An In-Depth analysis of Francis Ford Coppala’s The GodFather
Francis Ford Coppola, a man with a decent relevance to this paper, once said the setting of 1940’s New York was crucial to the thematic (take a drink every time the word thematic is said in this paper) purpose of the story.Within those parameters it become clear the fashion cycle we will be peddling in for The Godfather.In short, the movie has a “Godfather” look,but unfortunately that particular descriptor has been pushed off the proverbial table so we’ll have to go into more detail.The wardrobe of the film includes striped blazers,white dress shirts with popped out collars,butterfly ties,dress shoes and pants,Michael’s Veteran jacket,and for the scene’s in Sicily, te wardrobe is farmers like cloths including but not limited to Suspenders,clogs,wedding clothes,plaid shirts, and farmer pants.While one may say that the film’s wardrobe is nothing particularly interesting or at the very least it’s not one of the film’s strongest assets, however if one were to searching for hidden treasures within the fabrics sewn by the costume designers and the other wardrobe assistance, one would not be disappointed.Within The Godfather the colors of black and white are seen in various forms throughout the film and This continues throughout the costuming of the picture.Don,Tom,and Sonny all wear black suits in dark settings signifing the deeps with which they dwell,you can see this personified beautifully in the opening scene during the film.In contrast however Michael is wearing grey and in fact he wears grey throughout the film except during the assassination scene,any scene in Sicily where he white,or in the case of the wedding,black,and any scene after he becomes The Godfather. Michael’s grey zone status remains throughout the film as he wears significantly darker than most non-mob members.The non-mobsters are mostly just Kate and anyone at a wedding.Michael’s wardrobe weather it be black,white, or grey remains consistent with his emotional and conversally remains consistent with the multiple hats he wears throughout the film and how the audience is meant to see him.This being weather they see him as a hero in a cruel world,A villian in a world meant for him, or an outsider forced into something he truly doesn’t want.For each other character wardrobe remains consistent except for key differences.An example of this would be Don Corleone who wears black during every scene except his death scene,a scene which shows at one of the few times he’s truly at peace.
The Godfather himself Marlon Brando had done upon him one of the greatest if not at least most iconic make up jobs in Cinematic History. Don Corleone’s look is so eye catching and so memorable that him simply running his slightly closed hands across his cheeks has become a truly iconic image in film. His design commands a sense of mystery and never lose your attention.It shows Don as a man with a past one in which the audience becomes unknowingly tangled in unendingly glued to every word that escapes his mouth.Now that has a lot to do with Marlon Brando’s exquisite performance in the film,but to deny the impact that make up artist Phillip Leto and Dick Rhodes did in creating the look (with input from Coppalo) would be inane.The rest of the makeup is very good through nothing to write home about. Everyone in the film looks as they should,the blood,and any other effect look as they should for one of the greatest films in the world.
The Godfather’s main theme is one of the most poignant and sobering film scores ever to be recognizable,fitting givin’ the film’s odd standing amongst the most popular films in our pop culture.The score of course invokes classic Italian music.Composer Nino Rota works invokes the sound of a funeral and the weight and the mass of sorrow that comes with it.The Godfather’s soundtrack provides the film it’s authentic Italian scenery and also sense of importance,like any good score it ingratiates itself onto the film like a tailored suit,never too much to be removed from each scene but enough to notice and add to depths at which the actors,script,and director are pushing themselves.
The greatest trick the The Godfather ever pulled was proving what a striking, deep, and unique lighting scheme can do for a film.In just the opening scene we are shown a into a world truly fantastical with black swirling over and ahead a haze of orange showing later to contrast with a cacophony of bright greens,pinks,and yellows in the harsh sunlight all providing a sharp and completely other wordly vision to the screen.The films lighting and color palette give the film a Grim fairlytale design or a renaissance painting . The picture formed from this coalition is something truly special.The Godfather looks sharper and clearer than most movies of its’ era ,with a more appealing look than that of film’s like Jaws or Star Wars even known it prosedes those by a few years. Cinematographer Gordon Willis uses underlit lighting and overexposure was revolutionary at the time and still has ripple effects through modern cinema.The film’s thematic strains lie in the simple binary concepts of what makes someone good or bad.In the scenes that take place in Don’s office the dark palette glows a dark black with a light orange everywhere it’s hard not see this setting as an analogy for hell and those who walk in making deals with the devil.This extends to the color of the film.The Godfather uses its’ unrealistic color palette and it’s warm colors to create a royal and fantastical style. A big reason why the The Godfather is such a popular film is because it’s a film that’s fantastical yet serious in a way that almost anyone can understand and relate to.All of this is ofcourse congruent to the script which is displays a excellent sense of scope almost unmatched by most films.
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