Concept for Academic Freedom

"Don't ever take sides with anyone against the family." abide loyal and discreet, and the family will give you what society in global cannot always guarantee. Satisfied that the man has now embraced the family, Corleone grants him the justice that the profound system could not. Besides, "no Sicilian can refuse a favor on his daughter's wedding twenty-four hour period," and, outside the insulated silence of the playing field, a wedding is taking place.

As he continues to do passim both films, Coppola contrasts the celebrations of everyday life with the bottom-the-scenes manipulations by the work force who are really in charge. Corleone makes periodic visits to the wedding, to dance with his wife, to caveatss his daughter, to pose for family pictures, merely returns regularly to his study to take care of the important family railway line. Coppola uses the first 26 minutes of the film to induce this contrast, cutting back and forth between the dark study and the sunny wedding, editing the close-ups of Corleone and his staff at work with the foresightful picnics of wedding guests blissfully unaware of the machinations being planned shadower the study's shuttered windows.

His youngest son, Michael, is a "civilian" at the beginning of the story. He is a decorated war hero who understands the family business but is above it at the start of the film. He explains to his girlfriend, "My father is no different from any other powerful man," and, when she objects that, unlike sen

Coppola, F. F. (1972). The Godfather. Paramount.

Throughout the two films, Coppola returns again and again to sequences that contrast the insular intimacy of family and family business with its simple rules with the wider gentleman outside the gates of the family compound where rules can change without warning. At the end of the first film, for instance, Michael has agreed to become godfather to his sister's son. On the day of the baptism, Michael solemnly vows his belief in God and the church.

Coppola intercuts scenes of the family gathered for the baptismal ceremony with scenes of each of the key victims going about their radiation pattern lives (having a massage, getting a shave) and with their withaltual assassins preparing to commit synchronal murder. The sequence climaxes with an almost operatic settling of all of Michael's business deals, just as his family is settling its private deal of save a new family member's immortal soul. Making this sequence an even more personal statement on the part of the film producer is the fact that the newborn baby is played by Coppola's declare daughter, Sophia, who later went on to play a pivotal component part in the third Godfather movie.

As each man dies, the lonesome(a) figure of Michael Corleone waits in the twilight of his room for his plans to be carried out. At the end, he is haunted by the ghosts of the family he left behind in a memory of the day he told them he had enlisted in the Marines. From the youthful Michael, sitting alone at the dinner party table waiting to tell his father of his decision, Coppola dissolves to a shot of Michael at the end, slowly zooming in to show the price of his choices.

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