and "Twelfth Night" illuminate truth about men and women. The roles of both genders play an extremely important part in these stories and further investigate the minds of the sexes.
In "Twelfth Night", Viola disguises herself as a man to gain work, and ends up falling in love with Duke Orsino. This notion is absurd and hilarious to its audience, because we cannot understand how this is possible. For example, take the book, "Men are from Mars, Women are from Venus" by John Gray. Most psychologists and doctors tend to focus on similarites, but what is interesting...is the differences. John Gray brings up that men descend into a cave to feel in control and put up a sign that says "Do not Disturb." Women also do this, but put up a sign that says, "I need to talk." This quote from Twelfth Night shows that women tend to have one true, dear love that they put everything into, while men are "giddy" and more "longing" where they jump from love to another love.
"They're all so pretty! Who do I stay with? Who do I commit?"
"The Godfather" on the other hand, shows women as the supporters on the outside. A symbol of a door is consistently shown throughout the movie. This usually demonstrates the woman on the outside listening or trying to get in, and the man on the inside working, being with friends, and discussing something important. Women, in "The Godfather", are the sweet, careless, emotional counterpoints to the men. As Vito Corleone says, "Women and children can be careless, but not men." Men are supposed to be the strong, powerful, stable people in this film, that do not make mistakes nor does anything personally before business. However, the finale of the movie shows Kay on the outside of Michael's office. (He is the new Don Corleone after the passing of his father.) The audience wonders when things will go wrong for Michael as it has to his brother, father and other members of the family who let their emotions get in the way.
It's funny that women like their men to be a little emotional when supporting or understanding them, but not as emotional as themselves. Men prefer to be appreciated as they make the way up the ladder, and women tend to create problems to gain support. So, are women needy and men un-emotional? In relation to both "Twelfth Night" and "The Godfather", "Twelfth Night" switches the roles of men and women (showing men as emotional, and women as stable and strong) while "The Godfather" takes the stereotypes to the extreme.
Wednesday, May 13, 2009
[FION WEEK TWO] LITERARY FEATURE HUNT [POST TWO]
Up to this point, with many evidence(previous posts), it is blatant that the director of the movie, or the author of the book is indeed very careful in using literary features.
In the beginning of the movie, Vito Choleone was at a street buying oranges. Tragically, right after buying oranges, he got shot. With his supernatural characteristics he made it through the five shots.
Before Vito Choleone rest in peace, he was eating orange with his grand-son, Anthony.
Orange appears in both unfortunate situations, perhaps it symbolizes something.
This website suggests that Orange is a sign of good fortune which is completely opposite to the godfather situation. However, orange in this case should foreshadow unfortunates.
http://209.85.173.132/search?q=cache:SzGBstGgBuEJ:www.flavorandfortune.com/dataaccess/article.php%3FID%3D27+what+does+orange,+the+fruit+symbolize&cd=1&hl=en&ct=clnk&gl=ca&client=firefox-a
In the beginning of the movie, Vito Choleone was at a street buying oranges. Tragically, right after buying oranges, he got shot. With his supernatural characteristics he made it through the five shots.
Before Vito Choleone rest in peace, he was eating orange with his grand-son, Anthony.
Orange appears in both unfortunate situations, perhaps it symbolizes something.
This website suggests that Orange is a sign of good fortune which is completely opposite to the godfather situation. However, orange in this case should foreshadow unfortunates.
http://209.85.173.132/search?q=cache:SzGBstGgBuEJ:www.flavorandfortune.com/dataaccess/article.php%3FID%3D27+what+does+orange,+the+fruit+symbolize&cd=1&hl=en&ct=clnk&gl=ca&client=firefox-a
Monday, May 11, 2009
[FION WEEK TWO]The Human Condition[POST ONE]
So, today we have finished watching the godfather; it has a very interesting closing scene where Neri shuts the door and Kay (women) is outside the door positioned as an outsider.
A very violent scene happened: Barzini, Phillip Tattaglia, Moe Greene, Strachi and Cuneo were killed on the day of the meeting under the orders of Michael. Unquestionably, it’s immoral to kill people, however, if Michael did not kill the heads of the families, it was expected that during the meeting he would be assassinated (as the Vito Chloleone informed Michael abt it when they were having the conservation in the garden). Also, the death of the 5 heads of the family signifies an expansion in the Chloleone's business. Therefore, for his own benefit and the safety of his family and himself, he must kill the heads of the 5 families. I think this illuminate some truth about human condition: people sacrifice others for their own benefits.
The relationship between the heads of the 5 families and Michael reminds me of the Cold-War when the two powerful countries, the United States and Russia both possessed a massive amounts of nuclear-bonds. The tension was strong because they wouldn't know when their country is going to be attack by nuclear-bonds by their opponent. Similar to this cold war situation, Michael is unsure when he will be killed, so he decided to kill them all before they act. This can ensure his family and his own safety and an expansion in the Chloleone's business.
