New hollywood Cinema - Essay Example

? New Hollywood: The Godfather al Affiliation According to Thomas Schaltz (1988), New Hollywood in historical terms is the term used to describe American cinema after World War II. While the deeply entrenched studio system of Hollywood collapsed and the onset of commercial television set in among the national suburbanized landscape nationally, new Hollywood set in. With the setting in of New Hollywood, classical Hollywood was phased out gradually. The classical Hollywood era was characterized by mass production of movies by cartel studios for guaranteed market virtually. The phenomenon of going to the movies was replaced by watching television in the era of the new Hollywood (Cook 1990; Buscombe 1977; Schiach 1995) . Earlier on, there was the saying that this was the eventual death of Hollywood. This did not only prove to be greatly exaggerated but also a misguided conclusion. Hollywood reinvented itself once again to a new market as a new industry that flourished greatly in changing the marketplace of the media. Major studios that previously dominated the media such as Warner’s, MGM and Paramount continued to dominate the industry. The idea of a movie was still retained as the industry continued looking more complex as days went by. The term Hollywood Renaissance can thus be reduced to denote the adjustment from one period to the other: from classical to new Hollywood (Madsen 1975; Thompson & Bordwell 1994; Solomon 1976) One of the main reasons for Hollywood to retain its place was the rise of the blockbuster movie. In production values, market strategy and budgets, Hollywood changed to a hit driven industry from the early 1950’s. In classical Hollywood, studios would release a few prestige pictures yearly and then would relish an occasional runaway hit. The classical Hollywood would mainly rely on A-class features in order to generate revenue. In new Hollywood it changed from the occasional hit to the well calculated blockbuster. This would lead to changes in the way movies were produced and the thematic topics and styles used (Schaltz 1988; Mast 1992; schaltz 1981). This paper is going to look at the film “The Godfather” as a product of the new Hollywood era. It is going to examine the film in terms of its industrial, social, formal, political and cultural perspectives as a new Hollywood movie. Industrial perspective Arguably, “The Godfather” is the best movie of all times based on its level of sales and thematic relevance. It was heavily promoted and advertised. Its production was a big and it had very profitable returns. The godfather veered off the mainstream conventions of a movie when it portrayed a different view of the mafia. It showed the activities of the mafia from inside rather than the American conventional view of the mafia (De Stefano 2007; Schiach 1972; Steinberg 1980). As a new Hollywood film the godfather gained acclaim from across many cultures. Not only in the United States did the movie achieve a lot of success but also in Europe and other places in the world. It has become the best movie since 1965 in cinema attendance. It also sets the pace for other new Hollywood directors and actors. Mario Puzzo had the manuscript of the movie written and passed it on to Robert Evans the production head of paramount at the time. Previously, during the era of vertical integration in Hollywood, such a manuscript could not be taken from the big studios like paramount, played all the roles in the production of a film. In classical era only occasionally hits were released while other movies would be screened all year in the cinema (Lincoln 2005; Silverman 1988) In classical Hollywood, during production a film would be made to a beginning, middle and an end. The godfather defied this formula and didn’t have a definite beginning or events that signified a point of central tendency. However, it had an end similar to that of classical Hollywood era movies. The conventional style of classical Hollywood was such that the actors are used to motivate viewers psychologically through their stories in the film. However, just like in classical Hollywood, the characters of the godfather have definable traits and are very goal oriented. For example, the godfather is overly concerned with making sure that his don heir (Michael) is not murdered after he himself dies or becomes too old or sick to function as the don. After becoming the don, Michael strives to consolidate his power around him. He is not concerned that part of achieving this will also involve killing his sister’s husband ( Gan & Salter 2000; De Stefano 2007). Each character also in the godfather has definable traits. The Godfather is a reasonable man who calculates his steps wisely through a lot of consideration. His style also involves making other people within his ring have the chance of making decisions for him. Sonny is restless and very hot tempered. He makes his decisions in haste and is never rational. His father tries to change his style, but he is too soaked in his own world to adapt to the role of the don. Vito who is the don starts to admire Michael his youngest son even before the dead of sonny who is his eldest son. The godfather sees Michael’s style and ways as the best despite Michael being the last born son. The women except Kay are portrayed as naive and are only seen during celebrations. They are made to remain in the dark concerning the business of the mafia. In this way the godfather has some of classical Hollywood traits in its narrative content (Nash & Ross 1985; De Stefano 2007). However, the godfather also gets out of the conventional classical Hollywood traits. In classical Hollywood space is centered upon the character. This is to conceal or overcome the two-dimensional nature of the film. In the godfather a lot of space is used outside the main characters in order to put across the real life within a mafia family and business. The godfather film strives not to portray the mafia according to popular assumptions