By George S. Larke-Walsh
The "post-classic" period of yank gangster motion pictures begun in 1967 with the discharge of Bonnie and Clyde, reaching a milestone 5 years later with the preferred and hugely influential The Godfather. This ancient learn explores the constitution, myths and intertextual narratives present in the gangster motion pictures produced given that The Godfather. the serious dating among masculinity and ethnicity within the gangster movie, particularly in the movie-generated mythology of the Mafia, is thoroughly analyzed, and the ebook tracks the developments within the style as much as and together with the landmark HBO tv sequence The Sopranos (1999-2007). a specific filmography is incorporated.
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Additional info for Screening the Mafia: Masculinity, Ethnicity and Mobsters from The Godfather to The Sopranos
33 The emergence of these comedies at the end of the eighties, as with Bugsy Malone in the seventies, shows how the gangster image is ingrained in popular culture, for only instantly recognizable scenarios parody well. However, this time the reference points are not in the classic 1930s, but in the iconography and personae of The Godfather. Scarface refers back to the classic gangster ﬁlms of the thirties, but also operates as a cynical antidote to the romanticism of The Godfather ﬁlms. Other ﬁlms of the decade refer directly to The Godfather, such as Once Upon a Time in America, Prizzi’s Honor, The Sicilian and The Freshman.
1. Gangster Films Since 1967 47 New Syndicates The Grifters (1990), Hoffa (1992), The Firm (1993), True Romance (1993) Leon/The Professional (1994), Bound (1995) and Get Shorty (1996) see the Maﬁa moving back into the shadowy syndicate mold and providing the motivations that guide the narratives’ main characters. For instance, the primary characters of these ﬁlms are not always Maﬁa members, but their stories involve contact with the Maﬁa. Hoffa is about union strikes, The Firm is about crooked lawyers, Leon/The Professional is an assassin and True Romance is about young lovers on a crime spree.
Gangster Films Since 1967 31 de soufﬂe 1959, Bonnie and Clyde) or through historical settings and moralities (The Saint Valentine’s Day Massacre, The Brotherhood, The Godfather). Success or ambition in The Godfather is founded in resisting progress; for example, the Don is against the new drug trade, but also Michael’s assim- Vito Corleone (Marlon Brando, standing) and Michael Corleone (Al Pacino). The Godfather © 1972, Paramount. 32 Screening the Maﬁa ilation into mainstream America is rejected in favor of saving the traditional family way of life.