The Godfather :: Film Review,Coppola, The Gangsters

Francis Ford Coppolas The Godfather (1972) is among the best darts ever produced. Consistently ranked as one of the top three postulates by the American flash institute, this gangster film sits among the likes of Citizen Kane (1941), Lawrence of Arabia (1962), and the more recent Schindlers List (1993) (American). When it was released, The Godfather was nominate for ten Academy Awards, and won three Best Picture, Best participant (Marlon Brando), and Best Adapted Screenplay. The film was adapted from the best-selling novel, with the same name, by Mario Puzo (Mast & Kawin, 332). The film takes place in a ten-year span between 1945 and 1955. It follows the Sicilian family headed by Vito Corleone who is played by Marlon Brando Corleone is also the godfather or head of the Corleone disgust Family. Coppolas film is not the first big screen mutation of a gangster film Scarface (1933), The Public Enemy (1931), and small-minded Caesar (1931) argon all pre-production code gangster fi lms, simply American Movie Classics Tim Dirks believes The Godfather reinvented the gangster genre (Dirks). Still, The Godfathers has many similarities to pre-production code gangster films especially with its wasting disease of violence, and its portrayal of corruption of both the gangsters and the good guys.The gangster films of the 30s and 40s had all but disappeared until The Godfather revived the genre. These films were not new to Hollywood The Public Enemy (1931), Little Caesar (1930), and Scarface (1932), but the production code put an end to the style of the proto(prenominal) gangster classics. Two production code principles for films made during its time, 1934-1967, were that No outline should lower the moral standards of those who see itthe audience should never be impel to the side of crime, wrongdoing, evil or sin and law must not be belittled, ridiculed, nor must a sentiment be created against it (The Production code). These principles along with the film noir era essentially ended the way gangster films were made. Following the enforcement of the code, the localise shifted from the gangsters to the good guys (Dirks). David Stirritt, film critic for the Christian Science Monitor, says Coppolas film revived the gangster genre (Dirks). This revival helped other gangster films to win it to the big screen Martin Scorseses Goodfellas (1991) and Casino (1995), and Mike Newells Donnie Brasco (1997). The similarities between The Godfather and wee gangster films are evident when they are compared.