Influence of Mythology in the Development of a Heros Life - Essay Example

? Put Full of Paper Your School First Para: (please add) complete departmental and al affiliation Second Para: (please add) Changes in affiliation (if any) Third Para: (please add) Acknowledgements, funding sources, special circumstances Fourth Para: (please add) Contact information (mailing address and e-mail) Abstract This paper explores the relation between the stages of development in a hero’s life (departure, initiation and return) and the Godfather films (The Godfather, The Godfather Part II, and The Godfather Part III) by Francis Ford Coppola. These films vary in treatment but the theme is same, i.e. stages of development in a hero’s life. This paper explores these films to unearth the origin, growth and development of the hero from innocence to violence and redemption in the end. This paper examines the scope and influence of mythology in the stages of development in a hero’s life. MYTHOLOGY The world of mythology is interconnected with heroism and supernatural elements. Within this context, the stages of development in a hero’s life (departure, initiation and return), put forth by Joseph Campbell in the work The Hero with A Thousand Faces is noteworthy. One can see that the Godfather films (The Godfather, The Godfather Part II, and The Godfather Part III), by Francis Ford Coppola, belong to gangster film genre. The protagonist’s (Michael Corleone) transformation from a young man who hates gangster life to a gangster and later to an elderly individual who seeks redemption is beautifully portrayed by the director. Thesis statement: The portrayal of the character Michael Corleone from The Godfather films by Francis Ford Coppola proves that the same is according to the stages (departure, initiation and return) in the journey of a hero, put forth by Joseph Campbell in the work The Hero with A Thousand Faces (Special references to the films: The Godfather, The Godfather Part II, and The Godfather Part III). The main stages in Joseph Campbell’s The Hero with A Thousand Faces According to Joseph Campbell, there is number of stages within the hero’s expedition or journey. All the heroes do not undergo all these stages, but the three stages (say, departure (past life), initiation (adventurous life) and return (return to motherland)) are most important. Seaward (2004), states that “The template of the hero’s journey involves three distinct stages: (1) the departure, (2) initiation, and (3) the return home” (p. 52). The first stage or departure helps the readers to have deep understanding on the hero’s adventurous life because this stage describes the hero’ adventurous in the past life. Moreover, this stage provides ample importance to the concept of heroism which can be generalized to the broader context of mythology. The second stage or initiation portrays the hero’s travel to the unknown world and adventures. This stage is important because it reflects the hero’s growth and development to a fully fledged hero, who is ready to face dangerous situations without fear. This stage is applicable to most of the conventional heroes because adventure is helpful to portray heroism. The problems faced by the hero during his travel to the unknown world are helpful to maintain the suspense of the whole story. The third and final stage is return, which portrays the hero’s return to his motherland. In this stage, the hero returns with immense power gained from the hardships faced during the journey. This stage is helpful for the hero to establish his victory over the evil. All these stages are again divided into sub-stages, but the essence of the hero’s growth and development is limited to the context of the foretold three stages. Michael Corleone and stages put forth by Joseph Campbell The plots of the three Godfather films revolve around Michael Corleone, the main character. Campbell (2008), states that “Many tales isolate and greatly enlarge upon one or two of the typical elements of the full cycle (test motif, flight motif, abduction of the bride), others string a number of independent cycles into a single series (as in the Odyssey)” (p. 212). In addition, the stages put forth by Joseph Campbell are applicable to Michael Corleone in Godfather films. A. Departure: Michael’s departure (the film The Godfather) is a little bit different from departure of the conventional heroes because the same is not related to heroism, but a futile attempt to escape from violence and crime. Michael’s innocence and whole hearted hatred towards crime is helpful for the viewers to identify him as a real hero beyond a gangster. But Olson (1999) makes clear that “In the end, of course, Michael proves to be more malignant in his violence than his father had ever been” (p. 173). Michaels’ father did not try to attract him towards the world of crime. During the WWII, Michael decides to serve his motherland as the member of Marine Corps. The Navy Cross award gained by Michel proves his bravery and commitment. In the film The Godfather Part II, Michael is portrayed as a grown up individual, prior to his adventurous life, as a fully fledged gangster. Michael is not portrayed as a gang leader because the gang is totally under the leadership of Frank Pentangeli. Now, Michael is an important member of the Mafia, who is trying his level best to establish his family business as a legal enterprise. His attempt can be considered as the first stage in the journey of a hero because his desire to keep his family business away from the world of crime proves so. Michael’s heroic attempt (The Godfather Part III) before his initiation is vividly portrayed by the director. Michael gets disinterested in his status as a