Eternal Sunshine of the Spotless Mind

Eternal Sunshine of the Spotless Mind

A good movie is one that stays with you long after you watch it. Whether it’s the engaging characters, the inventive plot, the remarkable directing and production, or some combination of the three, all great movies have things that make them great. In Eternal Sunshine of the Spotless Mind, director Michel Gondry successfully incorporates all three, in a mind-bending tale of love, loss, and beginning anew, making this 2004 film a prime example of cinematic excellence.

The film follows the lives of Joel Barish and Clementine Kruczynski as they attempt to erase each other from their lives, only to learn that letting go is not so easy. ““Blessed are the forgetful,” the quote goes¹, “for they get the better even of their blunders.” However, as Joel and Clementine soon learn, ignorance is not always bliss. As he undergoes the process of erasing her from his memory, Joel struggles in vain to break away, to hold onto some memory of the woman he used to and might still love. The movie takes you backwards through their life together, deconstructing it backwards as Joel relives and forgets each moment in turn.

It is in this deconstruction that the art of directing, editing, and presentation comes into play. Joel’s world is literally coming apart around him, each memory segueing into the next. Nearly all of these scenes were filmed using nothing more than lighting effects and camera tricks², and it’s amazing how well they are done. One especially memorable scene is the climax of the film, where the beach house Joel is in begins to fall to pieces around him. The house silently deconstructs and the ocean rushes up to meet it, tying the symbolism of the film--the idea of two things, two people, coexisting together despite the constant push and pull of one on the other--back in on itself. While the effects are not perfect, it creates a beautiful juxtaposition of man-made structures and the sea, and of memories forgotten and held on to. The ability to create this sort of depth and meaning behind a scene that also manages to be aesthetically beautiful is a certain sign of a talented director and a top-notch film.

Of course, these scenes would be meaningless without the multilayered plot, the complex and inventive yet somehow relatable drive behind the film. Eternal Sunshine twists time as it delves into Joel’s past, present, and future, tying everything back to Clementine. It is similar to the movie Inception in that it makes you think, while at the same time pulling you into the world so much so that you almost forget it’s a movie. It’s a drama that certainly has a few funny moments, but as a whole relies on emotion. It explores the concept of losing someone who isn’t really gone, and toys with the idea that we can never remove someone from our lives completely. While some might complain that the movie doesn’t exactly end on a happy note, one could also say that that is one of the greatest things about it: it’s real, it’s sincere, and it’s up front about the problems the characters are facing instead of skirting around them to bring the audience a cliche happy ending.

Despite the beautifully done bittersweet feel of the conclusion, one can’t help but want a happy ending for these characters. Another reviewer³ actually put it best when they said that “these two character stop being characters and start becoming human beings.” They’re real people with real flaws and problems, not idolized caricatures that seem to be becoming all too prevalent in movies. The viewer knows that Clementine talks too much, that Joel doesn’t talk enough, that Joel is too reserved while Clementine sometimes seems to have too little regard for safety or tact. They seem so real, you feel like you might know them, like you wouldn’t be surprised if you saw them walking down the street one day. Even though the film lasts less than two hours, by the end of it the viewer feels as if they know Joel and Clementine, and wants them to be happy.

Eternal Sunshine isn’t for every moviegoer—the plot does take quite a bit of focus to understand, and the surreal style might not be to everyone’s taste. But for those who enjoy a riveting story that plays with the ideas of love and loss, and asks questions that you can never really answer—Would you erase someone, if you could?—Eternal Sunshine of the Spotless Mind is certainly a must-see film.

