Week Three Theater and Cinema 1

Week Three Theater and Cinema 2

Title of Paper

The combining, of Part I and Part II of The Godfather symbolize the high point of

American filmmaking, along with the unbeatable gangster chronicle. Few continuations have

extended upon the previous with the authenticity and element as in this film. Beneath the facade

veneer of a cultural period, this film is more than the crime figures this is about a time in place

where money paid the cost of those souls and the choice they made. This is a timeless piece of

legendary work.

Reconstructing countless talents from the film The God Father, this director Coppola

produced a motion picture of astounding degree, giving the audience a mental picture, this is

definitely, one they greatest sequel yet. This piece is in its truest form of expression, In addition

this film acquired as much admiration as its precursor. This film received six academy awards

with 12 nomination and won for best picture and Coppola won for best director. In addition, the

sequel won best film in its time. Part II of the saga The Godfather is a more impressive creation

than the first since it effort not only to tell a duo of completely separate stories. Moreover, this is

parallel.

Merging the two stories presented Vito Corleon in New York City and Sicily in his early

life, and shows how he came into power was less time consuming of the two presents the early

life of Vito Corleone in Sicily and New York. In addition, this illustrate how he was pull in the

mafia an obtain power.

The second part of this saga picks up nearly a decade following the ending of The

Godfather, then illustrate the method of Michael Corleone, currently secure in his place, in which

attempts to increase the family territory into Cuba and Las Vegas. Michael Corleone sees his

existence and runs his business by quotes from his father’s belief: "A man who doesn't spend
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time with his family can never be a real man", the second "Keep your friends close, but your

enemies closer." However, sometime that teaching goes out the window, if betrayal transpires

within his family. Destroyed trusts that occur from so intimate a foundation can be upsetting. To

Don Vito Corleone trust, honor, and loyalty is sacred. This stood true for Michael did innate his

father's ideals and see this as the Corleone family surrounds him as they get together for his son's

first communion.

Symmetry between first part and the sequel is established the don "holds court this is seen

equally with a family assemblage, as where the power lies. Corleones decided to leave New

York, and move to Nevada where they are accumulating influence with the unformulated goal of

one day being "legitimate." However, the dealings on the East Coast are about to intercede as

Frankie Pentangeli arrives to solicit the don's agreement to a hit. Michael will not consent to such

a killing seeing that this may completely ruin specific business transactions presently in progress

with the commanding and prominent Hyman Roth. The scheme and counterplot stems, and

Michael develop into the focal point of a disloyalty and deceit, turned hostile to by those he had

chosen to watch over. Elimination attempts and authority probes mark Michael; nevertheless, he

fights back with every bit of resourcefulness he possesses and surrendering much of his

compassion in the process.

For a man continuously conflict to keep his family as one, a mournful paradox to this

film is that Michael's uphill struggle succeed merely in fragmenting. The ending to the first

movie was numbing the part two is shattering. In addition to the flashback prior the closing scene

there a bleak differentiation from once upon a time to the here and know of what they have

become.
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A more ample contrast comes into view through the extended sequences describing Vito

Corleone climb from insignificance. Illustrating his onset at Ellis Island also, his early

connection with Clemenza, and his altercation with Don Fanucci, these partition stand in

inconsistency to Michael's part on screen. Expansion is use instead by slow degeneration, energy,

triumph by pain and disappointment. Vito's time was the Corleone's dawn; and Michael's is the

impending twilight.

The intertwining risk of the early twentieth century story with the 1958 is that the thrust

of either may lead to shorting film. While this seldom happens (for the most part it is particularly

in the first shift back to 1917, soon after the murder attempt at Michael), Coppola manage the

transitions skillfully, keeping the pace uniform enough to reduce any sense of intransitive or

confusion. The conventional elements of the Tragedy present in The Godfather attain their

development in the second part. For example, much of the humanity remaining to Michael at the

outset is leeched from him with each deception and setback.

This is evident in scenes with an unhappy Fredo an embittered Kay point out the price for

Michael of enduring his father's power. His limitation is his imperceptiveness and, as with this

situation for any hero in a story of this kind, their outcomes are disastrous. For the most part the

scope of events, the second film is not as tightly scripted as the first film. Although most of the

first movie is situate in New York (with a couple of clips shots elsewhere), Now the settings

fluctuate between Washington DC, New York, Sicily, Ellis Island, Cuba, Nevada, and Miami. In

allowing, the characters flee the confines of the "old neighborhood", the directors and writer’s

decreases the intimacy of evident interpersonal tension. Visually, several of Michael's scenes

have a supplementary gloomier look this go around. In particular, during the later portions of the

movie, the don is made known in severely in settings, appearing as a silhouette. Vito is a tone
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from the shadows a vivid mirror of what is transpiring beneath the exterior. As, the opening of

the second part of the film echoes the start so does the ending of The Godfather. In addition, of

the style in which the situation is handled and takes into account the people include, the

impression here is more persuasive. The tragic imperfection has accomplished its venomous,

foreseeable designs. Coppola intersperse both films with a gut wrenching expletive point.

Numerous film critics consider the second part equates or untouchable to the original,

even though the first part was an incredible critical and marketable success plus the highest earns

film of its era. This myth of tragic movies plays a role to renaissance in the American film

production, after years of opposition from the cinema overseas. The clips are distinct by editing

However, editing works to link shots collectively. There are several ways of implementation that

transition, other may be apparent than most. The systematic custom, editing assist to establish

room, in addition to lead the watcher largely in part the salient quality of a scene. The traditional

stability fashion, editing performance avoid drawing awareness to them. The constructivist

practices such as Edward Dmytryk cinema, there is no bogus humility it’s more like celebrating

cinema power to generate a new certainty out of distinct fragments.

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References
Edward Dmtryk. (2010). Wikipedia. Retrieved November 29, 2010, from
http://en.wikipedia.org/wiki/Edward_Dmytryk
Americanfilm. (2010). Retrieved November 29, 2010, from

http://americanfilms.com/browse.cfm?cid=2

Edit movies. (2010). Retrieved from November 29, 2010 from

http://www.learner.org/interactives/cinema/editing.html