The Sopranos

Francis Ford Coppola directed the gangster crime drama film, The Godfather (1972), inspired by the novel of the same name, written by Author Mario Puzo. The film plays out in the beginning how Don Corleone declined to join the narcotics business with notorious drug lord Sollozzo. With this in mind, one of the greatest gangster films created by a man who decided to lead, and not follows. Moreover, explaining the formalist approach for this film which covers an array of elements that include plot structure, camera techniques, editing, mise en scene, and sound. The following film critique will analyze “The Godfather,” beginning by utilizing the formalist approach theory, camera technique and sound gradually introducing additional theories

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.

Well the Tony that we audience are introduced to early on into the show. Mainly because Tony is a captain under Junior and normally would have/should have done anything to rid the family of anyone turning state's evidence to the feds. As well as not caring about local business that are not making the mob money. But he betrays this understanding and the acting head of the DiMeo family for Artie. Which again I understood this betrayal to Junior was Tony’s way of drawing a line in the sand when it came to Artie. Which is every bold on Tony’s part, yet also weird since throughout both season of the show we see Tony do horrible things to his close friends and allies in the name of the DiMeo family. But this relationship/bond with Artie destroys this understanding of Tony’s character. It was here that I began to notice that Tony’s relationship with Artie represented something more for Tony. Even more than a sense of normality within Tony’s chaotic life. What I mean by this is that I saw this relationship to Artie as a representation of Tony’s past and the man he could have been. In layman's terms Artie is Tony’s last connection to life he could have had if he didn’t take up the mantle of a mobster. Which is almost tragic to think about, Tony comes off as a person who will use any and everything to get ahead in life and within the DiMeo family—yet, Tony is not a bad guy and actually had a bright future in

The future of television was impacted heavily from the launching of the Sopranos. It changed the way that shows were produced, crafted, and viewed as television viewers. For starters, the director and creator of the television phenomenon, David Chase, used bits and pieces of his own life to create and recreate feeling and a sense of realness

Tony’s rise to power is a notable rags-to-riches story, only that it involves drugs and dead bodies. The dark and criminalized American Dream was a strongly implemented backbone of the story, wherein an immigrant comes to the US to find his fortune and future. Tony eventually succeeds for a moment, but when his judgement and pure unluckiness started to overwhelm him, he became a cautionary tale of excesses and greed. Parallel of that to Michael, whose story starts on a high note, being a war veteran and born from a wealthy and influential family, he was dragged to family affairs when he only meant to preserve his. He became more fixated on control and started to be more cynical and ending with him becoming a mafia don on his own right. They also dealt with threats, only that Tony is fighting self-inflicted illusions and being killed in the process, while Michael ruthlessly suppressed any manner of threats. Winning in the end, but losing his humanity.

The public called him Scarface; the FBI called him Public Enemy Number One; his associates called him Snorky. But Capone is the name most remember. And John Kobler’s Capone is the definitive biography of this most brutal and flamboyant of the underground kings—an intimate and dramatic book that presents a complete view of Al Capone and his gaudy era. Here is Capone’s story: his violent childhood in Brooklyn, his lieutenancy to Johnny Torrio, his rise in the ranks of the underworld, the notorious St. Valentine Massacre, his eventual control of the entire city of Chicago, and his decline during his imprisonment in Alcatraz. Capone was the ultimate gangster, and Capone is the ultimate in gangster biographies—a classic in the literature of

Do you know how a Tim Burton film is made? Tim Burton has a dark and fun side in his movies but it's most common to have some type of demented theme even when it happens to be something friendly like “the nightmare before christmas” it's a halloween feel movie played on christmas. Tim burton's style is characterized by its unusual, funny,weird facts displaying in his films. Director tim burton uses cinematic techniques and visual effects in his movies to create an original style that is hard for other directors to imitate. The medium shot, it is one of the more popular camera angles used in films.

When Randy first appears in the series, one cannot help but notice his kind heart and pleasant smile. He is good-natured and cheerful, with a flair for business. He sells candy to his peers by changing his grade specific uniform to blend in to different lunch periods, catches homing pigeons to pick up some extra cash, and knows how to get back at bullies by using urine and water balloons. He is quick to learn when taught in an accessible way and is eager to apply it to his everyday life. Randy also has ambitions of running his own business. He truly enjoys school, whether he is learning in the classroom or selling his wares, and opens himself up to teachers like Prez that take a genuine interest in his well-being. Randy adores his foster mother Miss Anna, and is always grateful for her time and care. Whenever Miss Anna’s house is shown it seems to be well taken care of, despite the less than ideal location. Though he has no interest in getting involved with drugs, Randy, trying to keep himself out of trouble with Miss Anna, is labeled a snitch by his peers for talking about a murder. After being pulled out of school for reasons of safety, he is still pursued and eventually attacked by those he was believed to have snitched on. Miss Anna is caught in the cross-fire and deemed no longer able to take care of him, thus leaving Randy to fend for himself in a group home. The last time we encounter Randy in the series he is still in the group home. He is being questioned by police

The Godfather is a quintessential Sicilian mob movie. Set in New York, the film covers the Corleone family history and “business” from 1945 to 1955. Music and lighting set the tone of most scenes. The music pulls you in with its dramatic moments and creates suspense. Through cues from non-diegetic sound we are made aware of nearing events. This use of trumpet sounds is what draws the most suspense in the movie.

This is the moment where you realize how powerful Don Vito Corleone is. There are not too many people who told Corleone "no."

The low angle shot of Jules holding the gun towards Brett gives the viewers an idea on how he is feeling. When the camera up close to Jules Winnfield face I feel those are eye level shots because we as the viewers would be looking right at him. Then there is the shot towards the end of the scene where Jules and Vega fire their guns killing Brett, those are also examples of low angle shots, even though we don’t see Brett anymore we as viewer have a feeling on what is going to happen

The opening-credits sequence of The Sopranos showed a man drive from New York City to New Jersey and arrived at a suburban house, providing little information about what kind of show it is.

Secondly, the relevancy of silence and secrecy was distinct. It was obvious that there was secrecy regarding the emotions and feelings toward the mafia. Peppino and the Impastato family live simply 100 steps to the leader of the Mafia. They sleep amidst his control and the mafia’s power. Furthermore, as Peppino breaks the silence by his use of the radio station, a conversation is born and a sense of freedom was felt.

I am a searcher, really- and this is a story about discovery. When I was 15, I chose to become a screenwriter because I wanted to empty myself of my potential. I mean, what could be bolder than striving for the extraordinary each day? Let me be clear, I love life; the people, the rewards, even the little inconsistencies, but I crave the kind of amazing that stretches into the indescribable. Carrying my canoe into unexplored territory is the best way I can emulate the Woody Allen’s and Tony Soprano’s of the silver screen. Yes, there are many risks and obstacles to weigh, but I am prepared to sacrifice everything for the sake of truth, even if it means failing over and over again.

The climax of the Godfather is the murder of the heads of the five families during the baptism of Connie’s son.