¹http://www.imdb.com/title/tt0338013/quotes

²http://www.imdb.com/title/tt0338013/trivia

³http://www.cinema-crazed.com/eternal-sunshine.htm

Conan Xiao

Period 5

APLAC

                                    Review of SWHS’s presentation of Romeo & Juliet

Romeo and Juliet is one of the greatest plays under the masterpieces of William Shakespeare. This was a story about love, romance, and tragedy. Though the language during its Renaissance time period may have been obscure, the words were still extremely powerful in their meaning. This story was broken down into scripts that were used in the SWHS Drama Club’s performance of "Romeo and Juliet" at the high school and their performance was great.
When mentioning that the show was one that was great, it is not just said. This was one big performance and it does deserve a compliment. Of course there may have been flaws in some situations when the actors may mispronounce a word in their line or even forget it. That did not matter at all though. These actors let those mistakes pass by them as if did not happen and continued to perform their roles with full emotion. In a way, it could be seen that they added emotion to make up for the tiny flaws but generally, the performers added emotion to their lines to enhance their performance. This was what put the audience into the scene to witness a more renaissance type of experience rather than just watching people you know from school being on stage. The type of emotions that drew me in was those of Romeo. I simply felt that in the beginning he was very witty and charming but also had a bit of awkwardness and a desperate desire for love. I also enjoyed the emotions of the nurse. She performed her lines by adding emotions that would match the characteristic of a real nurse with a very bright attitude while acting obliged to serve one in need.
I was very impressed with how the cast members were able to demonstrate great fluency within their performance. From the play, I could tell that lots of time was put into this. In order for each individual to memorize their lines, positions, and fight sequences, they had to devote themselves to lots of practice time. The pamphlet given before the play said that each actor had to learn what they were saying in order to interact better with the text. Especially with the final scene, after Romeo sees Juliet unconscious, he fills the entire stage with the emotions that put the audience in a tragic scene. As he commits suicide and Juliet gives her last kiss and then dies, I really felt that the actors did a very great job depicting the tragic end. It was almost as if it was real and that is a great concept of acting skills. It is to not make it look entirely like you are acting. Each member of the cast showed their devotion to a great extent.
All in all, “Romeo and Juliet” may have been a difficult play, but the actors made it look very natural. This was overall a show that is worth seeing because it not only gives people of visual presentation of Shakespeare’s story but also the true talent that is in each one of the performers.

Memento - Christian Kim Period 5 Lodge

Christian Kim

Mrs. Lodge

APLAC Period 5

12 February 2012

Memento

Memento is truly a film for the generations. “Memento”, an indie mystery starring Guy Pearce as a San Francisco man named Leonard in Los Angeles suffering from anterograde amnesia, or short-term memory loss, is a memorable film which exhibits many characters as to why the film deserves the prestige it has come with. Pearce, suffering from short-term memory loss, uses notes and tattoos to hunt for the man who killed his wife (IMDB).

Now before I begin, I would like to offer my most complete analysis of this movie without revealing too much of its plotline. As the format of the movie is so unique, it is difficult to offer much of a summary without spoiling too much of the story. With that being said, let us begin.

"Memento" is a diabolical and absorbing experience, in which Pearce doggedly plays a low-rent fugitive who patiently makes maps, jots notes and explains over and over that he has to talk fast because in a few minutes he'll start forgetting the conversation. A motel clerk takes advantage of his condition to charge him for two rooms at the same time and cheerfully admits his fraud, pointing out Leonard will forget it. "Even if you get revenge, you're not going to remember it," he's told at one point, but his reply has a certain logic: "My wife deserves revenge whether or not I remember it." One striking element of the film is a series of flashbacks to a case Leonard investigated when he worked for an insurance company. This involves a man named Sammy, who appears to have memory loss, although he seems otherwise just like good old Sammy. His wife, a diabetic, can't be sure he isn't faking his condition, and arranges a test I will not reveal. This story has relevance to Leonard's own plight, in an indirect way.

