Luca Brasi Speech at the Wedding Transcript
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The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli
Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli Author: Marissa Sangimino Persistent link: http://hdl.handle.net/2345/bc-ir:104214 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. ! ! ! ! ! ! ! ! Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli By Marissa M. Sangimino Advisor: Prof. Carlo Rotella English Department Honors Thesis Submitted: April 9, 2015 Boston College 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ACKNOWLEDGMENTS!! ! ! I!would!like!to!thank!my!advisor,!Dr.!Carlo!Rotella!for!the!many!hours!(and!many!emails)!that!it! took!to!complete!this!thesis,!as!well!as!his!kind!support!and!brilliant!advice.! ! I!would!also!like!to!thank!the!many!professors!in!the!English!Department!who!have!also! inspired!me!over!the!years!to!continue!reading,!writing,!and!thinking,!especially!Professor!Bonnie! Rudner!and!Dr.!James!Smith.! ! Finally,!as!always,!I!must!thank!my!family!of!Mafiosi:!! Non!siamo!ricchi!di!denaro,!ma!siamo!ricchi!di!sangue.! TABLE OF CONTENTS Introduction.........................................................................................................................................1-3 CHAPTER ONE: The Hyphenate Individual ..............................................................................................................4-17 The -
Entrevista Gerardo López Vicedecano
año/urtea:18 2017/70 maiatza/mayo REVISTA DEL ILUSTRE COLEGIO DE ABOGADOS DE GIPUZKOA GIPUZKOAKO ABOKATUEN ELKARGO ABOKATUOK PRESTUAREN ALDIZKARIA Entrevista Gerardo López Vicedecano pg 16. Exposición “Refugiados 11 Entrega premios concurso infantil Partidos Judiciales: Bergara vidas en 11 maletas” Navidad 2016 Alicia Oteiza pg 8. pg 14. pg 20. ¿Qué jubilación quieres? De tí depende. 28/024149 - Domicilio Social: Serrano, 9 28001 Madrid Aseguradoras, Sec. Previsión Social con el nº 2131 - C.I.F.: V- Reg. de Entidades a. Inscrita en el COMPRUEBA LO QUE SE PUEDE INCREMENTAR TU JUBILACIÓN AUMENTANDO... 100 €1 150 €1 200 €1 EDAD CAPITAL ADICIONAL2 A SUMAR A TU JUBILACIÓN: e Previsión Social a Prima Fij 30 + 150.444 € + 225.666 € + 300.889 € 40 + 74.410 € + 111.615 € + 148.820 € 50 + 30.741 € + 46.111 € + 61.482 € Aumenta tus aportaciones periódicas. Cuanto antes mejor. www.mutualidadabogacia.com Para más información llama al 914 35 24 86 o envía un correo a [email protected] 1. Cuota mensual creciente un 3 % anual. 2. Capital adicional proyectado en base a una tasa de rentabilidad del 5 % y con fecha de jubilación a los 65 años. Anu-Apt-02/17 • MUTUALIDAD GENERAL DE LA ABOGACÍA, Mutualidad d Rentabilidad media del Plan Universal desde su creación en 2005, 5,45 %. Rentabilidades pasadas no presuponen rentabilidades futuras. año/urtea: 18 2017/70 maiatza/mayo ABOKATUOKREVISTA DEL ILUSTRE COLEGIO DE ABOGADOS DEcomisiones GIPUZKOA GIPUZKOAKObatzordeak entrevista/elkarrizketa ABOKATUEN ELKARGO ABOKATUOK PRESTUAREN ALDIZKARIA sumario Carta de la Decana. 04 Celebrada la Junta General de Icagi. 06 aurkibidea El Colegio despedirá Junio con varias 07 actividades. -
The Transom Review April, 2005 Vol
the transom review April, 2005 Vol. 5/Issue 1 Walter Murch About Walter Murch Walter Murch has been honored by both British and American Motion Picture Academies for his picture editing and sound mixing. In 1997, Murch received an unprecedented double Oscar for both film editing and sound mixing on The English Patient (Anthony Minghella), as well as that year's British Academy Award for best editing. Seventeen years earlier, he had received an Oscar for best sound for Apocalypse Now ( F. Coppola), as well as British and American Academy nominations for his picture editing. He also won a double British Academy Award in 1975 for his film editing and sound mixing on The Conversation (F. Coppola), was nominated by both academies in 1978 for best film editing for Julia ( F. Zinnemann), and in 1991 received two nominations for best film editing from the American Academy for the films Ghost (J. Zucker) and The Godfather Part III (F. Coppola). Among Murch’s other credits are: picture editing for The Unbearable Lightness of Being (P. Kaufman), Romeo is Bleeding (P. Medak), First Knight (J. Zucker), The Talented Mr. Ripley (A. Minghella), and K-19: The Widowmaker (K. Bigelow). His most recent credit is for Cold Mountain (Anthony Minghella) for which he received an Academy Nomination for Editing, and British Academy Nominations for Editing and Sound Mixing. He is currently working on Jarhead for director Sam Mendes. The film, from the novel by Anthony Swofford, will be released in November 2005. He has also been involved in film restoration, notably Orson Welles’s Touch of Evil (1998), Francis Coppola’s Apocalypse Now Redux (2001), and Thomas Edison's Dickson Experimental Sound Film (1894). -
