Francis Ford Coppola "The Godfather"

The typical gangster withdraw has an inverted Horatio Alger tale at its heart, in other oral communication an inverted world of wealth and success made come-at-able with crime, corruption, power and violence. Gangsters are typic tout ensembley materialistic, street smart, immoral, egomaniacal and self-destructive and we see this in characters like Sonny, whose self-destructive passions result in his slaughter by a rival gang.

Large herd cities, dark nightclubs and restaurants, fast cars, sleazy bars, and exotic locales often rede the milieu of the gangster genre, and from Sicily to the crowded streets of 1940s New York The God fuck off is no different. The dialogue is often filled with gangster jargon, including things in this moving picture like "Sleep with the fishes", "I'm gonna make him an offer he can't respond", and "Are you trying to muscle me?" Yet, often underneath the violent, immoral, corrupt, and tough-guy range of a function lurk otherwise sensitive and caring individuals. We see this virtually clearly in the character of Michael, brilliantly played by Al Pacino. At one point Michael's schoolteacher girlfriend, who is incognizant of the extent of violence and corruption in "the family", wants to know from Michael how his father was able to get Johnny Fontane out of a put down contract with his bandleader: "Luca Brasi held a gun to his head, and my father assured him that any his brains ? or his signature ? would be on the contract?That's

Coppola, F. F. The Godfather (Film). Directed and written by Francis c all over Coppola. USA, 1972.

Of course, Michael will have to become more violent than change surface his father once he gains control of the family and must encourage hold it together against the other warring crime families. The choose is nothing if chock full of detail. There are hemorrhoid of great scenes, from the decapitated horse's head in a photographic film producer's bed to Clemenza cooking sauce and explaining to Michael how "real" Italians cook it right. The editing and cinematography are superb. In one scene, Don Corleone sends his sure associate Luca Brasi to pretend he will make a deal with another crime family. When Brasi meets Sollozzo, Sollozzo offers him $50,000 to start with.

Brasi won't shake pass with Sollozzo, and at this point Sollozzo whips out a knife and punches it through Brasi's hand, pinning him helplessly to the bar. As he is caught, another felon twists a garrote around his neck. Brasi's eyes bulge and he gurgles as he slowly sinks from view. As he collapses to the floor, the tv camera pulls fanny so that we watch the action filmed from international the fish-d?cor glass doors of the pub.

The next shot is of Rocco and his sidekick as they catch fire down the hotel room door. They rush into the room and begin atomizer bullets, killing Tattaglia and his lover. We cut back to Michael at the ceremony "And all his pomps?" As we hear Michael reply "I do discontinue them" we cut to Neri on the street who shoots Barzini's bodyguard twice and his drive around once as Barzini tries to run away. In front of the two dead men, Neri drops to one knee and takes aim. Shot in the back twice, Barzini falls as Neri is picked up and driven away by others. We cut back to Michael's face at the ceremony as the Cardinal states "Michael Rizzi ? will you be baptized?" Michael then looks upward(a) and says "I will." We see the Cardinal continue the ceremony over the head of the infant as he intones "et Domini patris." As
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