If Leonard keeps forgetting what has already happened, we in the audience suffer from the opposite condition. We begin at the end, and work our way back toward the beginning, because the story is told backward. The film begins with a brilliant idea, a Polaroid photograph fades instead of develops and a murder rewinds on-screen. A bloody carnage is reassembled as a gun barrel pulls away from a helpless man. We are at the end of the story, and we are being pulled back to the beginning of one man’s quest to avenge the crimes against his wife. "Memento" is a construction of two stories; one shot in color in the "present" world in which Leonard is surrounded by the people in his life, and the other a timeless black and white documentary-like story of an isolated Leonard anguished by lack of memory and haunted by fear and anxiety. Each scene is played back forward; however, the structure with how the film is presented is extremely convoluted. Frequent flashbacks illuminate, or confuse, the issue as the movie cuts back from essentially two different plotlines, one starting from the very end moving backwards, and the other starting from the very beginning moving forward. Segments are shown making lateral movements between the timeline, until the two stories meet at the central plotline where the ending is replayed and the film finally reveals the final twist. Essentially, Leonard is adrift in time and experience, and therefore so are we.

Immediately, confusion is aroused which gives semblance to Leonard’s deteriorating condition. We are thrust into Leonard’s troubled mind, and in essence, shown how it is like to experience that same condition. Although this film is not the first time a narrative has been told backward, the concept still remains to be fascinating and extremely original in today’s spectrum of films. Much more could be said about he prowess of the cinematography, however the cast is another are where the film shines.

One might view Guy Pearce's performance as dry and emotionless, however that is exactly what he was attempting to emulate. He portrays the fast-paced straight-to-business character of Leonard who wastes no time in attempting to solve his wife’s death. The performance, although certainly won’t bring tears to anyone’s eyes, plays the role perfectly. The charm in the movie is not found in any emotional outbreaks or outpourings, but rather in the complexities of the plotline. Guy Pearce plays the role spectacularly and with an eerie sense of realism.

An excellent film shows three different criteria. The film must have a solid cast with great acting, great cinematography, and a great plotline. Memento excels in all of these categories which is why this film truly deserves the prestige that it has come with.

I do recommend watching this film at least twice before critiquing it however. The intricacies of the plot really show through after understanding the complete plotline. Although the enjoyment factor is lost the second time around, watching Christopher Nolan’s masterpiece unfold and noticing the excellent attention to detail makes it a truly satisfying experience. One can see how well-executed the film is and the superb level of cinematography at play. The film is clearly made to confuse an audience and to leave them with a feeling of unease until the final moments where the big reveal is made and the audience can together enjoy the extremely satisfying and unprecedented ending.

I can with no doubt say that this film is one of the best films I have ever seen. The masterful execution by Christopher Nolan is no small feat, especially for its small $5 million budget and three week filming time. And certainly, I am not alone in this evaluation. Rotten Tomatoes has the aggregate profession critic rating at an astounding 92% and, often the more trusted meter, the audience rating is at an amazing 93%. Metacritic has the audience rating at 9.1 out of 10. These ratings are based on numerous different audience members ranging from serious movie buffs to the average moviegoers which shows the enjoyment found within all levels of film watchers. I wholeheartedly recommend this film for any person and see no fault as to declare this to be an excellent movie.

Works Cited

http://www.metacritic.com/movie/memento

http://www.rottentomatoes.com/m/memento/

http://www.imdb.com/title/tt0209144/

Hyun-Young Kim

Mrs. Lodge

AP Language and Composition

12 February, 2012

Wag the Dog Movie Review

“Why does a dog wag its tail? Because a dog is smarter than the tail. If the tail were smarter, then the tail would wag the dog.” –taglines of Wag the Dog (IMDb).

The media coverage is supposed to reveal the news to the public, and allows for the country to keep an eye on our government. But what if our politicians were to outsmart the media and the public, like the tail outsmarting the dog in the tagline? What if our politicians created artificial news to manipulate the public to serve their own political interests? This is the premise of Wag the Dog.

Two weeks before the Election Day, the President of the United States of America is accused of sexual misconduct. To cover it up he brings in the spin doctor Conrad Brean (Robert De Niro) (IMDb). Brean, working with Hollywood producer Stanley Motss (Dustin Hoffman) and presidential aide Winifred Aimes (Anne Heche), attempts to distract the public by staging a fake war, complete with a refugee, a war song, and a war hero (IMDb).

