Critical Analysis: Godfather by Francis Ford Coppola and Casino by Martin Scorsese - Essay Example

? Critical Analysis: Godfather by Francis Ford Coppola and Casino by Martin Scorsese Film like other forms of art has for decades been a very important tool in analyzing the society and bringing about discourses that people would not engage in conventionally. Accompanied by vivid graphics, the films industry first took these discourses to the theaters and later to living rooms. In the contemporary world the discourses are with us on our palms everywhere we go in form of mobile forms and iPods. However, one of the most interesting discourses that films as forms of art should engage in is the apparent dichotomy in films (Wartenberg 38). An analysis of the brutal and bloody depiction of the American society by the movies Godfather and Casino leaves one to wonder whether films are merely for entertainment or they carry strong messages, whether they just create form or function, or whether they engage in meta-reality or meta-fiction. Although released almost two decades apart from each other, the films manage to depict the state of crime in two different periods in history leaving one to wonder whether that was the state of the society. By engaging in dichotomous discourse with regard to these two films it is also possible to extrapolate the findings to other forms of visual art in the contemporary art such as 3D animated movies and reality shows. The audience needs to understand the exact roles played by films in the contemporary society. In engaging in these dichotomous discourses the society can once more regain confidence in visual arts and make informed decisions on the types of films they should watch. Communication Vs Entertainment. When we consider films as forms of art we assume that films have the dual role of educating the society and acting as a form of entertainment. Forms of literal art in the romanticism era followed the same approaches but most of them were educative and communicated to the society. During the modernism era artists became braver and openly depicted the society as it is. Post modernism became even more unpredictable as artists delved deep into their imaginative psyches. The Godfather narrates the story of a family that is torn between maintaining the family tradition of crime and drugs and embracing the emerging family values in the midst of crime infested American neighborhood (Film Site). The Casino in an even more brutal fashion depicts two individuals who lose all the natural restraints towards engaging in vices to the extent that they eventually die (Saravia). The two films are communicating to the audience and acting as forms of entertainment. The 20th and the 21st centuries have seen human beings slowly adopt more sadistic and unconventional forms of entertainment. The Godfather in general seems to glorify evil and even influence the audience to perceive crime as something that is acceptable in certain circumstances. Emphasis on the personalities of the characters is one of the approaches employed in the film to evoke empathy from the audience. The film went on to win several awards indicating how the society had embraced a film that in the post-modernism fashion had been utterly unpredictable. The Casino also exposes the audience to the excesses of two individuals who have given themselves to crime and self-pleasure. Money is obtained through unconventional ways and that casino where the movie is primarily set acts as a hub for a string of corrupt deals and criminal activities. In essence, these activities actually entertain the audience much like watching illegal street fights where two fighters go at each other with such brute and hatred where only one will survive (Wartenberg 12). The message being sent by these two films is also rather disturbing. The films depict crime as enjoyable and even adventurous in a fashion that can confuse the minds of teenagers. In the Godfather Don seeks to recruit his son who has just been from war to the family business that involved organized crime and drugs. Conventionally, parents are supposed to carefully nurture good societal morals in their children and prepare them to be responsible citizens. The message being sent by the movie Casino is that a life full of crime is awesome and interesting. Although the film ends with the destruction of the casino and the downfall of the criminals, it leaves one with a terrible aftertaste and a longing for the adrenaline upsurge characterized by the climax of the story (Monaco 740). In essence, these two films glorify crime and expose the audience to unconventional forms of entertainment. Form Vs Function. Form and function are two important attributes of art that conventionally are used by artists in complement to improve the understanding of the work of art. According to Monaco (748), the form of the film is what the film actually is and the function of the film is the perception that it creates within us. The two aspects should complement one another so that when the audience looks at the construct they are able to quickly derive meaning from the film.What sorts of films are Godfather and Casino? Muir (346) provides the answer by outlining that they are horror films. Muir also explains that