The first line: I believe in the United States. If someday a Chinese movie comes up, the first sentence: I believe in China. I think Chinese audiences will stick to this sentence for at least 30 minutes. Fired at the country and made it clear as soon as I came up: I am a high-score player, not here to play pediatrics. The first scene: "Folk Anxiety". The owner of the funeral home believed in the United States, but the United States did not give him fairness. (This buddy is also inlaid with gold teeth, reflecting the light under the light of "Master of One Lamp". If it is the actor himself, it is really a god help; if it is added by the modeling team, it is really convincing...). His anxiety can represent the anxiety of the public, especially the anxiety of the middle and lower classes of society. When encountering similar incidents, what they want is fair, direct, and effective punishment, but even if society can give it justice, it cannot give it directly and effectively. In many cases, it can't even give it. This is contrary to their eager hope. Therefore, social groups with the nature of gangs are often more effective in special times. (It is said that the original meaning of "gangster" in Italian is "refuge"... embarrassing?) The first scene is to construct the basis of the whole play, explain the hotbed of the existence of "godfather", and complete the setting of "godfather" From the standpoint of justice, let the audience's personal emotions move to the "Godfather", identify with the person and actions of the "Godfather", and throw out the first drama task. "Anxiety" has been haunting the godfather, especially the little godfather Mike. Every responsible man has been fighting for this all his life, like you and me, "Women and children can be careless, men can't." As a gangster film, straight to the point: yes, this is the story of the mafia. It's like revealing the secret, the first tip has just been opened. Type is a natural suspense. In romance films, the biggest suspense remains the same for thousands of years: Will the male and female protagonists be together? The godfather sent the funeral home owner out, Tom opened the door, and the cheerful sound of the scene came in. The space jumps immediately, from the serious and monotonous little black house to the cheerful and crowded bright courtyard. Note that this is a natural and gorgeous change in rhythm. The old godfather married his daughter today, this is undoubtedly a luxurious wedding scene. This scene processing, scene scheduling, art, photography, and explanation of all kinds of information are methodical and perfect. Coppola's preference is to play with the real, and add the icing on the cake on the basis of the real, just as gorgeous and elegant as the Italian opera. There are many children. In "The Godfather", the children appear very often (peaceful and peaceful), and the children cry very often (uneasy and unstable, the godfather is assassinated, the dog starts barking, and the baby starts crying). The innocent children of the group also made a significant contribution to shaping this family (this is a story of a family). Each character appeared in turn and explained the characters; the various forces (from external conflicts) also appeared in turn, and the next group of underworld families and the police were to be confronted, unstable and unstable, and the dual external driving force of drama development. Family photos, the old godfather does not take photos, because the younger son Mike has not yet come. After setting up various environments and backgrounds, the protagonist Mike and his American girlfriend Kay appear on the stage. Mike wears a military uniform (it is a non-mainstream for this occasion, I can only say that Mike has a personal opinion, I like it), and tells the ignorant Kay about the mafia. Family story, tell Kai and the audience: This is his family, not him. He will not take the road of the family, a tender college student soldier. To be honest, in this scene, Al looked a bit tender and not realistic enough. It may be related to the function of the scene. This is just a description. The characters have no pressure and desires, so naturally they will not play, and they are not very good compared to other characters. . Through the window, the old godfather looked at Mike's eyes when he walked into the crowd with his girlfriend. It was his father's eyes. When he turned his head, we could see that he was satisfied and even proud. It is conceivable that the calm godfather likes this little son. When you take your girlfriend home for the first time, please pay attention to the expressions of your parents. There is a scene of Fredo in the details. If you don’t pay attention, you will hardly find him. You think he is a crowd; he follows the old godfather, trying to attract the attention of the old godfather; he is also shy and afraid of the old godfather. I noticed him, he was a half-pushing person. How long he was, the old godfather introduced him to the guests: this is my second son, Fredo. He