of the American public. However the film departs from its stand and unrolls the whole plan Michael and his father had lain out for a while between the time he recuperates from his gun wounds and his death in the garden. We see the crimes that Michael oversees and executes. He even sanctions the death of his brother in law after being the godfather of his young son. Also all the Mafia heads are superstitious just like the American public assumes. Here the godfather takes the myth of the American public and uses it to form the narrative of the film (De Stefano 2007; Schultz 1988; Nourmand &Alison 2007) In classical Hollywood times there was the studio system whereby the movie industry was overly standardized. All the workers involved in the production of films were the employees of a particular studio. This resulted in the uniformity achieved by many classic films. The godfather consists of characters and crews from different backgrounds in the film industry. Mario Puzzo, the writer of the manuscript is an outsider despite his film achieving the best Hollywood blockbuster standards of all times. The actors are drawn from across a wide spectrum in Hollywood. Marlon Brando who acts the role of the Godfather is almost fired from the production since he is a very egoistic independent actor, despite being a product of the classical era. In classical times the studios dictated everything for the actors and no objection from the actors was accepted. Al Pacino also has problems with Coppola the producer. This shows the disintegration of the vertical integration system of Hollywood in classical times. Throughout the production of the film there is so much disillusionment that the producer is willing to leave the production. There is also argument over the shooting of the film in Sicily. The godfather was a blockbuster and followed a particular norm of blockbusters. Blockbusters usually try to appeal to a large number of people thus meaning they try as much as possible to avoid offending anybody. It portrays the mafia for most parts of the film positively. This is probably not to offend the Italians in America (who demonstrated prior to the release of the movie) and the mafia. The production crew also sought mafia’s cooperation during the production of the film. Without offending the mafia the industry was bound to gain a lot of profit. Francis Coppola made all the major decisions during the production of the film despite facing obstacles from the paramount studios. During this period directors had a lot of freedom in the movie industry. However, the freedom could be at times taken away from the directors. The decision of Al Pacino was reportedly not made by the director but the paramount executives. Coppola was almost sucked by sticking to certain characters the studio disliked like Brando and refusing to cooperate fully with choices of actors by the studio. But Coppola gained a lot from the package production process used in the late 60’s and early 70’s (Schultz 1988; Nourmand & Allison 2007; Altman 1999; Filner 1988). All the deliberations and considerations made during the production stage were to get the best characters that would ensure that the movie achieved box office success and became a blockbuster. This is characteristic of Renaissance Hollywood. After the film attained a lot of success Coppola gained a lot of acclaim in the movie industry Coppola and a group of other directors such as Spielberg gained a lot from the new found freedom in the New Hollywood. In marketing however, despite the disintegration of the studio vertical integration system, paramount carried out the sales and advertisement of the movie. Advertisement of a film starts with the shooting of the film in serene areas that appeal to viewers. The Godfather is throughout set in areas that evoke liking by the viewers (Winter 2003). Scenes in Bronx New York, the front of the Supreme Court (where Michael kills Don Barzini) resonate well with a wider audience. The shooting in Sicily is also meant to attract profits from mainly the European viewers. The screening outside the Supreme Court is a marketing strategy based on the time period of the shooting of the movie. The 70’s was the decade after the chaotic decade of the 60’s whereby there were racial and civil riots all over the United States (Shipman 1979). The US Supreme Court was pivotal in the achievements and failures of the riots. Some hold the view that the court played a part in the subjugation of the minority black people until 1968 after many of them had been killed in the streets by the police and counter demonstrators. Killing Barzini and his gang outside the court was very symbolic in putting the point across to the world (De Stefano 2007; Shipman 1972). The poster used to advertise the film all over the country is the black and white portrait of Vito with his trademark bulged cheeks appearing on the poster. Marlon Brando appealed to the public as a characteristic mafia boss. Definitely the marketing strategy applied by paramount studios and the director in the godfather aided a lot in making the Godfather a new Hollywood blockbuster. In the instances where the movie stick to classical Hollywood traits is for the purpose of attaining credibility with viewers especially the traditional movie goers ( Schiach 1972; De Stefano 2007). A formal perspective The Godfather achieved its unexpected success by using language appropriate to entertain and put across its themes out well. Most of this development can be attributed to Coppola, the director who brought his intimate style of filmmaking in Hollywood. As a director in the new Hollywood era, Coppola used his freedom by rewriting the entire script of the godfather. In the new script Coppola put the interpersonal relationships between the actors at the foreground and brought back the period the movie was set. The godfather has the characteristic style of Coppola which is rarely intimate for new Hollywood films ( De Stefano 20007). The dark setting of the godfather