Michael is becoming a godfather in two senses—to his niece, and to his mafia family. This is the first juxtaposition where the audience can draw parallels between the two worlds in which Michael vows himself to live. Had Reynolds and Zinner edited these as separate scenes, not back-and-forth, the audience would not have the same thematic guide from the filmmakers.
The parallel pre-killing cuts quickly together and the baby is once again wailing, furthering the emotional impact. As seen below, the first parallel cut where he renounces Satan is followed by a murder.
Along with the organ soundtrack, this cross-cutting creates a rhythm that punctuates each murderous beat. In their maze of an edit, Coppola, Reynolds, and Zinner crafted a film of varying rhythmic qualities, allowing it to return to an equilibrium after moments of high tension and violence. In his mafia world, these moments of violence are inevitable—and he often succumbs.
Rather than editing these scenes into ones that glorify horror, Reynolds and Zinner made them cogent and visceral. The Corleone family, we sense, is stuck in a labyrinth of their own making, perpetually attempting to restore stability and without an exit in sight.
The scene begins with the camera positioned at a low angle, hovering just above ground level. Harvey on 'The Editor' User reviews 26 Review. Top review. Interesting film, in a way. For about the first hour, I enjoyed the kitschy bad acting and stylized way of presenting the story, but it got stale and the last half-hour took some effort to stick with it. Details Edit. Release date July 3, Australia. Winnipeg, Manitoba, Canada.
Box office Edit. Technical specs Edit. Runtime 1 hour 35 minutes. Related news. Contribute to this page Suggest an edit or add missing content. Perhaps we even correctly infer his ultimate fate from these character developments. This loose end unsettles us. It is true, of course, that Michael and Kay do ultimately reunite.
It is also true that, as an outsider to the Corleone world, Kay is presented at first as a figure for the audience: when Michael explains his family to her in the wedding scene, he is in effect explaining his family to us in the audience, and she becomes a key figure of identification for us up to the very last moment of the film.
This alienation accounts for why she appears dependent and vulnerable: we sense too that, since Michael will always subordinate Kay to the family business, her alienation will persist.
This scene, then, does not merely establish a narrative problem. It reveals a fatal flaw in their relationship—the gulf between Michael and Kay that, whatever the melody playing in the background, neither one can bridge. Anna Hill Johnstone, the costume designer for The Godfather, knew how to make male antiheroes into fashion icons. In the. Late in The Godfather, when Vito Corleone collapses to the ground and his grandson Anthony runs away to get help,. Cinema is a medium that, even in the more progressive present, is largely dominated by men.
As Laura Mulvey has famously suggested, this domination has caused a clear masculine bias in how films are shot and presented to viewers who, sometimes unknowingly, consume examples of harmful masculinity.
Not only is The Godfather obsessed with showing the moral decay of its male characters, but when it comes to the depictions of violence, male violence is shown in its entirety, with no restrictions obscuring any form of abjection. The most violent onscreen male death, in terms of the abject, is the death of Sonny Corleone. Seemingly punished for his own insatiable rage and confidence in elements of traditional masculinity, Sonny is murdered in full view. When his death begins, he is seated inside his car as the bullets begin to pierce his body and cause visible bleeding, visible abjection.
His death does not end in the obstructed view of the car, however, and continues as he steps outside, not allowing a moment of rest during his hyper-violent massacre. The same hyperviolent treatment is not extended to the women in the film. The car explodes in full view, but we do not see the full impact of the violence on her body.
The violence against her is lethal, but there is no abjection present to further shame her. The sequence which comes closest to the Hitchcockian tradition of sadistic punishment is the sequence in which Connie gets beaten by her husband after reacting emotionally to a call that seems to indicate an affair. Still, even though this scene is set up for an act of sadistic punishment against women, Coppola refuses to use the Hitchcockian conventions, instead allowing Connie to be punished off screen: doorways obstruct the violence, setting it in a closed space that is not completely explored by the camera.
The moments in which Connie is being visibly abused by her husband are few throughout the scene, but while we see the belt hitting her body, we do not see any signs of abjection. She does not bleed, she does not bruise, she only screams in an act which alludes to pain, but does not provide proof of its existence as blood does. Moreover, because of its frequent placement behind doorways, the camera in this scene does not identify with Carlo, the masculine punisher, as it would in the Hitchcockian convention.
To make a fine but necessary distinction: the scene is voyeuristic, but not in a scopophilic sense. The camera looms over places of domesticity, but it does not fixate on the female. Instead, the camera represents a reluctant voyeur, one who is curious, perhaps horrified, at the abuse, but does not feel the need to insert him- or herself in these scenes of violence, and instead observes quietly and curiously as violence is committed. Violence and punishment in film do not necessarily need to relate to the physical or the abject.
In some cases, violence can be considered a destructive force separate from the physical. In the same sequence, in which Connie is a victim of domestic abuse, the mise-en-scene conveys the limits within which Connie imagines herself and lives her life. The spaces she inhabits—and destroys—are filled with staples of domesticity.
It has a subtle genius embedded within the filmmaking that might be lost on the passive viewer. Careful attention to detail must be noted as minor items like paintings, furnishings, wall color, rugs, sometimes all change within a scene or a take.
Think M. Night Shyamalan but without all the genre stuff. It could be argued that editing, in this film, is as important as the acting. Visit texasartfilm. Please log in, or sign up for a new account and purchase a subscription to read or post comments. Sorry , an error occurred.
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