is an ambitious and lustful person, and he is forbearing, and will explode sooner or later. John Kaiser acted too naturally, his acting skills. John Kaiser’s last film was "Deer Hunter". Kaiser was already suffering from cancer when the film was filmed. During the filming process, he and Meryl Streep were attracted to each other and engaged. Of course, he died. , After the filming is over (tear tears tears). He said to Al: He met the greatest actress in film history. Al thought he was a beast in the eyes of his lover, but it turned out to be the case. This buddy may be the only actor in film history who has no bad movies, and all of them are at their peak. . Those who are interested can walk into the first paragraph of John Kaiser under Baidu: Wedding. The longest opening in history, nearly 30 minutes. Exquisite and exquisite, clearly explained many characters and their relationships. There are "three" drama events that need to be handled by the godfather: handling the unfair encounters of the funeral home owner, helping the cake son-in-law to immigrate, and helping the star godson get the ideal movie role from the movie tycoon. The film shows the most difficult thing-to get the Hollywood movie tycoon to continue to shape the old godfather, to be precise, to supplement the omnipotent strength of the old godfather. The space was transferred to Hollywood. Of course, the lawyer Tom and the film tycoon were rejected. In the end, they had to use violence. The beloved BMW of the movie tycoon was slaughtered, and his bloody head was thrown into his quilt. It is worth mentioning that there is an Oscar statuette by the old man's bed. This cornerstone opponent's supporting character is shaped: strong. At the same time, it contrasts with a stronger character-the godfather. The horrified cry of the movie tycoon slipped into the old godfather's calm expression when he closed his eyes and listened to Tom telling the horror encounter of a Hollywood tycoon. The old godfather raised his eyebrows and didn't take it seriously. He asked indifferently: Tom, this time, are you tired? The part of the wedding is always saying, always saying, this part is a real play, it is better to do it. So far, this character has a very brilliant logo. The characterization of the old godfather is completed, and through this dramatic action, he truly enters the hearts of the audience. The old godfather is calm, and even more calm is Coppola. So far, the film has taken nearly 40 minutes, but the story has just begun. No one, nothing is soy sauce, only after it is handled, there are treasures behind, two words: no hurry, step by step, organize the story. Next, the story began. It is a big reversal at the beginning. The invincible godfather was assassinated and shot five times. The reason why the drug lord Solazo and other families dared to take the risk, many people said that Sonny rushed to speak during the negotiation, showing the willingness to cooperate, and the opponent felt that it was a chance; in fact, the smile of the military Tom during the negotiation, why not show it? The willingness to cooperate, these were all in Solasso's eyes. As long as the old godfather dies, Sonny and Tom will be headed. Never let your enemy know what you are thinking. Assassination, this plot point is too strong. All the peace was broken in an instant, the conflict came with the momentum of the Mount Tai, and there were almost no eggs underneath the nest. It must be necessary. The latter part is how the protagonists resolve conflicts and restore peace. This process is also a process of character growth and destiny change. Al's drama really begins. An aspiring young man who does not ask about the underworld and wants to draw a clear line with the underworld, and no one else thought that he will become the godfather, eventually becomes the ruthless underworld godfather, and the character goes to the opposite side. After Tang Seng was arrested in Journey to the West, the three apprentices reacted as follows: Senior Brother searches for monsters and rescues the master; Zhu Bajie assists Senior Brother, but when he encounters resistance, he deserts to go back to Gao Laozhuang; Drifters are generally responsible for looking at their luggage. . Group drama, large amount of information, 1+1+1=3. The story enters the stage of confrontation. Mike was not irrational in reporting the news of his father's assassination. The first reaction was that the newspaper did not say that he was alive or dead, and he was still in the hospital; he called home to ask, he was calm and calm. In contrast, the second brother Fredo's first reaction was to be at a loss, sitting on the ground and crying like a child. The first reaction of the boss Sonny was revenge, impulsively like an irritated mad dog, one word: killing, brave, and arguing with Tom and others, but it can't solve the actual problem. Character determines fate. When Mike returned home, Sonny didn't want the college student's brother to intervene. What he did was nothing more than an