Wag the Dog (1997), directed by Barry Levinson, is a shining example of a satirical film (IMDb). To be a good satire, a film must “blend critical attitude with humor and wit” in order to “create a shock of recognition” so that “the vice will be expunged from the person or the society” (Harris). There is no doubt that a satirical film must be entertaining, as it’s still a movie and thereby a form of entertainment. The comedy, however, should be used to help get the message across, not dilute it. A balance must be struck between the two, so that the movie doesn’t get too dry due to lack of humor, but also so that the message isn’t’ drowned out by the comedy.

Wag the Dog certainly has the humor. Often the quirks and personalities of different characters provide comedy. When a song writer is told to stop the song he’s making and to make a ballad about a shoe, he sarcastically comments “I was just on my way to get drunk”. Similarly, as their plans deteriorate further and further, Stanley Motss constantly claims “This is NOTHING” and rants on about troubles he had in producing movies (Levinson). These jokes, however, are not without meaning. Indeed, Stanley’s repeated claims that “This is NOTHING” play a major role in the plot (Levinson). It leads him to believe that the years spent producing movies were to prepare him for this grand endeavor, resulting in him growing attached to the project, and being killed when he demands credit for it. Other jokes offer additional criticism. It’s humorous when Stanley and other talents state their various reasons why they don’t vote, but then you realize that the men manipulating the nation don’t even care to vote.

Indeed, these humors are used as a catalyst to tell the jokes. When Conrad is asked why he chose Albania to go to war with. He responds calmly “Why not?” and asks what anyone knows about Albania, implying that nobody cares about Albania (Levinson). This seems like another joke until you see the parallel to how little our nation knows about the countries that we’re fighting in.

This is used to warn us about the dangers of both falling easily into patriotism& national fervor and the dangers of having a limited source of news. You might laugh at how ridiculous the premise of faking a war may be, but then you’re reminded that the public in general are ignorant of details of the wars, and only remember the iconic images. It’s also funny to see a worker in a “F*** (A) Albania” T-Shirt, but once you realize anti-Japanese and anti-German tendencies in World War II or anti-Muslim tendencies after 9/11, you might reconsider how caught up the country can get (Levinson). Wag the Dog is able to use its humor not only to entertain, but also to make a point, as a good satire must do.

There are, however, criticisms about the movie’s settings. It’s very unrealistic for the entire media to be controlled, or for a fake war to be created. After all, what about the Albanian government? What are they doing? One reviewer comments how it’s similar to the conspiracy theorists that believe the moon landing was faked or that 9/11 was a setup (McEwen). According to him, the film is “fun, but not very believable” (McEwen). He has a valid point, and it’s not just the premise of faking a war. Other parts are equally outrageous, such as a goofy, on medication rapist being used as the war hero “Old Shoe”. It’s understandable that some might claim this is an ineffectual satire, since it’s a mere fantasy and can’t be related to actual society.

That’s, however, not quite true. Sure it may seem unbelievable and outrageous, but exaggeration is one of the most common tools when one creates a satire (Harris). It amplifies the vice and makes it easier for the audience to see. And what we’re meant to see isn’t some imaginary power that the government wields. What’s being criticized, what we’re meant to re-examine, is our own gullibility and limited information. It may seem a bit outlandish, but that doesn’t mean it’s not applicable. In the end, Wag the Dog is still a great piece of satire that can make one both amused and scared at the same time. There’s a reason why it was nominated for the Oscars twice (IMDb).

Works Cited

Harris, Robert. The Purpose of Satire. 24 October 2004. 12 February 2012 .

IMDb. Wag the Dog (1997) - IMDb. n.d. 12 February 2012 .

McEwen, John R. Film Quips --- Wag the Dog. 1998. 12 February 2012 .

Wag the Dog. Dir. Levinson. 1997.