2. the Godfather Returns.Pdf
The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr. -
The Godfather Study Guide
OSCAR WINNER 1972: Best Picture Best Actor Best Adapted Screenplay TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Film Studies and GNVO Media: Communication and Production (Intermediate and Advanced). Specific areas of study covered by the guide are those of genre, representation and the issue of violence in film. The Godfather: Certificate 18. Running Time 175 minutes. MAJOR CREDITS FOR THE GODFATHER The Godfather 1972 (Paramount) Producer: Albert S. Ruddy Director: Francis Coppola Screenplay: Mario Puzo, Francis Coppola Director of Photography: Gordon Willis Editors: William Reynolds, Peter Zinner Music: Nino Rota Art Director: Dean Tavoularis Cast: Marion Brando Al Pacino James Caan Richard Conte Robert Duvall Sterling Hayden Oscars 1972: Best Picture Best Actor (Marion Brando) Best Adapted Screenplay Oscar Nominations 1972: Best Director Best Supporting Actor (James Caan, Robert Duvall, Al Pacino) Best Music [later declared incligiblel Best Costume Design Best Editing Best Sound © Film Education 1 THE GODFATHER Coppola’s The Godfather was the direct descendant of dozens of gangster movies made with stars like Cagney and Edward C. Robinson. But there was a vital difference. Its examination of the Corleone family had a consistently human dimension that made the evil of the Mafia, who loved it for the wrong reasons, all the more horrendous. As a study of evil, it was all the better for assuming that such darkness emanated not from dyed-in-thewool villains but out of some of the family values we now most cherish. Added to that, of course, was the brilliance of its making, with Gordon Willis’ photography and Nino Rota’s score adding to Coppola’s fine orchestration of a terrific cast. -
Revisiting Violence in the Godfather: the Ambiguous Space of the Victimage Model
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 2 October 2005 Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Paul Graham [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Graham, Paul (2005) "Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Abstract This article closely revisits and praises the long, contemplative scenes and the fast contrapuntal cutting of the violence displayed in The Godfather to show how the movie's superior editing and filming style help to overturn its own violent message. Thus, the film, however cynically, completes Girard's the victimage model without actually immolating its would-be scapegoat. By inhabiting the deconstructive "space” of the scapegoating motif, the film's bloody scenes undercut themselves and help to enact a message against the violence within the ideologies of the American Dream, capitalist competition, or any other factor that may serve to mitigate Michael Corleone's actions. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 Graham: Revisiting Violence in The Godfather The easiest way to sum up René Girard's writings is to say that a series of imitative behaviors will build up over time until they reach a crisis, which a community will vanquish by eliminating an innocent scapegoat or surrogate victim. -
Francis Ford Coppola As Bricoleur the Making of the Godfather
June 2013 WORKING PAPER SERIES 2013-MAN-05 Francis Ford Coppola as Bricoleur in the Making of the Godfater: An alternative view on Strategy as practice Hedley MALLOCH Birgit KLEYMANN IESEG School of Management (CNRS-LEM) IESEG School of Management Lille Catholic University 3, rue de la Digue F-59000 Lille www.ieseg.fr Tel: 33(0)3 20 54 58 92 Fax: 33(0)3 20 57 48 55 IESEG Working Paper Series 2013-MAN-05 FRANCIS FORD COPPOLA AS BRICOLEUR INTHE MAKING OF THE GODFATHER: AN ALTERNATIVE VIEW ON STRATEGY AS PRACTICE HEDLEY MALLOCH AND BIRGIT KLEYMANN ABSTRACT This paper analyses Francis Ford Coppola’s account of his making of The Godfather, one of the most successful movies in history, in an attempt to understand the role of bricolage in the strategy process. Our theoretical framework is Pettigrew’s (1990, Pettigrew, 1992, Pettigrew et al., 2001) process view of strategy development and Stacey’s (2000, Stacey et al., 2000) ‘bottom-up- teleology’. The contextual variables in which bricolage was enacted were: the history of the project plus four of Caves’ (2000) properties of the creative arts; namely the ‘nobody knows’ property, art for art’s sake, the motley crew property and the O-ring theory of production. Coppola’s account of how the movie project was crafted was transcribed using Nvivo and analysed using content analysis. The authors attempt to show that Coppola can be considered a bricoleur in the sense used by Lévi-Strauss (1962) rather than more recent interpretations. Coppola as bricoleur used human resource acquisition strategy; human resource development; and capability development and acquisition of resources as his repertoire of tools and resources to fashion his masterpiece. -
Composting As a Means of Final Disposition of Human Remains Asmara M
VOLUME 3 │ NUMBER 1 S avannah Law Review Have a Scoop of Grandpa: Composting as a Means of Final Disposition of Human Remains Asmara M. Tekle* I. Introduction Many a religious tradition teaches that, upon death, our human souls are transported to another realm. Yet in the end, our physical bodies are nothing but a bag of bones. The body’s decay can be delayed by embalming,1 the death industry’s version of Botox and facial fillers, aimed at forestalling our inevitable decay and decline. 2 The methods of final disposition of the body, burial, * Professor of Law, Thurgood Marshall School of Law, Texas Southern University. Many thanks to Reem Haikal and Don Tatum, TMSL Class of 2017, Katherine Vukadin, Katrina Spade, and the editorial board and staff of Savannah Law Review for inviting discussion on this topic. 1 Historically, the United States and Canada are the only countries that embalm the human dead as a mainstream practice, although the practice is increasing amongst Singaporean ethnic, Chinese, and the French. Philip R. Olson, Knowing “Necro-Waste,” Soc. Epistemology 1, 4 (2015). 2 Mary Roach, Stiff 80–81 (2003) (recounting how embalming had “rejuvenated” the body of an elderly man). “Mortuary embalming is designed to keep a cadaver looking fresh and uncadaverous for the funeral service, but not much longer. ‘As soon as the water table comes up, and the coffin gets wet . you’re going to have the same kind of decomposition you would have if you hadn’t done embalming.’ Water reverses the chemical reactions of embalming.” Id.; see Katrina M. -
The Struggle of Mafia Family in Maintaining Prosperity in the Godfather (1972)
THE STRUGGLE OF MAFIA FAMILY IN MAINTAINING PROSPERITY IN THE GODFATHER (1972) A THESIS In Partial Fulfillment of the Requirements for the Bachelor Degree Majoring in American Cultural Studies in English Department Faculty of Humanities Diponegoro University Submitted by RIZQI YULIAWATI 13020112130029 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2019 i PRONOUNCEMENT The writer honestly confirms that she compiles this thesis entitled “The Struggle of Mafia Family in Maintaining Glory in The Godfather (1972)” by herself and without taking any results from other researchers in S-1, S-2, S-3 and in diploma degree of any university. The writer ascertains also that she does not quote any material from other publications or someone’s paper except from the references mentioned. Semarang, September 2019 Rizqi Yuliawati ii MOTTO AND DEDICATION َفإِ َّن َم َع ا ْلعُ ْس ِر يُ ْس ًرا . إِ َّن َم َع ا ْلعُ ْس ِر يُ ْس ًرا “So verily with the hardship there is relief, verily with the hardship there is relief.” Q.S. Al - Insyirah (94) : 5-6 “Never explain yourself to anyone, because the one who likes you would not need it, and the one who hates you would not believe it.” Ali bin Abi Thalib “The reality is: sometimes you lose. And you’re never too good to lose. You’re never too big to lose. You’re never too smart to lose. It happens.” Beyonce This thesis is proudly presented to my beloved family and friends. Thank you for supporting me endlessly and giving me so much love. I am forever grateful and I will treasure it all my life. -
THE GOD FATHER (Mario Puzo) CHAPTER ONE Wedding on Long