A very violent scene happened: Barzini, Phillip Tattaglia, Moe Greene, Strachi and Cuneo were killed on the day of the meeting under the orders of Michael. Unquestionably, it’s immoral to kill people, however, if Michael did not kill the heads of the families, it was expected that during the meeting he would be assassinated (as the Vito Chloleone informed Michael abt it when they were having the conservation in the garden). Also, the death of the 5 heads of the family signifies an expansion in the Chloleone's business. Therefore, for his own benefit and the safety of his family and himself, he must kill the heads of the 5 families. I think this illuminate some truth about human condition: people sacrifice others for their own benefits.
The relationship between the heads of the 5 families and Michael reminds me of the Cold-War when the two powerful countries, the United States and Russia both possessed a massive amounts of nuclear-bonds. The tension was strong because they wouldn't know when their country is going to be attack by nuclear-bonds by their opponent. Similar to this cold war situation, Michael is unsure when he will be killed, so he decided to kill them all before they act. This can ensure his family and his own safety and an expansion in the Chloleone's business.
Sunday, May 10, 2009
[FION WEEK ONE] HERO'S JOURNEY [POST FOUR]
The hero’s journey
Call to Adventure: How does the character receive the all to adventure?
In the middle of the movie, Michael was foreshadowed to be the next godfather. Following by the death of Sonny, it is observable that Michael is the next godfather. In terms of how Michael receive the call to adventure (meaning the drug business), I think the initial call to adventure for Michael was when he was sent on a mission to kill Sollozo.
Crossing the Threshold: At what point in the story does the hero leave the familiar world and move into a new, unfamiliar circumstance.
Michael was forced to leave his “familiar world” to Sicily for his safety because he had killed Sollozo.
Meeting with the Goddess: Does the hero meet with a character with special beauty and power?
Michael met Apollonia in Sicily. Apollonia was a gorgeous and lovable woman with a slightly naïve personality. Michael seems fully in loved with her; like in chemistry, opposites attract each other: Michael a gangster (the bad guy,or negative) and Apollonia a simple minded girl. Eventually, they got married (sacred marriage).
From these four match up points from the hero's journey chart, we could see that Mario Puzo
is interested in using archetypes.
Call to Adventure: How does the character receive the all to adventure?
In the middle of the movie, Michael was foreshadowed to be the next godfather. Following by the death of Sonny, it is observable that Michael is the next godfather. In terms of how Michael receive the call to adventure (meaning the drug business), I think the initial call to adventure for Michael was when he was sent on a mission to kill Sollozo.
Crossing the Threshold: At what point in the story does the hero leave the familiar world and move into a new, unfamiliar circumstance.
Michael was forced to leave his “familiar world” to Sicily for his safety because he had killed Sollozo.
Meeting with the Goddess: Does the hero meet with a character with special beauty and power?
Michael met Apollonia in Sicily. Apollonia was a gorgeous and lovable woman with a slightly naïve personality. Michael seems fully in loved with her; like in chemistry, opposites attract each other: Michael a gangster (the bad guy,or negative) and Apollonia a simple minded girl. Eventually, they got married (sacred marriage).
From these four match up points from the hero's journey chart, we could see that Mario Puzo
is interested in using archetypes.
Wednesday, May 6, 2009
[FION WEEK ONE] CONNECTIONS [POST THREE]
Through determining rather Louis Riel is a hero or villain in social studies class, I found some connections between him and the godfather.
Is Louis Riel a hero or villain?
I don't think there is a definite answer to this question, it differs based on your perspective. If you view Riel from a Metis' perspective, undeniably he is a national hero. Firstly, because he stood up for the metis' rights: he sent a list of rights(protecting the metis) to the Gov of Canada before Manitoba enter into Confederation and most of them got accepted. Secondly, he was titled as the father of Manitoba; if it wasn't for him, Manitoba may not exist today. On the other hand, he is view/was viewed as a villain by most of the English(gov) because of his initiatives taken against the government: first was the Red River rebellion in 1869, then the Northwest rebellion in 1885. His actions certainly unset the Gov. Therefore, there isn't a definite answer for this question, it is for you to decide rather he is a hero or a villain and from which perspective. Similarly, the protagonist Don Corleone from the Godfather can also be viewed as a hero or a criminal. His business helped many people to obtain justice which they could not obtain from the court. He then become a hero to whom he helped. However, undoubtedly, he committed many crimes while he claim justice to those who paid him. So, again, is Don Corleone a hero or a criminal? This is Based on the perspective you are looking from.