Raiders of the Lost Arc Evaluation

With over thirteen awards and dozens of nominations, Raiders of the Lost Ark certainly stacks up as one of the best action-adventure movies of all time.  Directed by Steven Spielberg, produced by George Lucas, and starring Harrison Ford, this film combines all the elements needed to be considered exemplary in all areas.

                This movie tells the 1936 tale of historian-adventurer Indiana Jones (Ford). His journey begins in Peru as he fends of booby traps, including the commonly duplicated rolling boulder, in order to retrieve a priceless gold idol.  Upon escaping he is surrounded by pesky French archaeologist Rene Belloq (Paul Freeman) and his men, who take the idol and force Jones to make another cunning escape.  As he returns to the States, he finds that the Nazis have made ground on locating the Ark of the Covenant, an artifact that could greatly aid Hitler in his global conquest.  The U.S. government asks Jones to beat the Nazis to the Ark, in order to protect the population from its awesome power.  With a stop in Nepal to gain information and the eventual accompaniment of and old girlfriend (Karen Allen), Jones is off to Cairo, the location of the Nazi dig.  Facing assassins, Nazis, snakes, and more booby traps, Jones stops at nothing to reach his goal, in a series of events that leaves the audience in awe.

                An action-adventure film can be defined as, “a genre of film specializing in violence and intrigue” (allwords).  Raiders of the Lost Ark delivers these two elements to the audience in an effective and compelling manner.

                Throughout the film, violence is present.  Whether it be fisticuffs between Indiana Jones and a group of Arab assassins, or a Nazi worker, diced like tomatoes by a plane propeller, this movie made for quite the excitement.  Although the special effects may be out of date in comparison to those of the modern movie era, they give the film a more vintage feel, one than can be better appreciated by a more mature audience.  Additionally, the violence is not without purpose, nor is it overwhelming for the viewer.  All too common these days are movies that center on gore and guts; these movies generally have very little entertainment value.  However, Raiders of the Lost Ark uses fight scenes and explosions to further the ideas of the plot.  By showing the Nazis’ souls being taken by the Ark, it is didactic to show the negatives of searching for too much power.  This purposeful violence makes the film a quality action adventure film.

                The entertainment of this movie is also increased by the great interest that this movie sparks in the minds of its viewers.  The topic, however irrelevant to the daily life of most people, is one that interests almost everyone.  It contains aspects of mystery, history, as well as humor to appease even the most serious of critic.  The multitudes of appeals that can be made from this movie really go to further its qualifications as a great action adventure.

                While some may argue that this film is out of date and not comparable to the so-called “great” action adventure movies of the past few years, the topic and content of Raiders of the Lost Ark are timeless.  With every view of this movie, new lessons can be learned, new historical connections can be made, and new humor can be laughed at.  This movie is indeed a classic, and should therefore be appreciated for its quality, and not ridiculed for its age.

                All in all, Raiders of the Lost Ark is obviously one of the greatest action adventure movies of all time.  The violence and intrigue in the plot, and passion of the actors make this film one for the ages.

Jenny Belanger The Vow

Jenny Belanger

Ms. Taylor

Period 2

APLAC

12 February 2012

Movie Evaluation

            What comes to mind when you think of a romantic classic? Do you find yourself pretending to be one of the characters because you are caught up in the plot?  Does the happy ending place a tear rolling down your face?  A romantic classic is a piece of work that embodies the essence of love that we all dream about.  The recently released movie The Vow, with director Michael Suscy, captures everything in order to make the final product the next greatest romantic classic.(IMDb)

            As Leo (Channing Tatum) begins the story he explains how life is all about moments of impact and how they change your life forever.   What he did not know was that one-day his wife, Paige (Rachel McAdams) would not longer remember these moments.  After being hit by a truck that couldn’t stop, Leo and Paige were sent to the hospital where the doctors found Paige has suffered a lot of brain damage.  Leo spent day after day at his wife’s bedside waiting for her to wake from her coma.  When the day comes and she opens her eyes, Paige is not able to remember the last 4 years she had spent with Leo.