THE GOD FATHER (Mario Puzo) CHAPTER ONE Wedding on Long Island On the last Saturday in August 1945, Miss Constanzia Corleone, daughter of Don Vito Corleone, married Carlo Rizzi. Her father had invited hundreds of people to the wedding at his huge house on Long Island, just outside New York. As the guests arrived, Don Corleone welcomed them all, rich and poor, with an equal show of love. Many of the guests had reason to be grateful to Don Corleone for their good luck in life, and they called him 'Godfather' to his face. Standing next to him as he welcomed the guests were two of his three sons, Santino - or Sonny, as he was called - was the eldest. He was a tall, strong, good-looking man with thick brown hair. He looked uncomfortable in his white shirt and black suit. The second son, Fredo, was completely different. He was weak- looking and pale, with sad dark eyes and thin lips. The youngest son, Michael, was sitting at a table in the corner of the garden with his girlfriend, Kay. There was a gentle, innocent quality to him, with his soft dark eyes and full lips, but his army uniform suggested that this was not a weak man. Just a quiet one. He was embarrassed by all the singing and dancing, but he was quietly pleased that Kay was enjoying herself. This was the first time that she had met his family. 'Who's that funny little fat man over there?' she asked, her eyes shining with excitement. 'He looks about sixty years old but he's dancing like a teenager.' 'That's Pete Clemenza,' Michael said. -
University of Sarajevo Faculty of Philosophy Department of English
University of Sarajevo Faculty of Philosophy Department of English Language and Literature Translation Studies Lexical and Stylistic Aspects of Montenegrin and Serbian Translations of ˝The Godfather˝ Leksički i stilistički aspekti prevoda romana ˝Kum˝ na crnogorski i srpski jezik Student: Hasan Bešlagić Mentor: Prof. dr. Amira Sadiković Index no.: 2616/2017 Sarajevo 2019 Contents Abstract ................................................................................................................................................... 3 Sažetak ................................................................................................................................................ 4 Introducton .............................................................................................................................................. 5 Biography of the author ....................................................................................................................... 5 Summary of ''The Godfather'' .............................................................................................................. 6 The required competence of the translator .......................................................................................... 7 Overview of the translation equivalents .............................................................................................. 9 Introduction ........................................................................................................................................ -
A Perspective on Traumatic Injury in the Godfather = Deje El Arma
RMC Original JMM Leave the Gun. Take the Cannoli: A Perspective on Traumatic Injury in The Godfather John L. Falcone, M.D., M.S1 1University of Pittsburgh School of Medicine, University of Pittsburgh Medical Center, Department of Surgery, Pittsburgh, PA (USA). Correspondence: University of Pittsburgh Medical Center Presbyterian University Hospital, F-675, 200 Lothrop Street, Pittsburgh, PA, 15213 (USA). e-mail: [email protected] Received 18 March 2012; accepted 29 April 2012. Summary Introduction: The Godfather is one of the most popular American movies of all time. The aims of this study are to describe the morbidity and mortality portrayed in The Godfather with a thorough video review. Methods: In this descriptive study, The Godfather was viewed for incidents of traumatic mechanisms. On-screen traumatic mechanisms were documented by time in the movie. Characters that died during the film were evaluated for type of mechanism and cause of death. Comparisons by timing and gender were made with Chi-Square tests, using an α = 0.05. Results: There were 24 incidents of on-screen traumatic mechanisms for 21 unique characters. A total of 22/24(92%) of the mechanisms involved male characters whereas 2/24(8%) of the mechanisms involved female characters (p<0.001). There were 7/24(29%) incidents of a traumatic mechanism in the first half of the film with 17/24(71%) inci- dents of a traumatic mechanism in the second half of the film (p=0.03). A Chi-square test showed a higher propor- tion of deaths in the second half of the film (p=0.01).