assistant's trivia: answer the phone. Mike is like an outsider. The older leader Klemansha also made Mike, a young and inexperienced young man inconspicuous, thinking that he would only do small things, teasing Mike, teaching Mike to cook (I rub), and said: "Maybe One day, maybe you will cook for a dozen people. Next, Mike protected the old godfather in the hospital, so that the opponent's plan to assassinate again was ruined. In this plot, it can be seen that Mike is careful, alert, witty, and has a courage beyond ordinary people. At the same time, it also contrasts the carelessness and negligence of Sonny, Tom and others, who have done nothing in extraordinary times. The police chief came out, walked out of the darkness, and gave Mike a heavy punch. The next day, Sonny sent someone to kill the son of the opposing family. From Tom’s point of view, this was irrational and would only make things worse. Tom was a conservative and said that he would wait for the old godfather to wake up. Let the old godfather take notice. Their ideas and practices are of no avail. The person who turns the tide at the critical moment is the hero. Mike proposed to use the opportunity of Solasso and the police chief to seek peace negotiations to kill two people at the negotiating table. This is the key to solving the problem. Passivity is always beaten, and effective offense is the kingly way. Sonny and others thought Mike was joking because no one dared to kill the chief of police in New York City. Mike analyzed the feasibility of this move. Why can't a bad policeman who was in the same affair with the drug lord be killed? This left Sonny and others speechless. (Reverse) I have to say that Mike's strategy is better than Sonny and Tom, as Mike said later: Tom is not suitable for being a military officer in the turmoil, and doing nothing. In this scene, Mike sits on the sofa in the center of the scene, presenting his plan in a calm manner. The others are at the edges of the scene, listening quietly, in a circular arc. In the scene, Mike is in an absolute leadership position. Slowly advancing Mike, you can vaguely see Mike's godfather Fan here. Kleimansha taught Mike to test the gun and asked Mike: What should you do after you kill Solaro and the Chief of Police? Mike replied jokingly: Sit down and continue to eat. Note: This is the last time Mike told a joke in the film. The last time was when he and Kay came out to chat about the movie after watching the movie on Christmas. Before that night, Mike was no different from ordinary American youths, but after that, his life has changed since then, and this kind of relaxed ridicule has disappeared in Mike's life. . Coppola is a master of sound effects. In the scene where Mike killed Sorasso and the police chief at the Italian beef restaurant, non-scene sound: the rumble of the train appeared several times, and the harsh sound of the knife and fork rubbing against the plate was also amplified. Before Mike raised his gun, the camera slowly advanced. Accompanied by the sound of the train, the sound effects of the scene were also amplified. The sense of oppression became stronger and the atmosphere became more and more tense. Al's eyes changed from scattered to determined, lost and nervous, and fast thinking. This shot will determine his life. In the end, the corners of his eyes raised, his lips were closed, the roots of his teeth were gritted, and the gun was resolutely raised (performance, information, and management RBI). His performance enriched the information, perfectly conveyed the mental state and gave the visual rhythm of the picture (eyes God). The editing is clean and neat, the music starts suddenly, and the plot takes a turn for the worse. The highest point of action is also the highest point of emotion. Coppola almost finds the rhythm of the content for each paragraph. The scene is also a big reversal, the assassin is killed. The first stage of confrontation ends, and the second stage is entered, and the conflict escalates. After the old godfather was discharged from the hospital, he learned that Mike had killed the enemy, and his father, who had always opposed his involvement in family affairs, was very sad, shaking his head and sighing, as if he had lost everything. The crowd withdrew, but Fredo returned to the old godfather's room, sitting by the window, lost and speechless, looking at his father blankly. Every class is always a student who studies hard but has poor grades. God is unfair. The space jump to Sicily, this is another gorgeous rhythm transition using space. The clear sky in Sicily, the sun is shining, and Mike's anxious heart is in sharp contrast, his heart is also undergoing a contest of light and darkness, he is not sure whether he will join the underworld from now on. The picturesque and peaceful environment of Sicily is also in sharp contrast with Mike's dangerous situation at this time (the enemy is also searching for his whereabouts and also chasing him). The characters have always been in danger, and the shotgun of the dramatic