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Thesis statement for the godfather
Thesis statement for the godfather
The godfather analysis essay
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From your garden-variety run-from-the-law thug, to the misunderstood maniacal scientist or the introverted girl scared of finding her away about the world, the term ‘Anti-hero’ is too broad a character to typecast; and so to reflect thematic issues associated, we can’t simply plunk the subheadings of ‘greedy’, ‘abusive’ or ’crazy’ etc upon them. The only independent variable, in the making of an anti-hero, through our own experiences and contextual environment, is their ability to make a connection with us. Be it with the presentation of our desires through their actions or the recognition of ourselves when imagined being faced with similar conditions. They may showcase the regular personality or universally felt emotions and in both glorified and/or horrified aspects, the anti-hero is more relatable then their ‘perfect’ counter part of ‘hero’. To illustrate this concept and to demonstrate the scope of variety between them, the two text’s investigated are ’The Godfather’ (part one) and ‘Of Mice and Men’.
The 1972 release, ‘The Godfather‘, first a book by Mario Puzo before being transformed into three-part film by Francis Coppola - is the movie hailed a masterpiece, rendering many imitations, parodies and shameless impersonations. This infamous gangster text which, while confirming our preconceived notions of the mafia; a life of murder, gambling, male chauvinism, blackmail and corruption, can tell the tale of what might be “the greatest family movie ever made”. Appealing to our sense of intrigue, the audience, as onlookers inside such a secretive, often glamorised world, respond not with repulsion but instead are enticed to feel a sense of loyalty to the family including us in the environment where mobsters are “never to tel...
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...upon the individual reader. However a act such as this, with no selfish motivation, committed with only compassion in mind, is one which, again, defies any application of a ‘wrong’ or ‘right’ classification. The action is the pinnacle incarnation of the anti-hero; where George can be courageous while victimised and Lennie pitied while relieved. The territory of acts by anti-heroes can stir contradictory and indefinable reactions from their readers.
The anti-hero, becoming an increasingly popular device in modern literature and film, while each evidently different in context and situation, gives its audience the thrill of knowing that not all ‘goodness’ comes in the form of capes or armour. A protagonists mistakes are permissible and flaws are forgiven because, really, like the characters we make allowances for, we can fall under the term ’anti-hero’ too.
In most works of literature there is an “evil” character that has conflicting interests with the protagonist. This issue may arise in multiple forms including, but not limited to, abuse and manipulation. In this paper we will be discussing the similarities and differences between Shakespeare’s character Iago from Othello and J.K. Rowling’s character Voldemort from the Harry Potter series.
Heroes in literature and history, more often than not, meet tragic ends, unless they were created by Walt Disney. These particular people are often seen as someone who is apart from the masses in morals and attempt to accomplish a higher calling for the common good. The problem with this type of hero is that they are destined for suffering.Two such characters exist in classic literature, Winston Smith of George Orwell’s 1984 and Hamlet of William Shakespeare’s “Hamlet, Prince of Denmark.” Hamlet is the true classic tragic hero, though, because he is of noble birth, possesses high moral standards, completes the task he is given to better the world, and causes tragedy in both his life and the lives of others.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
When tales of heroes are so grandiosely told through poems and stories often too wild to be real, the emphasis of heroism is shown through their journeys rather than their characteristics. They are in terms heroes without any real humane flaw; through the analysis of these two tales it’s, apparent that they share many similarities in the themes, but the traits of the protagonists and the reasonings behind the choices they made until their demise were entirely different. In these pieces of literature the villains are also in a limelight of their own, making one question, “Who was actually in the right all along? Who’s really to blame?” The antagonists are as infamous as the protagonist themselves are famous like a balancing act; only one of equal prowess can take down another. Items of value, recognition, and the art of gifting are shared through these epic poems but are the heroes in accepting them, the same?
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American Mafia in cinema?