Louis Riel, a historical figure and Don Corleone, a fictional character are similar because they are both regarded as a hero and a villain/criminal; at the end they are both admirable people and what they are, is judge upon who judges them.
Is Louis Riel a hero or villain?
I don't think there is a definite answer to this question, it differs based on your perspective. If you view Riel from a Metis' perspective, undeniably he is a national hero. Firstly, because he stood up for the metis' rights: he sent a list of rights(protecting the metis) to the Gov of Canada before Manitoba enter into Confederation and most of them got accepted. Secondly, he was titled as the father of Manitoba; if it wasn't for him, Manitoba may not exist today. On the other hand, he is view/was viewed as a villain by most of the English(gov) because of his initiatives taken against the government: first was the Red River rebellion in 1869, then the Northwest rebellion in 1885. His actions certainly unset the Gov. Therefore, there isn't a definite answer for this question, it is for you to decide rather he is a hero or a villain and from which perspective. Similarly, the protagonist Don Corleone from the Godfather can also be viewed as a hero or a criminal. His business helped many people to obtain justice which they could not obtain from the court. He then become a hero to whom he helped. However, undoubtedly, he committed many crimes while he claim justice to those who paid him. So, again, is Don Corleone a hero or a criminal? This is Based on the perspective you are looking from.
Louis Riel, a historical figure and Don Corleone, a fictional character are similar because they are both regarded as a hero and a villain/criminal; at the end they are both admirable people and what they are, is judge upon who judges them.
Monday, May 4, 2009
Meg's Godfather Week 1: Snippets
Why are we so attracted to the Mafia?
With the media such as "The Godfather", "Goodfellas" and "The Sopranos" being favourites among many people, young to old: why do we want to run into the open arms of the welcoming family?
1. The Look. Average men do not walk around in sharp suits, with guns at their side and beautiful women adorning to their every will. This "man's man" character is what both males and females are attracted to in action movies. For example: James Bond or Mission Impossible show powerful, heroic men that we all look up to.
2. The Belonging. Mafia or gangster movies often portray men and women united as one team, or family if you will. In my opinion, this is why we have cliques and gangs in the world. This sense of belonging, and all fighting for one thing makes people feel wanted and special. For example, in "The Godfather", when Michael first voices up about his want to kill McClusky and Sollozzo, all his brothers turn their atttention to him. Since Michael is the protagonist, we as the audience feel wanted and special as well.
3. The Personalities. Flamboyant, comical characters are common in gangster/mafia movies, and the audience loves to see a bad guy with a charming attitude. We love to laugh and feel connected with these "bad boys" as they crack and joke with their friends. We love how successful, daring and fun they are as well, perhaps because we wish to see these attributes in ourselves. In "Goodfellas", the scene where the group is eating dinner at a restaurant, Tommy plays with Henry in pretending he is offended by a joke. This is a hilarious part, because oddly Tommy, a very likeable (though has a large temper and is agressive) character is witty. Even though we see Tommy brutally kill Billy Batts, we can't help but still be attracted to his personality.
Mafia and Gang movies show our dangerous sides, and give the audience a chance to live the lives of people we wish we could be.
With the media such as "The Godfather", "Goodfellas" and "The Sopranos" being favourites among many people, young to old: why do we want to run into the open arms of the welcoming family?
1. The Look. Average men do not walk around in sharp suits, with guns at their side and beautiful women adorning to their every will. This "man's man" character is what both males and females are attracted to in action movies. For example: James Bond or Mission Impossible show powerful, heroic men that we all look up to.
2. The Belonging. Mafia or gangster movies often portray men and women united as one team, or family if you will. In my opinion, this is why we have cliques and gangs in the world. This sense of belonging, and all fighting for one thing makes people feel wanted and special. For example, in "The Godfather", when Michael first voices up about his want to kill McClusky and Sollozzo, all his brothers turn their atttention to him. Since Michael is the protagonist, we as the audience feel wanted and special as well.
3. The Personalities. Flamboyant, comical characters are common in gangster/mafia movies, and the audience loves to see a bad guy with a charming attitude. We love to laugh and feel connected with these "bad boys" as they crack and joke with their friends. We love how successful, daring and fun they are as well, perhaps because we wish to see these attributes in ourselves. In "Goodfellas", the scene where the group is eating dinner at a restaurant, Tommy plays with Henry in pretending he is offended by a joke. This is a hilarious part, because oddly Tommy, a very likeable (though has a large temper and is agressive) character is witty. Even though we see Tommy brutally kill Billy Batts, we can't help but still be attracted to his personality.
Mafia and Gang movies show our dangerous sides, and give the audience a chance to live the lives of people we wish we could be.