conflict has been hanging high. Mike meets and marries Apololia here. The Sicilian part is my favorite section. Then, the enemy started, they used the old godfather's son-in-law, Carlo, to kill Sonny with a trick. In the scene where Sonny was shot at the toll booth, Coppola was also cruel, and he turned Sonny into a hornet's nest, achieving the ultimate, giving an indelible mark. Then they learned of Mike's whereabouts, and by accident they killed Mike's wife, Apolloria. There was a loud bang, and Coppola's knife was accurate and ruthless. Apolloria's shaping is just one word: beauty, the more beautiful, the more pitiful it is, which gives Mike a bargaining chip for revenge. In terms of theatrical function, the worse the death of Sonny and Apololia, the stronger the dramatic conflict. The second part of the confrontation ends and enters the third act: Revenge. Coppola's preference is to play for real, and then add the icing on the cake, just like the splendor and elegance of Italian opera. The old godfather organized a meeting of gang leaders, like a meeting of heads of state. I don't want to talk about political metaphors. The main scenes in The Godfather are all very iconic. To put it bluntly, you won’t forget it even if you watch it, even the villa courtyard of a supporting role (the movie tycoon). Mike returned to the United States and succeeded the old godfather to become a new generation of godfather. At this time Mike is not a veritable godfather. The enemy was eager to move him, and he was also looking for opportunities. His face was stern and he couldn't see any thoughts, which was different from the college student soldier at the beginning of the movie. The scene where the old godfather talks with Mike in the garden is so subtle and has taught us a good lesson. The scene is not long, but the amount of information it contains is very large. As far as the function of drama advancement is concerned, it is actually to explain one thing: whoever comes forward to arrange negotiations and mediation with the enemy is a traitor. If a scene only explains one thing and only has one function, then it can be merged with other scenes or even cancelled. The scene conveys the following content: 1. The old godfather is old and in poor health, suggesting that he will soon die; 2. The last handover of the old and new godfather; 3. The old godfather expressed deep regret and apologies for Mike taking over the family affairs, hoping that his son could become the one who controls others instead of being manipulated by others. 4. Mention Mike's son, for the next time the old godfather died in the tomato garden with his grandson in the family fun, suddenly died in the tomato garden as an introduction. 5. How to deal with enemies and identify traitors. The whole scene is like a last word or an account of funeral affairs. The old godfather is old-fashioned, drinking wine, full of melancholy, speaking no matter the time, sober for a while, and confused for a while; Marlon Brando vividly and naturally shows the state of the character and the inner psychology, and is between "a few messages and several states" , Roam freely without showing a trace. Hey poor Al, who made him meet Marlon Brando. At the beginning, the two of them went one after the other, Mike leaned slightly, his gaze directed to the old godfather, and the camera slightly raised; when the camera hit Mike, he bowed slightly. The front and back of the camera alternated, one back and forth, more like the last handover of the two. At this time, the two people's renderings in the lens are evenly matched; when the camera follows the old godfather to get up and walk behind Mike, Mike turns his face sideways, and the two facial expressions appear in the same lens. The ratio in the lens is similar, but the old godfather is the foreground and Mike is the background, and Al is defeated. Audiovisually, the old godfather is in the foreground, and his lines have always been his; emotionally speaking, an elderly father is telling his son his "unwilling" or "difficulties", almost apologizing, just think of your father Saying to you: "Son, I'm sorry. It was my fault that caused you to be like this today." What a strong psychological impact, this is also the emotion between men and men. A father who is sorry for his son is a great father, father is kind and filial, and family. "The Godfather" shows the blood and water in the family relationship that I can't resist, which is one of the reasons why I admire infatuation. Third, what's more, Hollywood king Marlon Brando has developed a "big skill" again, showing the apology of a father to his son, the helplessness of a man to fate, and the softest side of the godfather of the generation. The old godfather became the foothold of the psychological mood and visual rhythm of the play, making the connection with the play that followed the Tomato Garden very smooth and natural. The scene arrangement and character scheduling of this scene, the film language is simple and exquisite, especially the