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US Cinema of the 1970s:The Gangster Genre, Cinematography,
and The Godfather Part 2
Prof. Julia LeydaMay 2, 2023
quizDescribe the differences between the
flashback scenes (of Vito as a young man in the early 20th century) and the movie’s present day (of Michael as an adult in the 1950s).
gangster genreEdward Mitchell’s analysis of the genre in
the context of American cultural valuesPuritanism
condemnation: guilty from birthhelpless: God’s willmoral agents: choose good or evil
Social Darwinismsurvival of the fittest as natural law
the Horatio Alger myth“luck and pluck”social mobility, traditional values, and respectability
American Dream in gangster moviesself-made man: hard work pays off in success
Horatio Alger “luck and pluck”Social Darwinism “survival of the fittest”
children can have a better life than parentsimmigrants associate the US and its icons with
American Dream (flag, Statue of Liberty, anthems)
realities: discrimination, poverty, xenophobia, corruption, class distinctions
immigrant enclave: bilingual community helps newcomers; maintains culture; source of jobs, information, education
Vito as American success storybootstraps: came to US with nothing,
worked hard, earned friends and respectvigilante justice: protected other Italians
from the predatory Mafia dons, eventually replaced them (cf. Westerns, crime)
entrepreneur: used olive oil import company as a front, image as small business owner
traditional values: Sicilian emphasis on family / “Family,” loyal friends, community, church
bootstraps: Vito and Clemenza
vigilante justice: Fanucci needed killing
entrepreneur: Vito’s new business
traditional values: family, community
discussion questionsDiscuss the differences and similarities
between the characters of Vito and Michael Corleone in this movie.
How do Vito and Michael each try to achieve the American Dream?
The Godfather Part 2 cinematographyGordon Willis, DP aka “Prince of Darkness”
also shot Klute, The Godfather, All the President’s Men, Annie Hall, Manhattan, and lots more
shot scale defined by the size of a person within the frame
color coding for time periods and charactersframing to unite or isolate characterschiaroscuro: light and dark for symbolism
and atmosphere
shot scale
shot scale
shot scale: medium close-up (MCU)
shot scale: medium shot (MS); two-shot
shot scale: long shot
color in The Godfather Part 2contrast between flashbacks
warm sepia for Sicily, Vito’s childhood / youth, in the past
garish lighting and cold, hard shadows for 1950sbrowns and sepias look older to us (cf.
Chinatown)expressive of characters and emotional
contextsinterplay of colors with lighting allows more
complexity in expressiveness (dark / light, warm / cool colors)
Vito’s NY neighborhood:LS, two-shot in warm, golden, soft tones
Michael’s NV home: long shots in cold, dark, sharp, blues and greens
final shot: shadowy close-up of Michael
discussion questionsDiscuss the color palettes for the other
movies we’ve watched, in comparison to this one. How does each movie use color to express themes or emotions?
Movie lighting usually aims to show us as much of the actor’s face as possible. What is the effect if we can’t see faces clearly?
Compare Al Pacino’s screen image in Dog Day Afternoon and The Godfather Part 2.
Compare the portrayals of crime and family in Chinatown and The Godfather Part 2.