Meg's Godfather Week 1: Archetypes
According to Joseph Campbell (with Carl Jung's ideas), "A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man." (A Hero with a Thousand Faces)
So far, I am only starting this adventure to discovering what this actually means. However, from exploring different characteristics of the Hero's Journey, there is a strong sense that Francis Ford Coppola is directing with archetypes in mind.
Here is a checklist of some of the characteristics:
- The hero is inexperienced= Michael has not had much experience working with the "family business"
- The hero has a strange wise being as a mentor= Michael Corleone was given a "special gun" from Clemenza, the guide. He can be described as the "Mentor" because in scenes before he teaches Michael how to cook, and further along the gun training scene, he helps Mike along his journey.
-The hero has help from divine or supernatural forces= There is a background sense of religion in this movie, and his father (the Don Corleone) was shot 5 times and survived. Perhaps this is a deus ex machina?
These ideas show that Francis Ford Coppola is being consistent with the characteristics of the Hero's Journey. Michael Corleone is the hero.
So far, I am only starting this adventure to discovering what this actually means. However, from exploring different characteristics of the Hero's Journey, there is a strong sense that Francis Ford Coppola is directing with archetypes in mind.
Here is a checklist of some of the characteristics:
- The hero is inexperienced= Michael has not had much experience working with the "family business"
- The hero has a strange wise being as a mentor= Michael Corleone was given a "special gun" from Clemenza, the guide. He can be described as the "Mentor" because in scenes before he teaches Michael how to cook, and further along the gun training scene, he helps Mike along his journey.
-The hero has help from divine or supernatural forces= There is a background sense of religion in this movie, and his father (the Don Corleone) was shot 5 times and survived. Perhaps this is a deus ex machina?
These ideas show that Francis Ford Coppola is being consistent with the characteristics of the Hero's Journey. Michael Corleone is the hero.
[FION WEEKONE] CLASS ACT
In the movie, there are different aspects which foreshadow Michael would become the next godfather.
1) When the brothers were sitting in the room planning on the revenge on Sollozzo, Michael sat at a position like his father where his hands were rested on the sides of the chair. Moreover, everyone was looking at him and paying close attention to him just like their attitudes to the godfather.
2) When Michael was talking to Sollozzo, the filming angle camera-ing at Sollozzo from Michael's shoulder is the same as the angle in the beginning of the movie where the godfather was talking to Bonasera
----------------------------------------------------
When Luca Brasi was walking into the bar ready to have a conversation with Sollozzo who is the head of the opposing family, there was fish in the tank displaying as a background. Unexpectedly, a loose paper package that the Coleone family recieve amongst is a dead fish implying that"Luca Brasi now sleeps with the fishes." This is a a metaphor as saying Luca Brasi is dead like the dead fish they recieved.
Evidently, from these two situations Mario Puzo is interested in using different literary terms so that the story line would seem more connected and thought-provoking.
1) When the brothers were sitting in the room planning on the revenge on Sollozzo, Michael sat at a position like his father where his hands were rested on the sides of the chair. Moreover, everyone was looking at him and paying close attention to him just like their attitudes to the godfather.
2) When Michael was talking to Sollozzo, the filming angle camera-ing at Sollozzo from Michael's shoulder is the same as the angle in the beginning of the movie where the godfather was talking to Bonasera
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When Luca Brasi was walking into the bar ready to have a conversation with Sollozzo who is the head of the opposing family, there was fish in the tank displaying as a background. Unexpectedly, a loose paper package that the Coleone family recieve amongst is a dead fish implying that"Luca Brasi now sleeps with the fishes." This is a a metaphor as saying Luca Brasi is dead like the dead fish they recieved.
Evidently, from these two situations Mario Puzo is interested in using different literary terms so that the story line would seem more connected and thought-provoking.
Sunday, May 3, 2009
[FION WEEKONE] LITERARY FEATURE HUNT
Kay Adam is a fascinating character to look at. As far as the movie goes, one significant characteristic of her is her red outfits: she always wears red. This makes us wonder how the color “red” relate or reflect to who she is and what roles does she play in the God father. I have brainstorm some of the things “red” could symbolize. Red can symbolize intense passion, aggression, blood, love and danger. One that draws me attention is “danger” because Kay, a normal girl, having Michael being her boyfriend and stepping into the complex Corleone family would have to encounter many dangers. Red can also draw attention to things. Maybe initially, her outfits indirectly inform the viewer to pay attention to Kay because she is an important character in the Godfather.
Kay is non-Italian, at the very beginning of the story she is somewhat of an outsider which symbolizes Michael's initial desire to live a more Americanized life, this is in contrast to the Corleone family's criminal enterprises.
Kay is non-Italian, at the very beginning of the story she is somewhat of an outsider which symbolizes Michael's initial desire to live a more Americanized life, this is in contrast to the Corleone family's criminal enterprises.
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