The Godfather - Movie Analysis Essay

Introduction

Most war films can be brilliant, especially when the value of production is high enough. Nevertheless, the most crucial aspect of historical films is of general accuracy. In this paper, the film, The God Father, will be analyzed. The Godfather is a movie that was produced in 1972 by Francis Coppola, and it is a US offense film. Thus, The The God Father is a worldwide hit film produced with an outstanding visual aid, thereby making it an excellent choice to be analyzed through the auteur theory lens in this paper.

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The film was generated by Albert S Ruddy from a script that was written by Mario Puzo alongside Coppola. The movie stars Marlon Brando and Al Pacino as the leading actor in a fictional New York crime family. The film is set in the years between 1945 and 1955 and focuses on the scenes that involved Michael Corleone as a ruthless Mafia employer. The film belongs in the gangster genre (Coppola, 1972). It is based on a bestseller by Puzo by the same label, which is The Godfather, and gets considered as one of the best films within the global cinemas. For a long time, the film has been the one with one of the very best motion pictures available. It received three Oscars in 1972. The first Oscar was the best film.

The second Oscar is about the best professional actor who was Brando. It also won the best-adapted-screenplay relating to Puzo alongside Coppola. It had eight nominations in some categories comprising of Pacino and Coppola as the best assisting professional and the best movie director respectively. The film's success spawned two more sequels. The first sequel was Godfather part II in the year 1974, and in the year 1998, the third sequel was generated with the title Godfather part III.

Plot

The plot starts with Vito Corleone's just girl's arrival at the wedding. Vito's godson Johnny Fontane who happens to be a prominent artist needs help in securing a film part. Therefore, Vito sends his aid Tom Hagen to LA so that he can influence the studio head who is Jack Woltz. Woltz does not want to hire Johnny, and he is unmoved until one day morning, he wakes up to the sight of the leader of his prized stallion dismembered. Before the Christmas of 1945, an aristocrat medication by the name, 'The Turk,' approaches Vito for an interest in developing medicine and safeguarding any medical exchange while providing security in his political relations. Vito does not support street pharmacists and therefore sends his master by the name Luca Brasi to help in keeping an eye on them. Sollozzo's men ground Vito in the healing facility and pave the way for his eldest child by the name Sonny to take over.

Michael, on the other hand, obstructs the second death in the clinic that his dad is in; however, his jaw gets broken by police Captain McCluskey (Coppola, 1972). McCluskey is also Sollozzo's bodyguard. Sonny in retaliation strikes back for the assaults committed on his dad. He slaughters Tattaglia's child. Michael starts planning on avenging and tries to hit on Sollozzo and McCluskey. Luckily, Michael accepts the offer inside Bronx restaurant and recovers a planted handgun. He ends up murdering them.

The families involved start open fighting, and the members fear for their security even though there is a clampdown from both sides' ruling powers. Michael escapes to Sicily while Moe Greene protects Fredo Corleone in Las Vegas. Sonny's brother-in-law, Carlo mishandles is sister, and therefore, Sonny assaults him and debilitates to execute him. Sonny goes to her city to attack Carlo. However, professional killers preventing him in a Parkway toll stall and questions him with a submachine firearm.

Michael, who is in abroad, prompts marriage to Apollonia Vitelli. Their delight is, however, short-lived when an automatic bomb directed at them takes her life. Vito got crushed by Sonny's demise and chose to end the rivalry that exists. He knows that the Tattaglias have requested for the predominant Don Emilio and therefore it guarantees that he will withdraw his resistance that prevents the five families' heroin business and without retribution to it for the homicide of his child. Once his security got reassured, Vito returned home to his dad, who was disheartened by his contribution to the family business (Coppola, 1972). He weds Kay a year after.

Finally, his dad is nearing the end of his profession, Michael therefore, takes over the reins of the family and encourages Kay to assist him in making honesty profit out of their business. Tom decides to have no hand in any other fights that followed with the opponent families. At the same time, when Michael visits Las Vegas so that he can buy Greene's stake that was a family's club, Greene mocks him. Vito succumbs to an accident while playing with Michael's child, Anthony. During the burial, Salvatore calls a meeting to flag any unfairness as Vito had cautioned. Michael is supposed to remain as the backup guardian. During the service, mercenaries are sent by Michael to kill Moe Greene. Michael addresses Carlo on is a contribution in relating to Sonny's homicide and slaughters him with a wire garrote (Coppola, 1972). Connie goes against Michael blaming him for murdering her spouse. He denies killing Carlo. As Kay watches, Michael appoints Capos as the new Don Corleone.