especially in Don Corleone’s office and other places where the mafia carried out its business and went, was meant to show the bad side of the mafia despite the inner circles of the mafia family being portrayed with the women and children being normal families as across the rest of United States. Turning the film to the dark film was with the help of Coppola’s director of photography Gordon Willis. This was a departure from the classical Hollywood era movies whereby the studio could not give the director such freedom. Such precision to achieve success with the environment of the film didn’t also take place in classical Hollywood. With the help of the designers Coppola achieved the final look of the film (Nourmand & Allison 2007; Grant 1977) Coppola stuck to Marlon Brando despite Brando’s reputation of bad behavior and the studio itself hating him for his bad behavior. Coppola knew the importance of stars in the new package Hollywood system and was determined to maximize the stars he would get. He uses Pacino and Brando as his main stars. The calm mannerisms associated with mafia Dons the two carry out their business is a brainchild of Coppola. Marlon Brando had a reputation also as magnificent actor from as early as the 1950’s. Al Pacino was relatively not as popular, but acted his role very well as the youngest son of the Mafia’s boss. The new package system in Hollywood increased the role that stars played in a film. Marlon had a reputation for a particular style of acting that maximized the use of voice to put a point across. Coppola was satisfied that Brando would act efficiently as the Don by having a distinct voice that would be associated with his status as the Don. Previously in classical Hollywood the studios would collude within themselves on the styles and ways in which they sold their films. The classical Hollywood films were not competitive or as captivating as new Hollywood’s films like the Godfather and other films such as Bonny and Clyde (Lincoln 2005; Madsen 1975) In classical Hollywood a film would be directed through a psychological process that lead the human character through will and struggling with obstacles to a well defined goal at the end of it all. Time and space were directed to a narrative element that had two lines of action that were mainly; a film solving a single crime or a romance marred in things such as business, family relations or work. The godfather departs from this generalization to a more complex storyline. It is not only a story of the main character but the story of more than two characters and the story of the life within the ranks and the backyard of the mafia family. It tells the story of many of the characters effectively and adopts a diversified approach rather than a traditionalist approach of the classical Hollywood era. Activities in the lives of the main character and the other characters are not only a single paramount activity but a lot of activities from festivities to murder. However the godfather borrows a cue from the classic era where towards of the end of the film, the story of Michael Corleone takes the center stage in the movie. At the end of the movie Michael achieves what he set out to do by killing all his enemies in cold blood and in broad daylight (Nourmand & Allison 2007; Helfat 2007; Sayrs 1989) As a new Hollywood film, the godfather portrayed a nostalgic quality. It did this by re-entering the patriarchal order of a bygone era and the male authors of that period. The male characters were superior to the female characters. The men were the only people within the Italian mafia families who understood what took place behind the closed doors of their offices. The godfather also has a nostalgic feeling when it comes to the issue of race. The don Corleone refers to blacks as pigs when they are negotiating with his peers on the way forward in the drug business. He advises his other mafia leaders to avoid selling the drugs near schools but he also advises them to sell to the “black pigs” where they could get a lot of profits (Nourmand & Allison 2007; Zollo & Winter 2002). Women and children are restricted to family affairs such as the wedding at the beginning of the film. They are also a convenience for the males in the family. Kay Adams is reduced to just another housewife after marrying Michael. Before they were married, both Michael and Kay loved each other so much and treated each other as equals but once Kay attains the status Michael’s wife she is relegated to a typical mafia wife (De Stefano 2005). Instead of using the flashbacks used so often in classic films, Coppola used nostalgia to go back to the 1940’s the years the movie was set. The type of music used in the film also denotes nostalgia. The slow jazz rhythms played as an accompaniment of major transitions through the film script are typical of 1940’s. The late 60’s and early 70’s when the movie was written and produced was during the rise of rock and roll and the acceptance of the TV in households. However, the godfather does not show any of these developments. The cars used also do not show the type of cars used in the 1970’s. The use of this nostalgic kind of formal perspective is meant to make the film time conscious. Classical films mainly focused on facial expressions and gestures of their characters to pass their message across. The godfather departs from this style and gives more emphasis to mannerisms, the environment and colour. Women and children are generalized as naive people who are unaware of the things that happen within their houses. The hot tempered habit of Sony is exceptional in the film. It is exceptional since he is the only character with such a habit. In contrast with his youngest brother Michael, Sony would be a complete disaster as a don. It would have been hard for the godfather to guide Sony well before the Don died. Sony makes his decisions fast out of impulse and in between outbursts. Throughout the film he makes all the wrong decisions, while Michael is rational and makes