of the "American Dream" /1 Degree
Wedge The
first reading of Mario Puzo's "The Godfather" was three years ago. This book has nearly 500 pages (Yulin Publishing House 1995 Years edition, Zhou Hanlin's original novel has been polished for more than a thousand days and nights until now it only needs to be summed up in the "Romantic Epic of the Soul". After that, it took almost a year to finish watching Francis Ford Coppola's so-called classic: the movie version of the "Godfather" trilogy.
——The reason why the “so-called classic” is used here is probably to describe the feeling of watching movies all the way back and forth-undeniable and needless to deny-the first time I watched "The Godfather I", it didn't bring me too much Feelings: Although the 175-minute film can’t be said to be lengthy relative to a novel, it’s really too long for a movie; in addition, the characters appearing are complicated (it is said that there are more than 200 characters in the film) and changeable (if you accidentally hang Lost, and then another person replaces it); the narrative method is not necessarily a coincidence, the whole film uses a fast-paced "accounting narrative method (accounting for account)" to deal with many events with detailed background in the original works; such a film, The moment when the charm of the original work still remains in my mind seems to be just a faithful process of Mario Puzo's original work with compact video, sound and pictures-and because of the faithful blueprint and the compact rhythm, it gives me the feeling It's more like telling a story impatiently-after all, compared with words, when dealing with the same scene, intuitive images are far more than words.
Even the highly respected "The Godfather II" is not necessarily much better than the criticized "The Godfather III"-of course, Sophia Coppola's lame acting skills in the third part are so spectacular that it can't be compared at all. The first and second parts are on the same day, and the comparison here is only relative to a subjective viewing experience.
And now, when I watched the "Godfather" trilogy in one breath for nearly ten hours, I have to admit that I was vulgar at the beginning-the shock the movie gave me made me strongly doubt my ability to appreciate: It’s hard for me to let go of being indifferent when faced with such an excellent movie; yes, the movie hasn’t changed in nature during this period-although it is occasionally mentioned by friends around me, the discussion is not only “not bad”. No in-depth; in addition, as for its ranking on the XX list or above or below it has nothing to do with me; in the end, it has nothing to do with the way of watching movies, because I haven’t seen one third of it in the first part. When I was shocked, I had the urge to read the three parts in one breath-then, maybe I can only learn what Zhou Liming said when talking about "Citizen Kane": It must be one of my own nerves that suddenly opened up. Now... the
adventurer's America
has such a set of scenes in "The Godfather III". The cousin of Mary, the daughter of the second generation "Godfather" Mike Corleone, pointed to a dilapidated apartment and introduced him: " Do you remember?'Nishina Olive Oil', our grandfather started his business. He delivers three yuan a week and owns this company in three years..." Mary replied, "Yes, this kind of thing is only available in the United States."
——Yes——This kind of thing is indeed only possible in the United States: The "Godfather" trilogy is an interlude from the peak of the career of the first generation "Godfather" Victor Corleone (Marlon Brando) The story unfolded during the period, as he was attacked, wounded and admitted to the hospital, all kinds of sinister transitional periods, until the second generation Mike Corleone (Al Pacino) continued to dominate and turn the tide, Widow’s deathless death was always the first. The end of the ministry; the second part is based on the fact that Vito’s family was killed by the local mafia and forced to escape to New York alone. The other clue is in Mike’s body, showing how he turned between the underworld and the white way—in his father’s career. The switching between forming and the transformation of his son’s career continued the first part while perfecting the previously hidden content, and finally ended in Mike’s remembrance; the third part first had a great leap in time, 1979 In 2017, Mike was already a rare year in ancient times. At the peak of his full march toward the White Road, he reluctantly discovered that the White Road was even more sinister than the underworld. Finally, at the time when he lacked the art of returning to the sky, he had to give in, the third generation "Godfather" As the legacy of Mike’s brother, he has a violent temperament like a father. However, “the tree desires to be quiet but the wind keeps on”. This article is also the revelation of the third generation "Godfather" Vincent Corleone, but the latter does not seem to attract our attention. Therefore, it is not an exaggeration to say that this is the end of the Corleone family epic...
From a "little fugitive" to a giant that splits the five major families in New York, to a man who dominates Nevada, to a world-class rich man who controls the world's largest real estate company, the film "The Godfather" provides us with the best of the history of a capitalist society. Sample of: cruelty and insidiousness, unscrupulous dealing with legal loopholes and political hypocrisy-this is a common pattern in capitalist society. In another film "The Rainmaker" by the director of the film, Roncis Ford Coppola, there is a line saying: "Do you know the difference between a prostitute and a lawyer? Prostitutes don't fuck with dead people..." There is a similar interpretation in "The Godfather": "The lawyers who carry briefcases are more robbed than the underworld with submachine guns..." This is a inevitability of a social system, not a purely subjective feeling of human nature: Corleone The reason why the family is so successful is that they are popular among the weak and the strong, or because of the amiable love of the "Godfather" and the "reasonable" character. In other words, the Corleone family, which does not have artistic beauty, will also rule the capitalist underground kingdom. This is the original work. Mario Puzo quoted Balzac's famous quote at the beginning of the book: "There are sins hidden behind great wealth".
Kafka's posthumous work "The Missing Person" was translated as "America" in the 2000 edition of Hunan Literature and Art Publishing House. It is said to be: "It was changed by Brod when it was published in 1927."-From "The Missing Person" "To America" seems to more directly express Kafka’s ambition to reveal the original appearance of capitalist society; and from this we can see that the thrilling and exciting "American Dream" from the eye of the beholder is actually a life and death unknown. In the contest, some people get money and more people lose their lives. The old Chinese saying goes: "One accomplishment will succeed all the hardships." This is a sigh of feudal society. If applied to a capitalist society: "It should be more appropriate.