Mafia leader and gets attracted towards charity work. His age (say, in 60s) is an important factor behind his attraction towards charity work. He hands over his criminal empire in New York to another person, namely Joey Zasa. He was ready to hand over his gambling business to the other Mafia groups. In short, Michael’s business ventures are reorganized under the name of Caroline Group. B. Initiation: Michael’s heroism and adventure (The Godfather) is interrupted by a number of factors related to organized crime. For instance, Virgil Sollozzo (say, a drug king) tried to assassinate Michael’s father. This incident forced Michael to enter the world of crime and he was able help his father to escape from the hands of Sollozzo. Later, Michael killed Sollozzo and a police officer, namely McCluskey. In addition, his love affair and marriage with Apollonia hindered him for a while from being a fully fledged Mafia leader. The director presents Michael as a fully fledged Mafia leader with immense wealth and power (The Godfather Part II). Barsanti (2010), states that “The story picks up in the late 1950s, a few years after the first film’s assassination campaign left Mafia chieftain Michael Corleone (Al Pacino) nearly without rivals” (p. 85). One can see that criminal instinct was not inherent in Michael, but the problems in his private domain forced him to involve in crime and violence. Once, Hyman Roth tries to assassinate Michael and he narrowly escapes from the murder attempt. During the life in Cuba, Michael tries to assassinate Roth, but he was able to escape to Miami. Later, Michael realizes that his brother Fredo is the real villain behind the unsuccessful murder attempt. Meanwhile, his involvement in crime affected his relationship with Kay (his wife). So, Michael’s growth from an innocent individual to a Mafia leader was hindered by a number of factors. The director portrays Michael’s life beyond a Mafia leader (The Godfather Part III). But Michael is not able to avoid problems in day to day life. For instance, Michael tires to protect Vincent Mancini, (the son of Sonny) but he is not able to cope up with Vincent’s attitude. Michael began to develop relationship with Mary (say, Michael's daughter). Gradually, Vincent began to develop interest in criminal activities. Later, Michael manages to escape from an attack by Don Altobello. So, there were a number of hindrances in Michel’s redemptive life. C. Return: In the film first film (say, The Godfather) the director portrays Michael’s return to his family. Michael’s return depends upon his father’s decision to hand over his business responsibilities to his son. So, this can be considered as the symbolic return of the hero to his motherland. After his father’s death, Michael becomes the unquestioned leader of their business ventures. From a different angle of view, Michel’s growth as the new Don is interrelated with his experience gained from his past. Michael’s later life as the Don proves that he is as cunning and business minded as his father. After his mother’s death, Michel decides to solve his problems with his brother (The Godfather Part II). Similar to the hero’s return pointed out by Joseph Campbell, Michel’s decision can be considered as his return to his private circle. Later, the viewers come to know that Michal’s decision was based upon his attempt to kill his own brother. But Michael’s return did not help him much to solve the problems within his private circle. Once again, his wife became suspicious about his aim and eventually led to further problems. Michael’s decision to give up his life as a gangster helps him to solve the problems in his family life (The Godfather Part III). But Booker (1999), states that “In the meantime, as in all the Godfather films, Michael is also struggling with the deterioration of his family, centered in this installation on the decision of his son, Anthony (Franc D’ Ambrosio) to forego all association with the family business and instead pursue a career as an opera singer” (p. 343). Michael’s return to his private circle and his attempt to solve the family problems can be considered as the third step (return) in the hero’s journey put forth by Joseph Campbell. For instance, during the tour to Sicily, Michael was able to solve his problems in his wife. This incident proves that Michael’s return to his family is successful. So, Michael was able to regain his wife’s trust and their relationship became stronger than ever. His confession on his involvement in his brother’s murder was helpful to have redemption. Summing, the Godfather films by Francis Ford Coppola skillfully portrays the influence of crime and violence in the protagonist’s life. The protagonist’s transformation to a cold blooded criminal with immense wealth and power and his redemption is interconnected with the stages (say, phases) in hero’s journey put forth by Joseph Campbell. The three states in the hero’s journey in mythology are totally applicable to Michael’s life story. The only difference is that Michael’s heroism is rooted in crime and violence, not one’s affection and duty mindedness towards one’s motherland and fellow beings. References Barsanti, C. (2010). Filmology: A Movie-a-Day Guide to the Movies You Need to Know. Avon, MA: Adams Media. Booker, M. K. (1999). Film and the American left: a research guide. Westport, CT: Greenwood Publishing Group. Campbell, J. (2008). The Hero with a Thousand Faces. California, USA: New World Library. Olson, J.S. (1999). Historical dictionary of the 1970s. Westport, CT: Greenwood Publishing Group. Seaward, B.L. (2004). Achieving the mind-body-spirit connection: a stress management workbook. Sudbury, MA: Jones & Bartlett Learning. Read More