Continuing in my attempt to view all the films by directors selected by me, I watch the movie The Godfather 2, Francis Ford Coppola. A few days ago, watch the first of this trilogy, The Godfather. At the time I wrote here just a phrase of Balzac who said that behind every great fortune there is always a crime. I had not even realized that that phrase is getting a literary work of Mario Puzo who co-adapted to the writer and Francis Ford Coppola for the film. In this sense, I realized that my analysis of the film had to be more critical and objective. Because I do not even want to be a mere spectator, I want to be able to find elements in the films that I provide a greater knowledge about this art form. I have read some articles about it, that is, on film analysis. Where many authors analyze a detailed account of all frames of films. However, this task does not excite me much because I think a little boring, but serves as a starting point to realize that sometimes to understand better a particular movie that we try to be more observant.
Thus, began by trying to delve a little more. First, I would like to talk about the aesthetics of the film. I was completely stunned by the scenarios created and lighting effects that Coppola managed to introduce the film. The game of black and white creates a fantastic atmosphere in the film and, of course, that the features with the characters. It was just my impression, but I got the idea that the film used in the first hour lighting a little more dark and that throughout the film it has been increasing. I called it my impression, as the way that Coppola remembered to create a certain rhythm to the narrative. Furthermore they agree to that the film won the Oscar for Best Art Direction – Set Decoration.
Secondly, the representations fantastic Robert De Niro and Al Pacino. The first is Vito Corleone and Michael Corleone seconds. For Vito Corleone (Robert De Niro) get to know your past and Sicilian when he had to flee from Sicily to the U.S. because of the mob that pursued him. Arriving in New York, quickly get down and start laying the foundation of his empire mafia. Since Michael Corleone (Al Pacino). It is the head of the Corleone family enough years after the arrival of his father to the U.S. His position was achieved by the legacy of his father, who in the previous film had died. Michael suffers a tremendous transformation over its route. A new identity is created in the past someone who simply refused the family tradition by enlisting in the army to go serve the nation in World War II. But this new identity is no more than the expression of biology, because it is perceived that there are common traits of father to son and vice versa: the defense of family honor. This reflects the extent to which Michael tells murdering his own brother who betrayed him, and Vito murders a Sicilian mob boss who years before had had to kill his father because the dishonored. Consider this detail the grandeur of the film, and proof of mastery of Coppola’s genius showed that beliefs and family values in an extremely simple by contrast.