all the right decisions after a lot of consideration. Creation of themes and melodrama is characteristic of the new Hollywood era, whereby films depart from the conventional style of classical Hollywood where one character embodies all the themes within the film. The godfather also does not use flashbacks as it was common in classical Hollywood (Nourmund and Allison 2007; Schultz 1988). The godfather is one of the films that use music well to bring out themes and forebode the consequent scenes of a film earlier on. Music previously was used in most films as just a mere accompaniment of the visual. The most common tune in the film is a slow jazz which is meant to signify the 1940’s period the movie is purportedly set in. However, other tunes from Italian folk songs to piano classics are used to emphasize and initiate thematic topics in the film. Here the film combines both classical and new Hollywood traits. This is characteristic of the Renaissance period of the movie industry where the films have some aspects of classical Hollywood and new Hollywood. The godfather uses the styles of classical Hollywood in many scenes that one might mistake it of being a classical film. However, in terms of music the film is a new Hollywood film with faint aspects of classical Hollywood (Nourmand & Allison 2007; Gomery 1991; De Fillipi & Arthur 1998). It is typical of movies produced from the 1960’s onwards that address various issues in the society more radically. The godfather addresses on its part a number of various societal, national and personal issues, myths and ideologies. In classical movies the focus is mainly on a personal level with the aim of motivating viewers psychologically. A main character in a classical Hollywood film or any other character in the film was not used to address any general issue in the society. The most paramount theme in the godfather is a crime. Rather than the typical crime from the classical era, crime in the movie is mainly organized behind the closed doors of an executive office belonging to a Don (head of an Italian mafia family or ring). The godfather uses his henchmen to gain what he wants in the society. Even coercing a Hollywood director to secure a role for his godson he has to kill the director’s favorite horse and leave its head in the bed of the director. Crime is a big issue in the United States. The 1960’s was a decade full of violence thus the audience could easily relate to it (Winter & Sculanski 2001; Schiach 1995; Mast 1992) As it is widely believed that Italian Americans are very superstitious people, the godfather confirms this, when he slips out during a negotiation with his fellow dons and admits he is a very superstitious man. With the patriarchal system established by the society in Italian American families, it is highly expected that since the leader of the family was superstitious, the other people in the family are also highly superstitious. The director uses Vito Corleone to affirm the religiosity of Italian Americans (De Stefano 2005; Schultz 1988) Socio-cultural or historical perspective The movie was released in 1972. This was the most opportune period for the release of the film. The movie industry was stuck in a financial quagmire whereby sales had remained unprofitable for almost a whole decade. The industry had not fully adapted to the changes in the industry despite many releases for a whole decade. Most of the crew and actors of the film were also in bad financial times. Al Pacino was in debt and was overly broke. Marlon Brando too had not had a hit movie for a whole decade. Coppola was also in debt and was a small scale producer who produced home based films. The common feeling around the country was almost similar to these whereby the economy did not necessarily favor every individual in the country. The godfather reflects on some of these historical events, though not directly ( Shiach 1995; Nourmand & Allison 2007). The movie was set in the late sixties and in the early seventies. This was at the height of Nixon’s administration, with 1972 being the climax. The Vietnam War was raging while the American public especially the youth were out in the streets opposing the war. The government remained adamant and carried on with sending more troops to Vietnam. In the little remaining fragment of the left; which the government claimed got the country into war, there was growing suspicion that the government was becoming more and more corrupt. The institution in the government that was most affected was the law enforcement department. In the godfather we see the collusion of the police and some factions of the mafia in creating mayhem in the mafia. The mafia succeeded in this by “buying” police officers such as Captain Mc Clusky. The police was known as the enemy rather than the protector by the public. In the sixties police showed their real claws by collaborating with anti-civil rights for blacks white supremacists. MC Clusky can be said to be the embodiment of the police force and representative of the whole police force in the United States at the time. The highest bidder would get the police, who in this case was Sollozo. Their killing by Michael was a kind of a judgment that people would envy Michael for delivering. This is typical of new Hollywood, where the films produced were used to address issues gnawing the society and the nation away (Nourmand & Allison 2007; Schultz 1988) At the meeting where the five families have met to discuss their differences, don Tagttalia accuses the godfather of keeping the judges and the senators in his own pocket without sharing them with the other five families. It was and still is a myth or assume that all the major bigwigs in the political arena and in the justice department are bought by rich men. In the early 1970’s especially with a rightist government in power it was widely assumed that the politicians and the judges had been bought by the corporation and the mafia (Gomery 1991). The godfather shows this through that meeting especially