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The God father (1) is a 1972 American heroic crime movie directed by Francis Coppola, based on the 1969 Mario Puzo novel.   The film is an astute sociology study of violence, power, obligation, honor, justice, crime and corruption in America. Godfather (1) centers on Corleone crime family with the New York City boroughs in mid 1940s which was initially dominated by an old patriarch/godfather Don Vito Corleone. At a turn of Silican immigrant, Don is the principal of one of the five major Italian –American families which runs a crime syndicate. The admirable crime family which is working outside the scheme as a result of segregation by social prejudices, acts as a metaphor for the manner in which business is performed within capitalistic, profit making firms as well as governmental circles.

The story starts as Don Vito Corleone, who is the chief of the New York mafia family supervises the wedding of his daughter. The move opens within the study of Corleone, the godfather who is in charge of court. In this particular day, it is the wedding of his daughter and no Silican is supposed to reject a request on this day. His favorite son Michael has returned home from world War two to attend the wedding of his sister Connie Corleone. Everybody is involved in Michael’s family is linked to the mafia, but Michael doesn’t want to take part in his father’s business and is in need of living a normal life. With the termination of war, there are changes in time and as greatly Corleone seems in control at his daughter’s wedding, his authority is starting to erode.  Through the principles of some, Corleone’s views on the significance of loyalty, respect and family are antiquated.  His heir Sonny apparently disagrees with his negation to engage in the drug business. Alcohol and gambling are present and past forces, and narcotics are forces of the future (Puzo, 1988).

An upcoming rival of Corleone household wants to start the business of selling drugs within New York City, and requires the influence of Don in order to further his plan. Puzo (1988) notes that t his drug dealer, Virgil Sollozo wants mafia families to provide him safety in exchange for the profit of the money attained from the sale of drugs. He approaches Corleone about this issue, but against the counsel of Tom Hagen, who is Don’s lawyer, Corleone is ethically against drug use, and therefore refuses this offer. This annoys Sollozzo, and hires his hit people to shot Don.  After the shooting, Corleone barely survives an act which makes his beloved son Michael to start a brutal battle against Sollozzo, a war that tears the Don family apart.

The refusal of Don Vito to conduct business with Sollozzo strikes the initial sparks of a battle that last for several years and leads to many deaths. Every of the five main mob families within New York are gouged by bloodshed, and a novel order emerges. Betrayals occur and the Don Vito household is influenced by treachery both without and within. Through the life of Michael, the nature of family business becomes visible. The family business is similar to the leader of the family, benevolent and kind to individuals who offer respect, but are offered to cruel violence every time whatever thing opposes the well being    of the family. Don Vito in the manner of the traditional country but there are changes in time and some people do not want to follow the older ways which require them to call out for family and community (Puzo, 1988).  

Representation of characters and themes

The Corleone with majority of screen appearances is Michael, and his story, because of his breadth and scope, is slightly dominant. His change from the innocent bystander to a central manipulator   makes Michael who alleged to be diverse from the other members of the family to appear greatly cruel that Corleone ever was. Don is a highly complicated gangster and in his personal words, he isn’t a murderer and never mingles personal matters with business.  Family is his first priority and he scorns displays of weak points.  Corleone also has an understanding of the burden of authority, and his wordless empathy for his son Michael when he is compelled to presume the throne, acts as one of the most revealing moments of godfather, about both son and father (Puzo, 1988).

A father’s legacy, family responsibility, the requirement to get respect and the corrupting impact of power are some of ingredients combined in Coppola’s cinematic blender.   Even though the matters displayed in Godfather are common in scope, the setting and characters are distinctly ethnic. Even in modern days. There isn’t a weird romanticism connected to the Italian crime families in New York.  The trait that sets the God father movie apart from majority of it successors and predecessors is its capability to unite the often dissimilar story layers into a solid whole. Each of the individual subjects explored by Godfather is sufficiently strong to create the base of a film. 

The Godfather is a film that presents power, obligation, violence, crime, corruption and honor within the American society.  The film centers on a Corleone family within the regions of New York City which is involved in a drug syndicate. The Corleone is working outside the social system as a consequence of isolation by social prejudices and this act symbolizes the ways in which business is carried out in capitalistic government circles and money making firms.

Code: Sample20

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