he Godf ther, 1972 is considered one of the pioneer-colored films in cinem togr phy. The film is b sed on
themes of crime, dr m , nd f mily. The utiliz tion of the color p llets in the film seeks to elicit the rel
tionship between the different them tic constructs. It is storyline concerning the life of Godf ther nd
g ng le der. Don s the Godf ther is ch r cterized by the color p llet of red, bl ck, nd white. Red is
represent tion of rom nce, love, blood nd its utility to the Godf ther ch r cter is centric to the f mily love.
The godf ther ffirms his subconsciousness through st tement th t “Drugs is dirty business nd it is
offensive for my friends in politics to notice”. In this c se, the ch r cter’s interests re ide lly ligned to the
protection of his f mily, nd the color contr st signific ntly dr ws th t necess ry ttention. The use of color in
this film ims t enh ncing the leth l inter ction between the ch r cter of Don nd the environment.
In different perspective, the colour p llet pl ys signific nt role in the tr nsitions of rcs in the movie plot.
The film b sic lly pplies three key color tones: m hog ny, or nge, nd sienn . In the opening scene of di
logue between Bon ser nd Don, the room is represent tive of suspenseful mood m inly bec use of the
color contr st between the red rose nd blend of or nge nd bl ck. However, the color p llet mix ch nges s
symbolism of the lter tion of the rc tow rds the d ughter’s wedding. The tr nsform tion involves the
elimin tion of the d rk contr st to revel tion of the blend of or nge, m hog ny, nd sienn . In ddition, the
tones of the color contribute to the style of the movie nd the eliciting of psychologic l impressions of the
udience. lthough there is l ck of color contr sts in eneid, the uthor prominently utilizes the concept of
dyn mic beh vior l responses nd overviews. Therefore, overviews from one god gets feedb ck from
nother god with different response. The incorpor tion of color p llets nd ch r cteriz tion h s profoundly
promoted the ppe ling n ture of film production nd prose in poetry.
The b ptism is one of the contr sting scenes in the movie m inly s result of events th t occur simult
neously. The Corleone f mily struggles to b l nce between f mily life nd g ngster de lings. However, the
godf ther strives to b l nce power nd le dership but results in violence, such s the occurrence during the
b ptism of the Godf ther’s nephew. The rhythm of the scene ent ils signific ntly intric te cuts of ction,
religious, nd f mily moments. The b ptism scene is n ideology th t lso contributes to the development of
Godf ther’s ch r cter. The prim ry role of Godf ther involves mentoring the household tow rds
righteousness. The godf ther demonstr tes responsibility nd commitment to the f mily by ttending
church services despite the controversi l solutions with business competitors nd enemies.
Godf ther is ch r cter fe tured s le der fostering the necessity to est blish superiority cross g ngster
society. The b ptism event is preceded by uniform be t rhythm in the scene while the Reverend b ptizes
Godf ther’s nephew. The uniform be t ch nges its form with the scene’s shift to the f mily he ds nd the
murder plots. The role of the be t’s h rmony ent ils the bility to lter the udience’s mood from religious
perspective to the other life of Godf ther’s f mily. ccording to the Godf ther, there is no pe ce without
violence, nd in this c se, he sserts th t there is no righteousness without violence. It is ffirm tive from
godf ther’s perspective th t “ friend should lw ys underestim te your virtues nd n enemy overestim te
your f ults”. The film editing str tegic lly merges the scenes s spectrum to rticul te the signific nce of f
mily v lues. The killing of the he ds of the f mily while the Godf ther’s nephew is b ptized indic tes th t the
f mily t kes precedence despite the mobster’s life.
The editing fe tures smooth nd h rd cut of the b ptism scene to enh nce the overl pping scenes’ relev
nce. n excellent ex mple is in the first murder scene involving the shooting of mobsters’ he ds in n elev
tor. The film prominently constitutes quotes from the godf ther th t demonstr tes the necessity of
prioritizing f mily m tters over business. The godf ther rticul tes th t “I r ised my d ughter in the meric n f
shion, g ve her the freedom but lso t ught her to honour her f mily”. It is evident to the m in ch r cter th t
household ff irs precede g ngster m tters. ene s offers the Troj ns n opportunity to settle down in
different cities or volunteer to go to w r with the enemies. There is proficient interrel tion between ene
s nd the godf ther under the spectrum of sep r ting person l nd public life mong the counterp rts.
In contempor ry society, righteousness refers to reconciling with the enemy nd living h rmoniously.
