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Post by missmcgrory on Aug 31, 2011 14:29:55 GMT
The Godfather: Opening Scene Notes
Language
Titles
Colours: black and white – dramatic, glamorous
Font: 40s style font, puppet symbol – clue to the story/theme.
Music: The Godfather’s Theme is played over the credits. It is dignified and melodic, but played in a minor key, which makes it sound quite sinister/mysterious.
Close up on Bonasera: helps us focus on his speech. He has a heavy Italian accent which establishes his character for the audience.
Dialogue: “I believe in America” – his story shows the failure of the American Dream. The American justice system has failed Italian immigrants, so they turn to the mafia. This is a sympathetic portrayal, linked to audience, representations and institutions. It creates sympathy for the mafia/justifies what they do/justifies them having an ‘alternative’ system of justice within their community.
Camera: The unique way the camera is used made this a very famous scene in film buff circles! It is called a slow reverse zoom. It moves backwards very slowly so we see more of the room very gradually. It creates a tense/serious atmosphere and allows the audience to focus fully on what Bonasera is saying, while slowly becoming aware of setting, other characters in the room etc. The camera’s final vantage point is from Brando’s shoulder (an Over the Shoulder shot) which highlights Don Corleone’s superior status. The film maker’s idea was to create an effective TABLEAUX.
Dark lighting: done very much on purpose to create an air of danger/mystery.
Costume: Don Corleone (and Sonny and Tom when we see them) are all wearing very smart, expensive-looking tuxedos – very swish! Link to representations of the mafia.
Dialogue/acting: Brando makes Don Corleone sound very articulate, dignified, polite. Several real life mafiosos afterwards modelled themselves on this image. Creates glamorous image for mafia. (Link to representations, audience, institutions).
Props: cat. Shows tender/caring side of Don Corleone. Very effective contrast at work: petting a cat while discussing murder.
Dialogue: Both Bonasera and Don Corleone talk about the principles of friendship, honour, honesty, loyalty and respect. Bonasera refers to traditional Italian values when saying “she kept her honour” when describing to the sexual attack on his daughter. Establishes the characters as traditional Italians with traditional values. Implies there is a code of ethics in the mafia – link to representations, audience and institutions.
Camera: Wide shot: we see other characters lurking in the background (e.g. Sonny, Tom). We didn’t previously realise they were there. This will recurr in the film – the Godfather (either Don Corleone or Michael when he takes over) always has henchmen/bodyguards surrounding him for protection etc.
Action: Bonasera bows head and kisses Don Corleone’s hand – shows status.
Dialogue: “We are not murderers” – sympathetic representation representation of mafia.
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Post by missmcgrory on Sept 1, 2011 14:16:08 GMT
Wedding Scene Notes
Change in mood from previous scene with loud, celebratory, Italian music. The scene is a lot brighter – use of natural lighting on a sunny day. Wide/ High-angle shot of wedding party – enormous!!!! Shows the status of the family in the community. Colours – mainly pinks, lilacs, oranges on women (chiffon/lace), men – black tux. Traditional Italian style.
Michael and Kay’s costumes mark them out as being different from the rest of the Corleones. While the rest of the family wear dark tuxedos, Michael asserts his identity as an AMERICAN (rather than an Italian) by wearing his army uniform. Kay is wearing a red and white dress – colours associated with the American flag. She is also smoking (props), which marks her as different to the other women at the wedding.
Dialogue – “that’s my family, Kay, it’s not me” – at this stage, Michael wants nothing to do with the family business. Close up on Kay’s face indicates she was previously unaware of Michael’s family’s mafia ties.
Don Corleone – repeatedly asks “Where’s Michael?” (dialogue) and refuses to have the family picture taken without him there, thus emphasising the idea that Michael is his favourite.
ORANGE (prop) in this scene –bad omen! The groom and the man holding the orange will be killed by the Corleones by the end of the film. (This use of the orange recurs throughout the film)
Representation: Mafia “hard man” seen dancing with a little girl. All mafia members are seen to be good-natured and fun-loving in this scene. They are also respectful of traditional customs and traditions e.g. revering the mother of the bride etc.
Sonny and Fredo: We get the first inkling that neither Sonny nor Fredo would be an appropriate replacement for their father as the Don in this scene. Sonny shows himself to be too firey and emotional – flying into rages, flirting with girls etc, whereas Fredo is weak and has no control (he is extremely drunk already).
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Post by elizabeth on Sept 7, 2011 19:29:50 GMT
Batism scene
lighting:Quite dark- creates sense of danger.
Dialogue: You can hear the guy speaking to micheal to show the different scenes to show it's happening at the same time. Parellel narrative.
Setting: Church
Costume: smart dressed
Sound: exagerated sound - baby crying.
Ironery: Silence to emphaise the question. Do you resounce satan.
Editing: Slow editing then the pace increases as the scene goes on.
His own batism at becoming the head of the family. Ironery of between birth and death.
from Caitlin Campbell
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Post by missmcgrory on Sept 7, 2011 20:02:59 GMT
Thanks, Caitlin and congratulations on being the first in the class to complete the homework!! For your entertainment, here is the video of the one minute version of the Godfather we watched in class today. I have been quite sad and watched it several times myself this evening! It's so clever! www.youtube.com/watch?v=JnX8XY5aNSk |
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Post by missmcgrory on Sept 8, 2011 7:43:15 GMT
As a note to others completing the homework: I want you to identify techniques and, most importantly, explain what effect they create. Why has Francis Ford Coppola decided to use the particular cultural/technical codes?