            The struggles that they face as they try to piece together her memory was frustrating for both parties.  Although, Leo is persistent in sticking to the words said in his vow, “I vow to love you, and no matter what challenges might carry us apart, we will always find a way back to each other.”(Vow Quotes)  While trying everything it seemed Leo could do nothing to bring back the love that Paige once shared with him. In helping, Leo tried using movies, photos, and phone calls to bring back her memory.  But every time Paige rejected the help.  When this continued he felt that the chances of him ever getting his wife back had vanished.  As hard as it could be Leo had to walk away from the women he loved.

            The actors in The Vow are popularly known for their roles in other romantic movies.  For Rachel McAdams, she is best known for her role in the Notebook and for Channing Tatum and his role in Dear John.  Because of their skill they were able to create chemistry between each other.  Channing Tatum’s work of being the passionate loving husband, added nicely to the confused and struggling Rachel McAdams. 

            The Vow was based on a true story where the husband and wife persevered and had moved on from the traumatic event.(Kim and Krickitt Carpenter)  They are now remarried and have two children.  Luckily the Vow had a happy ending as well where Paige realizes that the love she had for Leo was always there and all she had to do was bring it back to the surface again. 

            All in all, The Vow was by far the greatest romantic classic due to the emotion that was presented by the actors, the happy ending, and the fact that it is based on a true story.  There is no doubt that the passion shared between Leo and Paige will be an inspiration to all future couples.

Works Cited:
IMDb, The Vow. http://www.imdb.com/title/tt1606389/ (Accessed on February 12, 2012)
The Vow Quotes. http://vowmovie2012.com/quotes.html (Accessed on February 12, 2012)
The Vow- The True Events that Inspired the Movie. http://www.bhpublishinggroup.com/books/products.asp?p=9781433675799 (accessed on February 12, 2012)

Katie Cavanaugh: The Godfather

Katie Cavanaugh

Ms. Taylor

APLAC Period 1

12 February 2012

The Godfather: A Classic

                Click on your television on a weekend night, flip through the channels, and you’re more likely than not to find a showing of The Godfather.  Turn on said channel and you’ll find yourself watching a critically acclaimed, organized crime drama centering on the Italian American Corleone family, one deemed “The Greatest Movie of All Time” by both Entertainment Weekly and Empire magazines (IMDb.com).  Flip past The Godfather and you’re still likely to end up watching it, just in modified, modernized version: think The Jersey Shore, Mob Wives, or The Real Housewives of New Jersey. 

However, the original, directed by Frances Ford Coppola and released to the American public in 1972, embodies the very depth, thematic brilliance, and genuine performances so many of its successors are criticized for lacking (TVGuide.com).  Using the ever-appealing sheen of the gun-toting Mafia and the distinct glamour of life lived outside the law’s bounds, this film, much like a good Mafia hit man, draws an audience in seamlessly and then, almost before they know what has happened, engrosses them in a profound, multi-faceted drama about the evolution of an entrancingly imperfect family.  By capturing viewers in such, and then proceeding to lead them through action-laced events to an ending rich with thematic value, The Godfather is a definitive classic American film.

                Society evolves constantly, second by second, especially in reference to the various technologies and ways of communication seemingly sprouting instantaneously.  A classic film has to have staying power and, to do so, has to appeal to audiences over a wide time span with its thematic richness. In essence, such a film must focus on issues that, no matter the time or place, are wrestled with by humans on a basic level.  Classic films must also be the product of inspired casting: strong performances from actors portraying realistic, genuine, fresh characters are necessary for a movie to be considered classic. And a movie can scarcely be considered classic if it fails to take on an innovative role in society.  Classic movies define new genres for future cinematographic endeavors and have cultural longevity within American society. 