the two films have the function of instilling fear and propagating a sense of urgency and desperation in the audience. The brutality and negative morals depicted in the films characterize what Muir refers to as a horror film. Normally, people would take a single glance at the films and discard them in disgust. However, in normal human curiosity and inquisitiveness people discover that they can actually derive some aspect of unconventional pleasure from watching the films. The films boldly depict bloody and violent scenes that expose the audience to an apparent hidden side of humanity. According to Muir (84), the horror films are no different from the creation of Mr. Frankenstein where from the constructs of his imagination emerged a monster so fearful that even the creator could not comprehend. The characters in the two films show very little humanity and except for their normal human forms, there is no difference between them and the monster created by Victor Frakenstein. In essence, the form of the movies is that they are horrific. The function of the movies as explained by Muir is that they leave the audience with a desperate perception and an apparent sense of urgency. The excitement is like the one obtained by an addict who has taken coke and has gone through the high moments that are quickly subsiding as the movies come to an end. In essence, the excitement is momentary and soon the audience will need another dose similar or of a higher degree. There is therefore an urgency created by the audience for the film makers to create even more brutal movies that will elevate the excitement. Looking at the trends in films one quickly realizes that they have become more brutal and directors are not afraid to expose the audience to the very essence of brutality. Horror movies like Saw and Resident Evil released more recently are good examples of such trends. In essence, in creation of form and reality the film makers have become like drug peddlers. They distribute addictive and harmful material to the audience. Meta-Reality Vs Meta-Fiction. Over the years after using meta-reality as an approach in enhancing the art , films have now opted to using meta-fiction as a way of enahncing art. However, as film makers try out their imagination in meta-fiction one realizes that there is a serious diversion as film makers give the audience a chance to escape from the realities of life. The film Casino manages to elevate the sense of excitement in crime and immorality that the audience for a moment is hypnotized to think that the world like that actually exists. In a world where there are not morals and there are no instinctive restrains where people just release themselves to the orgies of crime and pleasure. The extremes depicted in the film is perhaps what attracts the audience because it represents a form of meta-fiction that is appealing to the human mind. According to Amago (67), the essenc of meta-fiction is to fool the people into thinking that reality and fiction are actually connected. The characters and the places all indicate that the films are actually based on real life experiences. As they begin to depict crime in its brutal and bloody form the audience does not notice that the films have quickly crossed the border from reality to fiction without the audience noticing. The meta-fiction is even dangerous because the audience seldom notices the smooth transition between fiction and reality. The fiction part is made to be overly interesting and with limitless possibilities for the audience. The audience is left with the feeling of wanting more of the fiction part rather than the reality part (Amago 124). In engaging in the dichotomous discourse, one quickly realizes that films have become untrustworthy in their role and the message thy are sending to the audience. Directors and producers are aware of the psychology of human beings and they will give the audience what it desires even when they are well aware that it might be dangerous. The analysis of the two films reveal that the message they are sending is negative and the entertainment unconventional. The form is horror and the function is to propagate desperation and urgency. Finally, they create a perception that there is no difference between fiction and reality. As technology makes films more appealing to the eyes through graphics and color, film makers are also engaging in experiments of their own in an attempt appeal to the subconscious of the audience. The analysis reveal that films have ceased to be films and are just temporary doses that leaves the audience waiting for a sequel or looking forward to an even more brutal and addictive picture. Works Cited Amago, Samuel. True Lies: A Narrative Self Consciousness in Contemporary Spanish Novel. Cleveland: Sage , 2008. Print. Film Site. "The Godfather 1972." 2010. Film Site Movie Review. Web. 2 May 2012. Monaco, James. How to Read a Film: Movies, Media, and Beyond : Art, Technology and Language . New York: Routledge, 2009. Print. Muir, John Kenneth. Horror Films of the 1990s. Calfornia: Routledge, 2011. Print. Saravia, Jerry. "Casino (1995) The Real Sin City ." 2011. Reocities. Web. 3 May 2012. Wartenberg, Thomas E. Thinking on Screen: Film As Philosophy. New York, NY: Routledge, 2007. Print. Read More