The Godfather is most notably one of the most prolific films of its time. This "gangster" film displayed many transformations of permeating color to give the viewer observable cues in its mise en scene that drew one right into the movie. The dramatic acting set the tone of the film with a score that lifted the viewer right out of their seat in many scenes. The directing and cinematography made The Godfather ahead of its time. The nostalgic feel of family importance and the danger of revenge lets us into the life of the Mafia. Even though no other techniques would have given the viewer a feeling of inside the mob like the mise en scene of the power the godfather held, the characters are reinforced literally and figuratively because the story views the Mafia from the inside out, and the cinematography of the film gives it a dangerous and nostalgic feel.
The bulk of the praise a hero receives tends to be in response to his or her actions. People look up to the heroes who can perform the most miraculous feats. However, there is an element of heroism beyond the superficial element of a hero’s actions: the hero’s character. Both heroes and antiheroes might do great things; however, the similarities end where motivations are considered, and these differences in motivations are rooted in the differences in the character of heroes and the antiheroes. An antihero’s character is flawed, leading to actions based on selfish and impure motivations. In contrast, a hero is characterized by his or her selflessness; this can be defined as putting the interests of others above the interests of oneself, and
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
Throughout life, one encounters people who are to be pitied and people who don’t deserve to be pitied. Abram defined the term tragic hero as someone who is to be pitied, someone who is quite arrogant in his or her remarks, and who is influenced by his “error of judgment”, or tragic flaw. In Shakespeare’s play Macbeth, a respected soldier, Macbeth, is to be bombarded with the most awful misfortune. In this case, Macbeth has two out of the three conditions to qualify as a tragic hero; extreme arrogance and tragic flaw. Even though Macbeth qualifies for most of the conditions of a tragic hero, he does not deserve the remaining condition; pity.
“In the world of so-called villains, what we need is not another hero. What we need is to stop the influx of people who dress themselves as menaces and proceed to harm others” (Tugaleva, para 1). In the short story, “The Most Dangerous Game”, the antagonist, General Zaroff, paints a picture of villainy. The author, Richard Connell, illustrates the effects that a villain has on a story and how they affect other characters. Throughout the story, Connell uses the methods of characterization to reveal that villainy drives the plot through the development of his antagonist, General Zaroff, the cruel and narcissistic murderer.
Any analysis of the Heroic Life of certain men and women makes for a complex and challenging psychological inquiry. We will delve into this subject, by looking into at least three main aspects of the heroic character. First we will discuss the nature of the singularity of the hero; second, his social significance at the time he lives; and third the interaction between fate or destiny and the hero’s own known attributes and defects which may bring him success or failure. Let us use three examples to illustrate these three points: Homer’s Achilles, Sophocles’ King Oedipus and finally G.B. Shaw’s Saint Joan.
To conclude, the graphic novel Watchmen presents the non-fantastic representation of a superhero, implying that not all heroes are like Superman. This notion is explored within the novel by mentioning the realistic motives of the characters choosing to become superheroes, by Rorschach’s representation and through the heroic reactions of the New Yorkers to a street crime. These elements all contribute to Watchmen’s uniqueness and complexity as a superhero comic.
Ernest Hemingway has the tendency to use his heroes in some unheroic ways. At first the hero may seem obvious, but later on it is discovered that the true hero is not who it seems to be. In A Farewell to Arms Hemingway uses the true hero to guide the main character into becoming a hero, but fails miserably.
I believe the reason that, 'The Godfather', is such a great film is because it lets audiences decide whether they like the characters or not. Too many movies made about organized crime begin with some seemingly random act of violence. 'The Godfather', however, lets it be known from the start to judge the characters in the film based on what type of person they are instead of the criminal activities they may engage in.
For a time, the main characters in a story, poem, or narrative were easily classified as either being a hero or a villain. A hero would be easy to identify by the traits he'd possess, such as bravery, honesty, selflessness, trustworthiness, courage, leadership, and more. The villain would be easy to identify as well, possessing traits such as maliciousness, deceitfulness, immorality, dark, wishing harm upon others, and more. But what if the character lacked the natural heroic qualities but wasn't a villain either? What if the person displayed personality flaws that would traditionally be associated with a villain, but has heroic intentions? These questions were finally answered with the emergence of the anti-hero in literature.