The camera angles vary from first person, which presents the scene as if you are there, observing everything that is going on, to a more distant point of view, as if you were stealthily watching the characters in action while trying not get caught. At the end Michael does not appear to say or mouth ‘Amen’, even after the priest does so. The opening scene starts with a close-up shot of Bonasera’s face who tells the story about his daughter. Before the scene appears, the film starts with an instrumental song. His true consciousness and mental state are based upon the actions he commits or enables. Also, when baby cries, his sound fills all the church which shows how badly the murder action is. From the name of the film to the baptism scene at its end, Director Francis Ford Coppola ingeniously manipulated a core sacrament in Roman Catholicism to show the moral decline of the movie’s antihero Michael Corleone. In fact, when Michael and everyone leave the church, killers leave the scene simultaneously. the godfather scene analysis The Godfather (Francis Ford Coppola, 1972) opens with a black screen fading in the close up of a man, which the audience already heard talking. Chakrabortty, Aditya. Scene Analysis: The Baptism Scene Out of all the gangster films I have seen, one particular scene sticks out in my memory. One of the best aspects of The Godfather is watching the changes in Michael’s behavior and demeanor as extenuating circumstances involving the family forces his hand and he is forced to take on more responsibilities and duties as a Corleone and the son of Vito. Answer to Second Essay Question – The Godfather’s Opening Scene (1972). Although there is a long hallway between Kay and Michael, the hallway has almost no lights on it, and most of the lighting in the entire scene comes from the window behind Michael and in front of Kay. One thing appears to be missing between this change of location — acknowledgement of the prayer’s finality by Michael. Most importantly, Coppola was able to critically assess the influence, or lack thereof, of religion on the Corleone family. The Americanisation of the strong-willed Appollina (the first wife), and her eventual demise, as well as the crosscutting between the baptism of Connie’s son and a series of killings in The Godfather’s climactic scene make this abundantly clear. The scene begins with a long focal length establishing shot showing  a crowd of people in a church surrounding a baptism. Shots of five assassins (and their victims) in four separate locations are spliced with shots of the baptism. The Guardian writer Aditya Chakrabortty has highlighted this unusual phenomenon by listing several well known cases of mafia figures imitating the Godfather; with even John Gotti lieutenant Sammy Gravano often quoting lines in the film such as “if you have an enemy, that enemy becomes my enemy.”[8] Whereas the public have relentlessly consumed The Godfather as a piece of iconic cinematography, mafiosi have used it as a sort of style guide, an odd occurrence where life is imitating an art form that was based on life. “Showing Faith: Catholicism in American TV Series.” Moravian Journal of Literature and Film 2, no. Editing takes considerable part of “Baptism” scene at the end of the Godfather film. © 2020 Shmoop University Inc | All Rights Reserved | Privacy | Legal. Extra-diegetic organ music overlays the scene. https://www.unomaha.edu/jrf/Vol9No2/grahamGodfather.htm. Right after that someone comes to inform Michael about killing is over. The Godfather, it its almost three hour entirety, was able to evaluate the impact of and connection between illegal activity on politics, law enforcement, and legitimate business in New York City and beyond. Michael is losing his soul, which is, strangely, his triumph. [7] Roger Ebert, “The Godfather Movie Review & Film Summary (1972) | Roger Ebert,” Roger Ebert, 1972, http://www.rogerebert.com/reviews/the-godfather-1972. “Journal of Religion & Film: Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model By Paul Graham.” Journal of Religion & Film: Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model By Paul Graham.

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