Cruelty and hypocrisy, this is almost the most basic way of survival for the "Godfather", and it is also a common means of expression in the film, but in our opinion, it is involuntary sorrow and perseverance. We even can't help but blame Mike's wife Kay The incomprehension behind uncompromising, we have seen two generations of "godfathers" stunned and sad about their involuntary way of living. This makes us more aware of the social system problems, and the overall situation is "politics for politics." Individuals "kill for survival", so-called freedom is also manipulated, which is a false cover.
——It was originally a poisonous wart with pus and sore, but it was chanted three sighs vividly. This is the charm of art. In "The Godfather", whether it is the original work or the movie, we can truly see the huge structure faithful to reality, and they perform their own duties in their respective areas of survival. Mike went from an honorary soldier who wanted to leave his family business to a "devil" who even killed his own brother. His transformation was a shocking question of capitalist society.
In the original book, Kay also left Mike angrily and once reprimanded him for the horror of killing people without blinking, but in the end he gladly returned to him, chanting Buddhist scriptures and praying for her husband every day; in the movie, in order to exacerbate the duality Kay is sorrowful about the dramatic effect of, and has always been separated from each other. This seems to be a showdown of "but it is not broken, it will be completed"-yes, as long as you retreat a little bit, compromise in order to achieve completeness, it is very It will soon be assimilated by the opposite facade: in the same way, in "The Rainmaker" we can see this idea of Roncis Ford Coppola, borrowing from the mouth of a lawyer, saying: "Every lawyer, at least in In one case, I noticed that I had accidentally crossed the boundary; after I crossed the boundary for a long time, the boundary disappeared, until I became another shark in the sewage.”-Therefore, part of Kai’s character attributes in the original book fell on Mike’s sister Connie. This poor woman who was taken away from her husband by her brother rushed on Mike frantically and rebuked him for all his atrocities, but in the following days she indulged in a luxurious life, compromised with Mike for money, and became an accomplice in the third part step by step. Murderer...
This is the history of the struggle of the "American Dream". All kinds of desires are dazzlingly peddled like toys in the window, and a person will be swallowed if he is careless. Mike is just to protect his father and family. Become a gangster giant; Connie indulged in arrogance and prostitution at first just to forget the pain of losing his husband, but from serving his relatives to the decision makers behind the scenes manipulating the death of others, and even poisoning his godfather's servants.
At the end of "The Godfather II", Mike vaguely recalled when he was young when he rebelled against his father to join the army. At that time, his family and friends were full of family joy. Now his family business is flourishing, but he can only rely on remembrance to comfort the setting sun. The
solitude of long twigs standing... Loncis Ford Coppola's "The Godfather"
Because of his loyalty to the original work, Coppola has repeatedly insisted on setting the title of the film "Mario Puzo's The Godfather", but the film version still surpassed the original work to a large extent-although the text and the theoretical aspects of the actual operation and The images lack comparability. Here, I will only talk about one or two from the creative concept.
The original book is also based on the wedding of Connie, the daughter of Vito, and the whole content of the first two movies is opened all the way through the narrative folder. There is a large interlude to describe the history of Vito's struggle. But in the movie, we can see that the second part focuses on the transformation of Mike’s career (from black to white) and at the same time cuts into the formation of the career of his father Victor. Here, the director Francis provides us with a brand new Philosophy—Common sequels are often extended backwards on the basis of the first part, and "The Godfather II" is to explain the subsequent issues while perfecting the hidden content of the first part, so this is a one The sequel is also a prequel; and in terms of character settings, the characters in the film are obviously more profound than the original, whether it is the exchange between Kay and Connie or the planning of Mike's growth history.
In terms of narrative techniques, the limitation of length makes the movie unable to pave the background of various events like a novel, so the characters become more vivid-through the occurrence of events, we can often reflect on the character and heart of the characters: the first part of the movie does not look like a novel In the same way, the background of each character who turned to the "Godfather" is explained, but directly cut in with sound and pictures, which not only stimulates the curiosity of the audience, but also has clues to reflect the strength of the Corleone family. This part is one of the opening chapters of the top 100 classics... …
"Paramount" launched "The Godfather I" in 1972. The film was released. The win-win of box office and word-of-mouth prompted it to chase after the victory, and then launched the second part, although it did not fall into the Chinese proverb "One go, decline again, and decline." Even the second film’s artistic accomplishments far surpassed the first one, but with the end of the linear structure of the story, neither Paramount nor Coppola talked about the third; 16 years later, "Paramount" and Coppola (reportedly driven by the economy) joined hands again in 1990 to release "The Godfather III". However, the third part did not lose the first two in both the story and the shooting. Under the circumstances, the audience and the critics did not miss the old feelings. The box office failure and the two awards of "Golden Plum" (Worst Newcomer and Worst Supporting Actress: Sophia Coppola) are really laughable , Many voices said: Times have changed. The nineties are no longer in need of the seventies. I don’t see it. To this day, the first two classics of "The Godfather" are still irreplaceable, not to mention lagging behind-we What is really unnecessary is the innocuous extension of the third part. In other words, the painting of a snake does not need to be superfluous-the excellent art of the first two parts has saturated the story to the greatest extent, and the audience is also in this nearly perfect circle. The greatest degree of satisfaction, and the third part is just outside the original story. Therefore, whether it is the change of relationship between "the origin is only the new man laughs, and who hears the old man cry" or "the human face does not know where to go, the peach blossoms are still The society of "Laughing Spring Breeze" has already deviated from the track of the first two parts, and because of the vividness of the first two parts, the new story is not necessarily new.
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