Gangster Genre In The Film Goodfellas By Martin Scorsese

A Bronx Tale depicts the everyday occurrences that used to happen in my neighborhood, in exception with the racism that occurred throughout the movie. The shootouts between gangs, and the drug dealers in the corner stores and also the respected/well known individual of the neighborhood all this used to happen in my neighborhood. The movie takes place during the 1960’s, a time where the civil rights movement was still occuring. Its setting takes place in Bronx, New York in a Fordham neighborhood which is populated by people of Italian Decent. Sonny the gangster of a mob is feared throughout the streets but also respected and looked up to. Calogero the son of a bus driver, who lived next to the bar that sonny always hanged out in, always used to copy all the moves and gestures that sonny did. One day Calogero witnessed sonny shooting a man in front of his house. When questioned by detectives and told to point out the shooter, he didn’t point out sonny. After that Calogero from a young age became sort of sonny’s right hand. Although many events happen throughout the movie, sociological forces and ideas are present in the movie. Forces that are shown include the groups that exist in this neighborhood, the micro- macro dynamics of the society that Calogero is living in, sociological imagination, and most importantly a problem between races. The sociological forces are needed in order to drive and

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

Gangs of New York (2002), a bold and violent movie directed by Martin Scorsese takes us back to a New York without skyscrapers and modern-day lavishes that shows the rise of violent gang power and political corruption. Starring Leonardo DiCaprio and Daniel Day-Lewis, the film features a personal struggle placed within the context of gang warfare between Nativists and immigrants, which is set in the larger context of the Draft Riots and the Civil War. It is a reconstructed historical narrative that uses interlocking events filled with gang violence and political corruption to show how the modern New York was born.

American Gangster tells a story about how the emerge of drug traffic and trade was in the streets of Harlem, New York. Denzel Washington plays real life gangster- Frank Lucas back in the 70s that was originally from North Carolina.

American cinema flourished due to their movies about Italian Americans being portrayed as mafia. “ Our national obsession for violence, and blood and our out-of-control appetite for wealth and power is siphoned off and projected onto Italian organized crime.” This quote clearly stated that due to the Americans obsession to watch violence and blood, Italian Americans became the main target for them to achieve that due to their history. However, they ignore the fact that it was only a certain percentage of Italian Americans that were part of the mafia while the rest Italian Americans were immigrants struggling to survive past those stereotypes. “ According to the

“The American Dream”, a national phrase in which is mainly praised by those who pursue the goal of living a better life. All of this is merely an illusion, there is no such thing as “The American Dream”. It is just a big hypocrisy in America and will not change the fact that everyone will still be labeled in a social class and used as a lure for those migrating to the US for a better life. Not only will those in America label your class, but the people you speak to and go out with will also depend on your income. “The Great Gatsby” by F. Scott Fitzgerald and “The Big Short” directed by Adam McKay are a great example of the dilemma occurring during this saying. Both the novel and the film portrayed “The American Dream” as a horrible portrait, having everyone seem inconsiderate and will do whatever it takes in order to fulfill their desires, no matter the outcomes.

Everyone is tempted by sex, drugs, easy money and the power generated from violence and vengeance. The film “Boyz N the Hood” follows Tre, who moves to a neighborhood in the socioeconomically disadvantaged South Central with his father and becomes involved with new friends. The movie best portrays how being of low socioeconomic status during that time had a devastating effect on an adolescents development. For many young people during that era, the future is a day that never came.

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration we are able to know exactly what is going through a particular character’s mind. Finally, wonderful editing made great use of point of view and multiple jump cuts, which added to the sensation that we are undergoing the same experiences as the characters on screen. I will go into further detail and specify scenes that convey these elements as the essay progresses. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

When talking about a true American crime story, one can start and end the discussion with one of the most powerful and influential true stories ever told: GoodFellas. Based on the incredible true story, the film follows the rise and fall of Lucchese crime family associates Henry Hill and his friends throughout the 50s, 60s, 70s, and 1980s. Originally written as the non-fiction novel “Wise Guys” by Nicholas Pileggi, the story takes you deep into the world of arguably the most notorious crime posse America has ever known: the Italian Mafia. It is viewed by scores of critics and moviegoers alike as one of the greatest crime/drama movies ever filmed – so needless to say, with such a

Gangs have been occupied New York City for hundreds of years. In the 1950s, the city saw a rise of Latino immigrants from Latin America, the Caribbean, and notably Puerto Rico as well as a rise in gang violence. Leonard Bernstein’s musical West Side Story uses the real-world subject of gang warfare in New York City to depict a modern-day adaptation of Romeo and Juliet by playing into the ethnic divide between the two gangs, but in doing so it simultaneously acts as a medium through which the uninformed public can learn about the culture of the gangs from this time.

To define a film by a certain genre, there are several elements and signatures that a film will display in order to signify its place amongst the genre. A film from the gangster genre is characterized by violence and lawlessness of american capitalism and The American Dream. The short lived classical era of the gangster genre in Hollywood is also greatly influenced by the production code which manifested the iconic moral narrative of the gangster genre. William A. Wellman’s 1931 film The Public Enemy can be considered a film of the gangster genre when one examines the conflict with the American dream, the rise and fall of the protagonist Tom Powers, as well as the visual storytelling employed to support the narrative.

This is a film following the life of Nino Brown. He has become an “American success story with a twist'; (Rosenbush “menace';). Brown is the main character who is young, smart, handsome, rich, successful, and prominent in his community. But, Brown is a big time drug lord and head of a gang and two cops are out to put an end to him. This late ‘90’s drama was directed by Mario Van Peebles set in New York City. This film also had all of the conventions of “New jack cinemas/black social dramas';.

Directed by the legendary director Martin Scorsese, along with splendid performances of the duo Leonardo DiCaprio and Daniel Day - Lewis, Gangs of New York is an excellent film illustrated the chaotic peril of 1860s New York City based on actual historical events. Build upon the nonfiction novel by Herbert Asbury, The Gangs of New York: An Informal History of the Underworld, the movie depicted the conflict between the Americans and the Irish immigrants due to the rising wave of immigration to America. Although the movie is overall very intriguing, and gave an in-depth insight into the modern gang of New York City in the 19th century, it omits certain events in history for the purpose of entertainment.

“American Gangster” is based on the true story of Frank Lucas’ life. It is the story of how he cut out the middleman in the heroin business and the story of how Ritchie Roberts caught him. Throughout the film we see the parallel between a cop and a criminal as we inch forward to see their lives finally meet.

A blurb by Frank Lentricchia on the back of Chris Messenger's book calls it "a landmark in the study of popular culture." Most readers recognize academic hype and know that even the most cautious of scholars will risk indiscretion on a book jacket. But in this case the hyperbolic claim may be understated. Messenger's book is a phenomenon. I am at a loss to think what manifestation of The Godfather narratives (book, film trilogy, related movies, television programming), or what aspect of authoring, filming, marketing, or what theoretical perspective or intellectual framework Messenger overlooks in this comprehensive, intelligent, and definitive study of what is surely the twentieth century's most telling fable of the complex intersections of work and family in American