arrangement of the two in the same mirror at the end. First of all, as opposed to pros and cons, the axis has changed, the composition of the picture has changed, and the visual rhythm has changed; the information and emotional tension in the painting are richer and fuller. If the pros and cons are still played, the amount of emotion captured by the two in the same time will be at least Reduced by half; the performance of two people in the same lens produces an intra-mirror montage effect, and the amount of information increases exponentially, Slowly push this scene to a high point; there is another important point: the emotions here are not allowed to be cut off. For such scheduling, Coppola is naturally retractable and precise and delicate; he dedicated a perfect scheduling in "The Godfather", especially the drama and group drama in the black book house. Each actor has his own proper position and precise positioning. The characters always wander between the dark and bright parts of the screen. The actors are powerful. They are all gods and fucks. Even the actors who are not the main body of the screen perform flawlessly. This is again represented by the strategist Tom (Robert Duvall, Oscar actor). It's impossible to have this effect if you don't rehearse well. Actor textbooks, if you only focus on the subject, and the subject's lens language will help them complete the task, it is better to look at the supporting actors. Coppola's vision strives to be full of magnificent and neat atmosphere, giving attention to both primary and secondary, and is very particular about dynamic connection, guidance and reorganization of the line of sight. In Apocalypse Now, there is a lens in "Apocalypse Now" that deliberately crosses a helicopter in order to guide the line of sight. Of course, the purpose is more than just This one, in short, a good director is always an addition. His scene scheduling is very independent and has a strong identity. Pulling away. The picture of the old godfather teasing his grandson is currently the best explanation for the term "family happiness". What is artistic vitality? This is it. Fast forward, I'm dead. When the old godfather sent someone out of the study, he would put his hands on the world, but Mike couldn't do it. A strong person doing things he doesn't like, Mike's uneasiness and uneasiness is also an important cause of anxiety in life. Compared with the old godfather, he is not suitable. At the end of the third act, which is the climax of the film, is the parallel montage. Mike completed the baptism of the godfather in the religious sense, and at the same time completed the baptism as a underworld godfather, truly becoming a godfather like his father. . Within a day, Mike eliminated the leaders of the five major families and the traitors within him. The killings of these people are very marked. All the deaths in "The Godfather" are very marked. This is a perfectly structured narrative. The confrontation intensifies, the conflict escalates, all kinds of reversals, reversals and reversals, smooth and non-twisting; the plot points are all very powerful, and these points are all strong plots, all of them are murders. From this perspective, "The Godfather" is sinful; conspiracy and murder, like ritual after ritual, allows Mike to complete the growth and destiny of the godfather (kill, kill, kill, kill, kill, kill, kill, kill , Kill kill). And these plot points are all the highest points (the difficulty coefficient is relatively large, Zhang Yimou's "Red Sorghum" is also a classic example), the highest point of vision coincides with the highest point of emotions (many movies do not match) , Chaotic, or there is psychology but not vision, or vision but not psychology, or neither). The last one is the most fierce, killing five in one breath. There are various methods of death, one is the most pious, and the other is the most sinful. The visual and psychological impact brought by this contrast montage is destined to leave people behind. deep impression. Because there is a baby pressed down, Coppola can give enough space for all the characters, and the effect is complementary to each other. These foundations all come from the script. Coppola said that all the excitement in "The Godfather" comes from Mario Puzo's original novel. After a while, let’s talk about love in "The Godfather". Through Mike's two emotional experiences, we can see the two possibilities of love, or two possible loves. There is no scale in emotion, and there is no difference in love. In the "Godfather" series, Mike and Kay's love and marriage ended in tragedy. At the beginning of the film, Mike lived outside with Kay; Mike took Kay home to attend his sister’s wedding and introduced him to his family; after Mike and Kay watched a movie on Christmas, Mike was going to take Kay home, and Kay bought gifts for Mike’s family; After coming out of the cinema, the two laughed and talked about the plot of the movie; this is a very common couple. After coming out of the movie theater, the dialogue