                By playing upon a combination of the ideas of family, individual evolution, and moral strength in the face of a corrupt community, The Godfather creates the kind of rich thematic experience that affects a viewer on a personal level and makes the film itself classic. Opening with the wedding of “Don” Vito Corleone’s daughter, Don, the head of a New York mafia ‘family,’ appears entirely in control of those around him, despite the lurking realization that his power is beginning to erode.  Don Vito, played to brilliant believability by Marlon Brando, believes in the old-school morals that are quickly becoming a thing of the past in the organized crime of the late 1900s: family, loyalty, and respect.  These antiquated views, along with gambling and alcohol, are forces of the past.  However, Don Vito refuses to abandon them and denies the family involvement in the narcotics business of the future, at the expense of high profits.  The family patriarch can scarcely view this as a moral victory, though, as his youngest son Michael, once an innocent bystander to his family’s atrocities, becomes  head of the family mafia and institutes a far more ruthless rule than that of his father.  Don Vito’s difficulty to evolve in the face of changing times is just as pertinent today, as people struggle to adapt to society’s demands while also retaining their own morals.  Watching the Corleone’s struggle to define a moral code and witnessing the transformation of Michael from a war hero opposed to his family’s life of crime to becoming exactly what it was he once condemned is the kind of thematic material that makes a viewer question the basis of their own values and fallibility. 

                The Godfather also reaches the level of a classic movie by featuring distinct, complex characters free from stereotype, although they may have consequently formed some of their own.    While The Godfather is certainly a drama about organized crime, it is not a film about mobsters: it is a film about people.  The raspy voice, deliberate movements, and penetrating stare of Marlon Brando as Don Vito create for the audience a complete person, something more than just the stereotypical gangster.  This is not a man who is heartless or irresponsible: in his own words, “A man who doesn’t spend time with his family can never be a real man” (IMDb.com).  Don Vito is, in many ways, everything the typical man aspires to be: he puts family first and despises displays of weakness.  Yet the moments that transcend most from the film directly to the audience are those when Don Vito displays his wordless sympathy for Michael as he is forced to assume the family throne, showing an understanding of the burden of power and responsibility in a most natural way.  By casting actors and actresses with the capacity to portray such complicated characters down to every movement and every word, The Godfather creates a set of relatable, unforgettable characters, ones we see reflected in ourselves and those around us. 

                A classic movie can be played any time and be both enjoyable and relevant.  Often, what makes these films have continued relevance is that they have made an imprint on the culture of society itself.  The Godfather, perhaps more so than any other film in recent history, remains relevant and has cultural longevity.  In fact, it can be argued that The Godfather created the “gangster movie” genre and inspired the current American fascination with the lives of Italian-Americans who, like the Corleone family, walk the line between right and wrong, law and transgression, moral and corrupt (TheGodfather.com). 

                Certainly The Godfather’s successors, shows like the aforementioned Jersey Shore or Mob Wives, fail to have such substantive value as the film but they do reflect the ever-prevalent questions explored in the movie itself.  In a society where politicians and businessmen could increasingly be easily confused with the morally just, but ruthless mafia men featured in the film, The Godfather brings up issues that are still very much at the front of cultural context.  For example, how does one define family, and what should one be willing to do to protect theirs?  What makes something moral? How tightly should one hold to their morals? What does it mean to be lawful? How does one reconcile who they want to be with what society is pushing them to become? 

                These aren’t questions The Godfather has answers to; only ones that it brings to the forefront of the viewer’s mind.  And because these questions are almost always relevant, if not more so today than when the movie was filmed, The Godfather is a classic.  Because, while, yes, this movie has great themes, genuine characters, and has stayed the test of time, it is the ability of The Godfather to make a viewer evaluate, and perhaps even change, their own way of life, that makes it truly classic. 

Works Cited

IMDb.com. "The Godfather (1972)." The Internet Movie Database (IMDb). 12 February 2012 <http://www.imdb.com/title/tt0068646/>.

TheGodfather.com. "About the Films- The Godfather Timeline- 1990s." TheGodfather.com. 12 February 2012 <http://www.thegodfather.com/>.

TVGuide.com. "The Godfather: A Flim Review." TV Guide. 12 February 2012 <http://movies.tvguide.com/the-godfather/review/124688>.