Production

The film is set around Mario Puzo's Novel entitled the Godfather. The book had sold more than 10 million copies and was a 67-week New York Times bestseller. Paramount Pictures in the year 1967 first considered the work. It was classified as a Mafia story by Peter Bart. The studio made Puzo an offer to choose the recording rights. Puzo accepted the deal in 1969, and the studio decided to edit the novel.

Cinematic Impact

The director of the movie builds suspense by use of thrilling scenes and crystal-clear special effects that take the audience on a shock and wonder rollercoaster. The lighting techniques used in the field vary depending on how the director anticipated the audience to feel while watching certain scenes. In some scenes where the director wanted the audience to feel a sense of safety, he used crucial high lighting, making him an auteur. The sound design used in the film was thoughtful enough and put together in a very effective way that brings out the mood and the atmosphere in the scenes.

The sound design and the low-key lighting technique was a brilliant idea because it helped to intensify the terror and urgency that the characters in the film experienced. Over a long time, many action movies about crime have done well in the cinemas. However, the film, the Godfather, Coppola treated the Corleone family and their partners in an unusual way that depicts the characteristics of mobsters in a very significant mental understanding and complexity in a very advanced style. The achievement in the movie was imaginatively and monetarily a gateway to the fluctuated delineations in a life of crime (Lewis, 2007). The Mafia is pictured as a primitive association with the Don who is at some point the defender and the authority of commitments of the little rotisserie.

Ever since the film was released, it has received positive criticism and worldwide praise from many critics (Lewis, 2007). Data from Rotten Tomatoes shows that 81 pundits gave the film a confident audit. It scored 9.2 out of 10. Other surveys gave it a very high score, and even standard faultfinders found it a quality franchise. Subsequently, the motion picture pundit gave the film a rating of four out of four stars. The executive by the name Stanley Kubrick admitted that the film is among the best to be made and also had the best cast. Roger Ebert from the Chicago Sun-Times praised the film. However, He scrutinized the execution of Brando by pointing out that the plot developments were not clear and needed a little bit of accuracy. He adds that the voice of Brando was also wheezy.

Nevertheless, Ebert said the movie to one of the greatest films of all time. Andrew Sarris from the village's voice appreciates Brando and depicts Vito Corleone well by acknowledging that his character was a good command in every single scene he was cast in; however, Andrew felt that Puzo and Coppola excessively used the role of Michael Corleone and centered too many revenge scenes around him. Coppola takes the credit for the motion picture, which is perfect. He made one of the most moving and merciless narratives of an American crime life that quickly rises the ranks in the gangster genre (Smith, 1975). The film is an immense American art with mainstream craftsmanship. Any audience that loves crime and gangster movies will concur with the film, The Godfather. The film also uses good soundtracks that are extraordinarily well utilized throughout the scenes to help the audience get in the mood and relate to the experiences in the movie.

The film has a substantial cultural and social impact. The scenes affect the audience, especially in the way they feel and relate to certain situations. The film had a considerable influence and provoked mixed reactions from the public and film critics. Most supported the visual inventiveness, the originality, and symbolism used in the movie. Through the analysis of the movie, one develops experience in cinematography (Smith,1975). The way certain scenes were set was essential in developing the film and making it classic. The use of the film theory helps one understand the diverse aspects of a movie.

Conclusion

In conclusion, The God Father is a worldwide hit film produced with an outstanding visual aid, thereby making it an excellent choice to be analyzed through the auteur theory lens. The characters used in the film were an essential part of development. The use of high levels of technology was an integral part of making the movie ideal. Nevertheless, as seen in the film analysis above, a lot of concerns were raised regarding the social, economic factors relating to the film. The concerns are paramount in the style in which the movie's plot was executed. Although how the crime life and violence is depicted is frightening and thrilling at the same time, it is essential in bringing out an outstanding visual aid of the film.

References

Coppola, F. (1972). The Godfather [DVD]. Hollywood: Paramount.

Lewis, J. (2007). American film: A history. WW Norton & Company.

Smith, D. C. (1975). The mafia mystique (pp. 289-323). New York: Basic Books.