between the two is as follows: Kay: Mike, if I were a nun, would you like me more, like a character in a novel, do you know? Mike: . . Will not Kay: If I were Ingrid Bergman, would you like me more? Mike: That's a good idea. The newsstand blocked Hei Kai and suddenly became unhappy and stopped. Kai: Mike thought he had said something and his girlfriend was upset. Mike: No, if you were Ingrid Bergman, I would not like you more. I think most couples will have similar conversations. "If I were Tang Wei, would you like me more?" "Yes" "...!" "No, how could it be" This is the last time Mike and Kay have such a cheerful conversation. Immediately after Mike saw the news of his father's assassination in the newspaper, he quickly walked to the phone booth across the street to call home, Kay followed. (There was a visual disturbance when crossing the street) This scene naturally separated a couple walking in arm in arm. Mike enters the phone booth and talks with Sonny. The glass door in the phone booth divides the two into their respective spaces. This seems to herald the final outcome of the two. Kay behind him looked at Mike in the phone booth; she wanted to know everything, but she couldn't. After the turmoil, Mike returned home and stayed with his family. Kai called and the dialogue between the two of them was as follows: Mike took the receiver: Kai Kai: How is your father? Mike: He is fine, he can survive Kai: I love you, there are so many people in the house, Mike is not easy to answer. Kai (decibel increase): I love you. . . Mike did not return to Kay (upgrade): Mike Mike: Yes, I know Kay: Tell me you love me Mike: I can’t say (I’m inconvenient to say) Kay: Can’t you say it. . . Mike: See you tonight. Mike hung up. In these two conversations, Kay has been expressing her love for Mike and is eager for a response from Mike’s love. "I love you" "You love me". Full of longing for love, but also full of "anxiety" and "unease". Her anxiety is actually the uncertainty about the future and the uncertainty about Mike, all of which stem from her incomprehension and subconscious rejection of the underworld family. She loves Mike, but her love is against inner pressure, influenced by external factors (social attributes), and also needs external forces to maintain. She can't get peace of mind from Mike, unless the family "white". The tragedy of the Mafia family is actually a tragedy that this family is incompatible with the new era. The deep-rooted values of ordinary American citizens make her incompatible with this "criminal" family. Visually, the dazzling colors of her costumes contrast with this somewhat gloomy family, and even the colors of the taxi she rides are not in harmony with the courtyard she visits. After Mike returned home, he found Kay. Kai is a kindergarten teacher at this time. The kindergarten teacher’s dialogue with the Mafia boss is as follows, (every scene has an "rival"): Kay: You are different from your father. I originally thought you would not be like him. That is what you told me. Mike: My father, like other powerful people, is responsible to other people (people can't help themselves in the arena) like the senator or the president. Kay: Do you know how naive you are when you speak. Mike: Why Kay: Senator and President don't kill. Mike: . . Who is naive? Kay Mike promised Kay: Times have changed. He will legalize the family business within five years and eventually convince Kay to be with him again. The whole story, in addition to "revenge", has a new direction: the legalization of the family business. This is a new theatrical task, and at the same time, Mike has worked hard for it all his life, but it was not completed in the end. (The growth of the characters, the changes of the times) There is a small detail in this scene. Mike and Kay are walking and chatting on the boulevard. Mike's driver drove the car and followed far and slowly. Niu Chengze's new film "Love" also has such a detail. After he separated from Shu Qi, he found Shu Qi apologetically. The two walked in a small alley, and the Mercedes behind them followed them slowly, but relative to the alley, The car looks too big, and the proportions in the screen are too heavy. Hey, let's not complain. Comparing the two games, Niu Chengze is too much. After Mike killed his brother-in-law Karlo, his sister came to the house and cried and made a lot of noise, calling Mike a murderer. Kay, who knew nothing about these things, couldn't believe it and couldn't bear it. Mike lied to Kay, it was not him, and asked Kay not to intervene in his official business. Innocent Kay believed his husband, and when he went out to pour the wine, Mike's men closed the door of the study. The black field gradually covers the screen of Kay peeping into the study, leaving a pitch black, and the movie ends. Kay is shut outside the door, isolated from Mike's space, isolated from Mike's inner world; the audience is also shut out of the story of this mafia family, (withdrawing). This period is a relationship that is precarious, full of