When Connie complains to her parents, Vito refuses to intervene, presumably to punish her for her poor choice in a husband. Rizzi hates how his in-laws treat him, and regularly abuses and cheats on Connie to assert his own power over the Corleone family. He operates a small sports book under the family's supervision, though he proves inept even at that. However, Vito instructs consigliere Tom Hagen to forbid Rizzi to have any significant knowledge of the family's inner workings and only to "give him a living". Rizzi basks in the glory of marrying into the Corleone crime family. Vito disapproves of Connie's marriage to a small-time criminal who is not a full-blooded Sicilian (Rizzi's father was Sicilian but his mother was from northern Italy), but consents to the marriage on condition that they have a traditional Sicilian wedding. He befriends Sonny Corleone and in 1941, he meets Sonny's sister Connie at a surprise birthday party for their father, crime boss Vito Corleone. In the novel and film ĭescribed in the novel as "a punk, sore at the world", Rizzi was born in Nevada and moved to New York City following trouble with the law. In the 1972 film adaptation, he was portrayed by Gianni Russo. The director uses all the four elements in the famous baptism scene.Fictional character from The Godfather series Carlo RizziĬarlo Rizzi is a fictional character in Mario Puzo's 1969 novel The Godfather. The statue of Jesus in the dark and Michael in the light can signify their differences. The statue is in the darkness looking towards the altar where Michael is standing. The light focuses on the altar but not on the statue of Jesus Christ on the side of the altar. The source of the light that focuses on the altar comes from the sun, it is natural lighting. However, the light focuses only on the altar where the priest, Michael, his wife, and the baby boy are all together. The lighting in the baptism scene is very dark. The juxtaposition of the baptism and killings solidify Michael’s title as “The Godfather”. The parallel editing technique, montage, implies that both the baptism and murders happen at the same time. As the son of Carlo and Connie’s son is baptized, the film cuts to images depicting the murders of the heads of the Mafia families. The rapid succession of images that links different scenes is called a montage. The baptism scene at the end of The Godfather has an ample amount of editing techniques. The scene demonstrates Michael’s transformation from an honest man to the head of the Corleone family, which deals with organized crime. The voice over is significant because it allows the audience to see Michael’s orders in effect as the priest is baptizing the baby boy. The director uses voiceover during the baptism scene through the priest. The religious score plays as the mafia heads are murdered, upon Michael’s orders. The sound of the religious score is low while the baptism images are shown ,but during the murders the sound of the score increases. The score of the baptism scene is religious music since it is a baptism. Coppola uses sound, editing, mise-en-scene, and cinematography in the baptism scene from The Godfather. Vito Corleone is head of the Corleone Mafia family, but after a series of unfortunate events Michael Corleone becomes “Godfather”. The setting takes place during the 1940’s, in New York City. The Godfather was directed by Francis Ford Coppola.
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