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Post by melaniegormley on Sept 10, 2011 11:41:28 GMT
Batism scene notes
-The setting of this scene is set inside a church#
costume- most of the family is smart dressed in this scene, this shows its a special occasion
sound- there is an exagerated sound of a baby crying
irony - there is silence to emphisise the question ' Do you renounce satan '
lighting- the lighting in this scene is quite dark this creates a sence of danger in the scene.
editing- as the scene starts the editing is quite slow but as the scene goes on the editing increases. this is to show how the litlle scenes are finally coming to a end ,to make it more dramatic.
Dialogue- all the way through the scene you can here the guy speaking through all the different scenes, this show that its happening at the same time, it is a parellel narative.
Michaels own batism of becoming head of family is happening at the same time as the batism.
There is irony of between birth and death through out the scene.
from melanie gormley
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Post by stuart anderson on Sept 10, 2011 13:13:21 GMT
Cicily scene notes:
setting- quaint farmland, shows Italy in a romantic light. also shows how far Michael is from his American lifestyle
he speaks Italian for the majority of the scene which helps to show the passage of time
lighting- bright lighting throughout, almost sepia tint creates a positive atmosphere and making Italy seem quaint and romantic
music- traditional Italian music, positive tone and adds to romance of the scene
clothing- wears traditional Italian pauper clothing
Appolonia is a traditional Italian girl with dark hair/ eyes. she holds strong values since she wont be seen alone with a man.
the Cicily scene is used to show Michael embracing his Italian roots and beginning his journey to become Godfather
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Post by Katy Lister on Sept 11, 2011 9:59:17 GMT
Baptism Scene Notes
Music- Organ in church playing, different cord playing before a killing/preparing for a killing.
Costume-Smartly dressed at the baptism.
Lighting-Dull lighting in the church, indicates danger
Voice over- We can hear the priest talking over the other scene when the killings are taken place, thats how we know it is all happening at the same time.
Irony- Silence to emphasise the question "Do you renounce Saiten?" and when Michael replys "I do renounce".
Irony- Irony between good and evil.
Editing- The scene pace increases as it is going on, when people start getting killed-music then gets louder than the priest speaking.
Sound-exaggerated sound of baby crying
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Post by Ryan nelson on Sept 11, 2011 16:23:25 GMT
The Godfather Sicily notes
Lighting- The lighting is very bright compared to the last scene this shows the change of setting
Actions- Micheal's bodyguards mock passing US Army cars but Micheal doesn't say anything bucuase he is still American and he was in the Army. In Sicliy Micheal forgets his American identity completly and concentrare more on his Itaiain Identity like marrys a Itailain woman and completley forgets about Kay
Props- Micheal's two sucurity guards carry shotguns.
Dialogue- the whole scene is in Itaiain.
Camera- Scene opens up with a sheep farm this is to show that the setting change to Italy
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Post by Luc matheson on Sept 11, 2011 17:18:32 GMT
Gangster genre-genre markers.
-guns;pistols
-fancy cars
-suits,hats,overcoats with turned up collars.
-violence;montage sequences
-newyork,italian accents
-women as sexual ornaments or very traditional
-conflicts show gangster anarchy challenging social order
-leadership struggles, gang warfare against rival mobs
-concrete jungle setting
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Post by aidan on Sept 11, 2011 18:27:58 GMT
Italy scene notes
Lighting - natural - bright
sound - traditional Italian music = romantic
setting - country side in Italy ( rural, fields and sheep) this represents romantic
props - guns, cars and baskets
costume - traditional country side clothes and pauper clothes
sound - the sound of the insets are exaggerated this represents its a exotic
appolenqoa - how different she is to Kay ( Kay, works and she is blonde) appolenqoa is ( dark hair and eyes )
all of this is part of Michael becoming the godfather
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Post by suzanne cooper on Sept 11, 2011 19:25:08 GMT
baptism scene
music: sinister music just before and during the killings,makes it more dramatic.
costumes: smartly dressed at the baptism,shows that its important.
lighting: it is dark inside the church which shows danger.
voice over: you can hear the priests voice in different scenes where people are getting killed-parallel narrative.
:irony-silence in the church to emphasize the question"do you renounce Satan".
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Post by missmcgrory on Sept 12, 2011 7:19:27 GMT
Well done to Suzanne, Aidan, Lucy, Ryan, Katy, Stuart, Melanie and Caitlin....... I have EXACTLY twelve punishment exercises in my room as well - conveniently the same number of people in the class who haven't done the homework. I wonder if this will have changed by period 2??? Fingers crossed....
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Post by rebeccasymington on Sept 12, 2011 8:14:24 GMT
Sound – parallel narrative – of the priest, Michael and organ music – shows that everything is happening at the same time
Lighting – Dark – connotes danger
Sound – Organ music gets gradually louder, music stops to emphasise dialogue
Dialogue – ‘Do you renounce satan?’ – killing begins
Dialogue – repetition of ‘I do’ – once after each killing
Slow paced editing gradually increases in pace
Symbolic – Godfather of baby – becoming Godfather of family
Irony – good of the church – bad of murders
Irony – birth and death
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Post by Rheannan on Sept 12, 2011 8:29:28 GMT
Notes on Baptism scene -
Through out the scene the priests voice is heard as a voice over even whilst the murders are going on
The scence is ironic juxtapoistion as he renounces evil, he has ordered
Murders to take place at the same time
The camera shows clips of baptism and the kilings, montage to show that they are happening at the same time and to convey the irony of churchs and murders, or birth and death
The organ music that is playing through out the scene creates a sinster tone/edge to the scene making it more dramatic
It is irony that michael claims to renounce satin as he has ordered murders.
The baptism its self is a meteaphorical baptism for michael, becoming head of the family and the mafia, he is losing who he was at the start of the film and beming some one knew.
From Rheannan
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