anxiety, troubled, no freedom, and even some half-pushed feelings. I have to admit that there is true love between Mike and Kay, but it is only a secular form of love. In Sicily, the love between Mike and Apolloria presents diametrically opposite textures and forms, which is another kind of "love." This is a "natural" love, there is no dust involved. First of all, Sicily is a natural place, with bright golden colors close to heaven. For Mike, it is a paradise with a certain connection to himself. In the most beautiful place, I met the most beautiful feelings. Apolloria is a natural beauty. The two fell in love at first sight, and both were deeply attracted by each other. If you fall in love with a girl, please bring gifts and shotguns according to the Godfather’s case. If you don’t have a shotgun, bring your bank card. For bank cards, you can visit your father-in-law directly. The chances of doing miracles are much higher, don’t All those bells and whistles. Apolloria never asked Mike: Do you love me; nor did he ask Mike to say that you love me, or even say anything. Their love is communicated with their eyes and heart, language has become superfluous, they are silent, true love is not talked about, it is perfect. There is a plot: Mike gave Apolloria a necklace. When Mike came home for the second time, Apolloria wore the necklace and sat at the other end of the long table. When Mike turned his head to look at her, Apollo Lia deliberately touched the necklace with her hand, for fear that her sweetheart had not seen that she had worn it, and the two smiled similarly. Ah, this picture retains all the most innocent and clean memories at the beginning. The love and combination of Mike and Apolloria are very straightforward, simple, and unsophisticated. Although its form is in accordance with the traditional Sicilian style, it looks a bit old. It is this kind of ancient time that gave Mike a journey to find his roots, and Mike also completed the Sicilian baptism, thus having a new understanding of himself and an even more inseparable emotional identification with his family. The sunshine of Sicily and the smile of Apolloria calmed Mike’s original anxiety and gloom, and gave it to Mike during the crisis-ridden time. The inner peace is extremely satisfying. Kay can't get peace from Mike, and Mike can't get peace from Kay. GC said that Mike's life would not be so painful if Ai Bolloria did not die, but tragedy was already doomed. Mike was lonely, especially after the death of the old godfather. As a descendant of Italian descent, Coppola's "The Godfather" is full of Italian nostalgia. Mike and Apororia’s love and union, to a certain extent, transcends the country, transcends the culture, transcends the resistance of the social attributes of all people from all sources, and possesses each other. At least Coppola deliberately creates such a smooth perfection to the extreme. Love. A gangster movie actually dedicated such a pure and refined love to kill "Those Years" or something. Apolloria died, Mike returned to China, this unforgettable beauty and pain, Mike kept deep in his heart until he was old. The death of Apolloria is the biggest driving force behind Mike's character transformation. SBs, it's dead, don't explain. Sicily has imprinted a deep impression on "The Godfather", full of romance and uniqueness. The love between Mike and Kai is the love of the world, and the love between Mike and Bolloria is the love of nature. There is such a kind of love, no matter whether it is poor or rich, noble or vulgar, no matter whether it is health or disease, no matter whether it is noble or vile, no matter whether it is righteous or evil, it will never leave it. "The Godfather" portrays the intrigue, conspiracy and crime of the black characters into three parts, and at the same time, on the other hand, it expresses the affection and love of these characters delicate and precious; it perfectly dissolves the beauty of human nature and the darkness of human nature in one furnace to make the fate of the characters It is more tragic, just like the slogan of "The Godfather III": No matter how powerful the world is, it is beyond fate. Fate is the eternal theme of mankind. "The Godfather" has reached milestone heights in both content and form, which are beyond the reach of the same type of film. A flower of sin, very sinful and very beautiful. As a descendant of Italian descent, Coppola's "The Godfather" is full of Italian nostalgia. Mike and Apororia’s love and union, to a certain extent, transcends the country, transcends the culture, transcends the resistance of the social attributes of all people from all sources, and possesses each other. At least Coppola deliberately creates such a smooth perfection to the extreme. Love. A gangster movie actually dedicated such a pure and refined love to kill "Those Years" or something. Apolloria died, Mike returned to China, this unforgettable beauty and pain, Mike kept deep in his heart until he was old. The death of Apolloria is the biggest driving force behind