with the godfather admitting of having them in his pocket and pledging to share them with the others. This is the theme of corruption expressed in this new Hollywood film. In classical Hollywood such a story could have been framed in a manner in which the corruption would be dealt with at a personal level. A brave character could have been used. The character could be a victim of police brutality or mafia violence. He would then strive to overthrow the corrupt system and despite a lot of obstacles succeed in the end triumphantly (De Stefano 2005; Madsen 1975). Religion plays a major role in the film. The Italians being catholic were always committed to their god and served him diligently with a lot of faith. Even hard nuts such as the godfather were also committed to their god. Almost every activity done within the family would evoke a lot of allusion to religion. Religion was placed highly in the community especially in a traditional Italian community (Buscombe 1977; Mast 1992; Altman 1999). It is not a coincidence that all the killings that affirm Michael’s position as the don are carried out during the baptism of his nephew whom is godfather to. This is deliberately done to show the contradiction of religion. People hide themselves in churches while afterwards go and commit heinous acts like those of Michael Corleone. This affirms the godfather is a new Hollywood movie since it has a diverse view on religion different from the traditional religious view of classical Hollywood (Silverman 1988; De Stefano 2005) Classical Hollywood made religion untouchable and even produced a number of films portraying different characters and events in the bible in a positive light. In the new Hollywood despite there being respect for religion, it was no longer placed among the uncharted waters. Negative views towards religious issues would now be incorporated in films. However, since the main purpose was to make money through the film an indirect jab at religion was used to avoid annoying the religious people. This is representative of the period after 1960 when the secular movement won a case they had filed in the Supreme Court for the banning of prayers in schools. This style is adopted by new Hollywood directors such as Coppola and Spielberg of incorporating social issues in a film (Gomery 1991; Basinger 1994; Nash & Ross 1985). The American dream is a widely held ideology in America and beyond. This is the idea of America as the land for of equality, opportunity and freedom. This can be seen in Vito Corleone, who is a child immigrant to the United States and ends up forming the largest mafia family away from his motherland of Sicily. He starts from scratch and succeeds in making the largest family among the other Italian mafia families. However the idea is challenged by various events within the film itself. At the beginning of the film in his office Don Corleone’s is dealing with an Italian American man whose daughter has been raped by some American boys. The man had brought up his daughter in an American way and has high hopes for her. He takes her to college and she is even free to go to parties typical of the American culture. In these parties she attends, some of her male friends give her alcohol and take advantage of her. This is meant to show that the American dream especially for women is almost totally unachievable. Women especially throughout the film take traditional roles (Nourmand & Allison 2007; Silverman 1988) The godfather however does not reflect on issues specific to the 1960’s or the 1970’s only. The film is set in the post war period in the mid 1940’s. Michael returns home during his sister’s wedding with Kay as his girlfriend. He is well respected by the others for being a decorated war hero during the war that has just ended in Europe. Soldiers during this period were widely respected due to the pride they had earned in America, as the major player in the World War II battles in Europe against the Nazis. In classical Hollywood era nostalgia would be used to make historical and biblical films. However general films such as the godfather would be produced without the use of nostalgia as it used in it. Nostalgia achieves better than using flashback to show events that happened in the past especially over two decades past (Thompson & Bordwell 1994; Cook 1990; Defillipi & Arthur 1998). The old school cars used in the film had already been phased out by much newer car models gradually from 1950’s. This trait of the movie gives away the period the movie was produced as the 1940’s. Another feature that gives away the period of the movie was the lack of television sets in households. The Corleone’s family is among the richest families in New York but lack television which was in almost all households by the early 1960’s. When Michael returns home after the shooting of his father, his brother underestimates him as a mere college boy. In the 1970’s almost all Americans went through college. But previously especially during the war period some Americans such as Sony would opt not to go to college and venture into small business after graduating from high school (Filner 1988). Others like Michael and Kay Adams would attend college and would later aid a lot in the American war effort against Germany during World War II in Europe. This shows clearly which period the movie was set in. By being set in the 1940’s the movie retains some classical Hollywood traits such as the music and the billboards like the ones seen in airports and in the streets (De Stefano 2005; Schultz 1988) However as seen above, despite the film being set in the 1940’s the director manages to incorporate issues and allude to the exact period the movie was produced. This blending of time periods is not seen in Classical films as it is seen in the godfather. Other subsequent films produced after the godfather would use the style to address some issues in the society and issues that had happened in the past. 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