At the end of your story, the main character should be different than at the start.
Coppola had his most important collaborators back in place for the Godfather, including production designer Dean Tavoularis giving an opulent world a lived-in feel and cinematographer Gordon Willis making sure everything looks simultaneously burnished and shadowy.
Over and over on the commentary track, Coppola compares himself to Michael Corleone: Watched as the third installment of a series that had already produced two of the best American films ever made, The Godfather Part III was and is a crushing disappointment.
Part of what made The Godfather so influential was that it made mafia life look exciting and convivial. As Coppola has often said, the Godfather saga to him has always been about fathers trying to make a better life for their children, by making choices that ultimately spread sin to the very people they were trying to protect.
Everything the movie means to say about sin, repentance, and fearsome legacies is just said, outright, by the Corleones and their circle of advisors and enemies. Or the touching chaos of the Corleone family gatherings, where cousins corner each other to swap the secrets of their clan.
Or the breathtaking decay of the Lake Tahoe estate where much of the second film took place. If only the people in the picture would just stop talking. Coppola also speaks frankly about how he hates shooting violent sequences more and more as he gets older, and he makes some offhandedly personal observations about the rewards of a long marriage.
But he saves his most tender tone for whenever Sofia is on the screen, as he reflects on the abuse she took from the press. Over one scene, Coppola is in the middle of a long reverie about real Italian cannoli when a shot of a teary-eyed Sofia pops up and stops Coppola short.The Godfather is a historical American myth, a status supported by Coppola and cinematographer Gordon Willis’s decision to shoot the film like a faded old photograph, all sepia and shadows.
Coppola’s gangsters speak coldly about their world, like politicians or CEOs.
May 05, · The most important dialog in the Godfather series (and for this I only include The Godfather parts I and II) occurs in Godfather II. It is a conversation between Michael and his mother in which Michael asks her whether it is possible to lose his family. Godfather Moral Downfall Essays: Over , Godfather Moral Downfall Essays, Godfather Moral Downfall Term Papers, Godfather Moral Downfall Research Paper, Book Reports. ESSAYS, term and research papers available for UNLIMITED access. Oct 02, · What we can learn from the decline of Robert De Niro It's easy to mock Robert De Niro, but his slide into comfortable mediocrity is a path many men tread, writes Ed Power.
Apr 15, · For the one person on the planet who's never see the Godfather films -- SPOILERS AHEAD.. Few characters in film history have displayed the cunning, charm and utter moral ambiguity as .
At best, what the typical college has offered its students, in recent decades, has been defecated rationality. By that term I mean a narrow rationalism or logicalism, purged of theology, moral philosophy, symbol and allegory, tradition, reverence, and the wisdom of our ancestors.
The Godfather: Part III The third installment in the series isn’t a fan-favorite, but it’s still better than a lot of movies out there. Pacino returns as Michael Corleone in the film. FALL FILM FESTIVAL 70 The Godfather Trilogy: An American Family Tragedy Friday November 9 Godfather Part I: Moral Dualism Speaker: Msgr.
Fernando Ferrarese FREE ADMISSION! Immaculate Conception Church 21 29th Street, Astoria, NY Ditmars Boulevard and 29th Street. The Godfather is a little like Macbeth in that it shows us the rise and fall of a man who wreaks evil but whom we root for anyway.
But it differs strongly from Macbeth in that Don Corleone is not impelled by anyone else (no wife who’s ambitious for him, no witches) and he has no significant counterweight on the side of good and order.