Mike's character transformation. SBs, it's dead, don't explain. Sicily has imprinted a deep impression on "The Godfather", full of romance and uniqueness. The love between Mike and Kai is the love of the world, and the love between Mike and Bolloria is the love of nature. There is such a kind of love, no matter whether it is poor or rich, noble or vulgar, no matter whether it is health or disease, no matter whether it is noble or vile, no matter whether it is righteous or evil, it will never leave it. "The Godfather" portrays the intrigue, conspiracy and crime of the black characters into three parts, and at the same time, on the other hand, it expresses the affection and love of these characters delicate and precious; it perfectly dissolves the beauty of human nature and the darkness of human nature in one furnace to make the fate of the characters It is more tragic, just like the slogan of "The Godfather III": No matter how powerful the world is, it is beyond fate. Fate is the eternal theme of mankind. "The Godfather" has reached milestone heights in both content and form, which are beyond the reach of the same type of film. A flower of sin, very sinful and very beautiful. As a descendant of Italian descent, Coppola's "The Godfather" is full of Italian nostalgia. Mike and Apororia’s love and union, to a certain extent, transcends the country, transcends the culture, transcends the resistance of the social attributes of all people from all sources, and possesses each other. At least Coppola deliberately creates such a smooth perfection to the extreme. Love. A gangster movie actually dedicated such a pure and refined love to kill "Those Years" or something. Apolloria died, Mike returned to China, this unforgettable beauty and pain, Mike kept deep in his heart until he was old. The death of Apolloria is the biggest driving force behind Mike's character transformation. SBs, it's dead, don't explain. Sicily has imprinted a deep impression on "The Godfather", full of romance and uniqueness. The love between Mike and Kai is the love of the world, and the love between Mike and Bolloria is the love of nature. There is such a kind of love, no matter whether it is poor or rich, noble or vulgar, no matter whether it is health or disease, no matter whether it is noble or vile, no matter whether it is righteous or evil, it will never leave it. "The Godfather" portrays the intrigue, conspiracy and crime of the black characters into three parts, and at the same time, on the other hand, it expresses the affection and love of these characters delicate and precious; it perfectly dissolves the beauty of human nature and the darkness of human nature in one furnace to make the fate of the characters It is more tragic, just like the slogan of "The Godfather III": No matter how powerful the world is, it is beyond fate. Fate is the eternal theme of mankind. "The Godfather" has reached milestone heights in both content and form, which are beyond the reach of the same type of film. A flower of sin, very sinful and very beautiful. "The Godfather" portrays the intrigue, conspiracy and crime of the black characters into three parts, and at the same time, on the other hand, it expresses the affection and love of these characters delicate and precious; it perfectly dissolves the beauty of human nature and the darkness of human nature in one furnace to make the fate of the characters It is more tragic, just like the slogan of "The Godfather III": No matter how powerful the world is, it is beyond fate. Fate is the eternal theme of mankind. "The Godfather" has reached milestone heights in both content and form, which are beyond the reach of the same type of film. A flower of sin, very sinful and very beautiful. "The Godfather" portrays the intrigue, conspiracy and crime of the black characters into three parts, and at the same time, on the other hand, it expresses the affection and love of these characters delicate and precious; it perfectly dissolves the beauty of human nature and the darkness of human nature in one furnace to make the fate of the characters It is more tragic, just like the slogan of "The Godfather III": No matter how powerful the world is, it is beyond fate. Fate is the eternal theme of mankind. "The Godfather" has reached milestone heights in both content and form, which are beyond the reach of the same type of film. A flower of sin, very sinful and very beautiful.
Finally, let me say something practical: if the godfather is not in the olive oil business (or international trade), but is just a delivery man in a grocery store, with a monthly salary of 3/5000, then... So the "man's bible" is vaguely revealing a few Words: Have money to talk and talk incomprehensibly to entertain yourself and share with friends
19 .01.20 I watched the Godfather again, and none of the shots are superfluous
When watching movies in 19 years, there will be more small sharing than before, and there will be more friends with time, please click and follow
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