However, Godf ther’s ch r cter involves using fe r to defe t the enemy by killing the other f mily he ds. t le
st five f mily le ders were murdered while the Godf ther took n o th to live by the Bible’s rule. The godf
ther stipul tes th t “Revenge is dish best served cold”. The st tement demonstr tes the profound essence
of the g ngster le der to est blish rel tions b sed on the necessity of ssoci tions nd mutu l reli nce.
The b ptism scene enh nces the ch r cter development of the Godf ther nd the mor l v lues upheld in the
mobster’s life. Despite the ttempt to enforce pe ceful f mily life, the Godf ther results in violence s the
venue to chieve the b l nce. In different spectrum, the contr sting scenes ssert the future of the Godf
ther’s nephew th t involves protecting the dyn sty from the competitors. In this c se, religious v lues
encomp ss protecting the f mily’s lives while the mor l v lues enshrine killing the competitors to uphold
pe ce.
ene s ttempts to est blish sep r te link between f mily ff irs nd le dership but re lizes the hurdle fosters
signific nt difficulty. ccording to ene s, it w s his right nd m nd te to t ke the throne b sed on the
prophecy nd m rry the queen. Juno, however, le rned of the prophecy concerning the destruction of C
rth ge city nd optim lly distr cted ene s from chieving the foretold fortune. There is prominent simil
rity between ene s’ vision nd Godf ther’s intentions. lthough rel tives provided b rriers tow rds tt ining
the prim ry purpose, the two m in ch r cters use violence to restore their domin nce. n excellent ex mple
is ene s coordin ting tt cks g inst the Greeks. The Troj ns l unched n ss ult tow rds their counterp rts to
cle r the hindr nce to g in freedom nd power. One demonstr tion th t renders the experience is the b
ptism scene in The Godf ther. Despite ppreci ting f mily rel tions, the g ngster le der coordin tes the
killings of his enemies nd competitors during the occ sion. There is n pt indic tion of the consequences
for the contr st between the entities s the executive persons det ch business from household m tters.
Both le ders optim lly use uthorit ri n rule to tt in power nd control cross the popul ce. In this c se, both
entities exploit violent spects to elimin te thre ts nd competitors s me ns of tt ining the dict tori l level
of ssoci tion. On the one h nd, the Godf ther ensures the b l nce between g ng-rel ted de ls nd the
recognition of blood connection mong their counterp rts. ene s, however, focuses on the mother’s love
nd prophecy to chieve the centr l role ssigned s the futuristic conqueror. Not bly, both ch r cters show
ch rism due to the use of democr cy in situ tions dem nding commitment nd higher livelihood risks.
There is core distinction between filming nd poetry since the eneid demonstr tes dyn mic tr nsition b
sed on the plot. The uthor focuses on the illustr tion of critic l ch r cters with minim l differenti l f ctors in
rel tion to hum n beh vior. lthough the story revolves round supern tur l entities, there is profound
correl tion to the events within the society concerning violence nd thirst for power. The prophecy of
ene s t king the throne nd destroying Juno’s home vill ge triggers distinctive conflicts to chieve the m in
im of protecting sovereignty. Brut lity is n ppro ch th t prominently ffects the living quotient mong
people. s result, it is essenti l to est blish initi tives th t render relev nce tow rds the interdependent rel
tionship on soci l equity nd le dership ch rism . The poem fe tures n rr tive in prose form to c pture the
udience’s ttention.
Le dership is n initi tive th t dyn mic lly influences pe ceful coexistence mong people. ccording to the
poem, ene s’s duty to strive for power b sed on the prophecy nd the l ck of chieving the go l risked
signific nt neg tive consequences. The superstitious construct rendered the str ins from different p rties
using violent t ctics to protect the sovereignty nd dignity of their st tus, such s Juno. However, the story
plot further poses the essence of identifying enemy ties. The m in re son enc psul tes ene s’ bility to w
ge w rs nd win by est blishing genuine llies’ rel tions. ene s’s perspective on power dyn mics is simil r to
Godf ther’s spect in uthorit ri n rule. It is cruci l to shed blood nd offer freedom of choice to the loy l p
rties to e rn respect.
Conclusion
In conclusion, there is signific nt simil rity between ene s nd the Godf ther’s ch r cter in the respective
liter ture contexts. The n lysis indic tes th t both entities utilize pt dict tori l nd violent t ctics to tt in
power nd control mong the popul ce. Therefore, the dyn mics foster the dept spect of hum n beh vior
b sed on the belief system. While the Godf ther believes in the power of the f mily bond, ene s believes
in the prophecy nd the help from the gods. The eneid nd Godf ther foster signific nt insight concerning
the effect of democr cy nd uthorit ri nism on the perception mong personnel. s result, the counterp
rts f ce distinct hurdles th t ttribute to the imminent person lity development.