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the 40th anniversary of the performance of the Godfather. To commemorate this event, this paper reviews other classic American gangster movies of the same period. The movies we selected are all made in the United States, just to keep the ranking table at a certain length. By the same token, we try to focus on films characterized by gangs, rather than robbery films like the underdog or other genres with organized crime backgrounds. Next, we will put the Godfather in this field: the film itself, its predecessors, and future generations. (The Public Enemy (1931)
enemies of the people (1931) Warner produced many great gangster films, mainly starring authoritative crime film actors like James Hackney, Edward G Robinson, and Humphrey Bogart, and it was difficult to pick a favorite of these films. But we'll start with William A. Wellman's 1931 classic. In this film, Jake and Edward Woods play a pair of young children, both of whom later become members of the underworld during the prohibition period. The film's stylish director, accurate performance, and supporting roles (including Jane Harlow, Joan Brondel, and grapefruit collector Mecarak) are also very likable. It is a favorite of Martin Scorsese, the authority of the gang film industry. Scarface (1932)
gangster movies have been walking a careful tightrope between glorifying and condemning criminal life, especially during the Hayes decree. The law stipulates that all criminal activities on the screen must be punished and criminals are not allowed to win the sympathy of the audience. "Scarface" producer Howard Hughes and directors Howard Hawkes and Richard Rosen are at loggerheads with inspectors over the film they made in 1932. The plot of the film is based largely on the rise of Al Capone, although at the end of the film, Capone's avatar Tony Carmont (Paul Mooney) dies in a hail of police bullets. But before that, the audience enjoyed the cunning bad behavior for 90 minutes. Hughes filmed a more disciplined ending, but even that didn't avoid trouble. As a result, he finally did everything he could with the inspector to release the original version, making it the most iconic gangster film in history. (Point Blank (1967)
step by step (1967)
by the late 1960s, American gangster films had begun to decline: the production target was redirected to police and bandit films (such as "murder" and "the Night is still"), and the concept was redefined by overseas producers (especially those gentlemen who love gangster films in the new wave of France). This fascinating film tailor-made by John Bowman for Li Marvin in 1967 is one of the important "existential" gangster films, reflecting the shift of the genre's standard plot to contemporary experimental production technology and circular narrative. The Godfather (Parts I and II) (1992 and 1974)
the Godfather (1972 and 1974)
by the time Paramount bought the rights to Mario Puzo's best-selling book, gangster films had been losing money at the box office for years (the studio also lost a lot of money on the Brotherhood a few years ago). In 1972, Francis Ford Coppola's masterpiece completely turned the tide. To tell you the truth, at that time, this art was gradually moving towards the abyss of box office poison, and the film was a rare exception. It is the leader of the film industry (such as "the birth of a Nation" or "Citizen Kane"), not only describes the nature of the film at that time, that is, the past and future of the film, but also reached the pinnacle of the film. After the repeal of the Hayes Act, the film, like other great films of the New Hollywood period, incorporated new freedom and complexity into classic American stories. The story takes place in the past, but it alludes to our present and future. (The Outfit (1973)
the Godfather co-starred Robert Duvall, bringing this slightly obscure but entertaining thriller to the big screen based on the novel by Donald E. Weisrek (who also provided the original for step by step). Duvall and Joe Don "Michelle" Baker play "heavily armed" thieves from a well-organized crime syndicate in Chicago to rescue Duval's brother. As step by step, the film sounds like a typical revenge thriller, but director John Flynn injects fresh elements and tenacity into the story. (Once Upon a Time in America (1984)
American past (1984)
since the 1960s, Sergio Leon has been eager to one day bring Harry Gray's novel "the Little thug" to the big screen. At first, he planned to use this as a follow-up plan after the Golden three darts, which he had planned to use as the closure of his westerns. It turned out that this was not the case, and he filmed "American past" in the West and, in the middle, "Revolutionary past" (in addition, he co-produced two obscure Italian westerns with other directors). In 1984, ten years after his last official directing, the Meiyi co-produced film was finally released, and audiences were eager to see if Lai Weng could redefine gangster movies as he did with the redefinition of westerns. His work turned out to be an awesome epic. When the original version of the film was released in Europe, it was edited out for 40 minutes, a total length of four hours. But when it was released in the United States, there was only one cut left.39 minutes is an insult to the American film industry. Fortunately, home video allows us to watch the European version. Looking at a film like that from today's point of view, Leon's broad view of life, friendship, and betrayal within a Jewish community is calm, wise, and unforgettable. (The Untouchables (1987)
"selfless" (also known as "righteous ambition") (1987)
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Francis Ford Coppola and Martin Scorsese, contemporary of Brian de Palma, are often regarded as heavyweights in gangster movies by so-called Hollywood "movie rookies", but Brian has caused a sensation many times. The most iconic of these is his 1983 remake of Hawkes and Rosen's Scarface, which has been praised repeatedly in T-shirts and hip-hop lyrics for decades. The film is quite entertaining, but it is occasionally overshadowed by the burden of the film itself. "Dawn of the owl", which Brian made again with Pacino and producer Martin Bregman in 1993, is a hilarious, shoddy film, old-fashioned and lively. However, his best gangster film was probably the classic TV series "selflessness" shot in 1987. David Mamet's play focuses on Elliott Ness (Kevin? Costner (played by Costner) and his secret service team, but the film sometimes locates their target Al Capone (Robert de Nino performs it to the extreme), which has a creepy effect. Goodfellas (1990)
Martin Scorsese is in charge of American gangster movies, and for good reason: his groundbreaking film "rough streets" focuses on organized crime, and then, throughout his career, he picked up the old business of shooting stories of rivers and lakes. However, the best of them is that he filmed "there is a way to steal" in 1990, which is adapted from Nicholas Paleridge's documentary novel. The most famous scenes in the film are the iconic shots-the push-and-pull shots that go deep into the "Kopai Watch", the follow-up of "May 11, 1980" and the discovery of the body after the robbery of Lufthansa. In these clips, wherever the camera goes, Scorsese, as a technical producer, tries his best to do his best-fast telephoto, ingenious zoom, fast pan, full shot, slow motion, fast editing, novel synthesis, circular narrative. From continuous music to periodic decoration to kitchen details, the film lives with the environment. Miller's Crossing (1990)
the fight between the Dragon and the Tiger (1990)
September 1990 is by no means a good time for you to release a gangster movie. "the Godfather" III will be released in December, so there are bound to be a large number of crime films released this fall: "The Thief", "the Mafia Emperor", "the Devil Sheriff Hell Town" and "the Dragon and Tiger fight" are all packed in the same two-week period. Among them, "the thief also has the way" is the most popular, while the Cohen brothers'"gang dragon and tiger fight" occupies the rest of the market. The other two films will not be able to find an audience until the home video goes on sale. The style of the two films runs counter to the expectations of the audience. The younger Cohen brothers' first two films, known for their fast, highly stylized photography, tried a more classical, black-influenced approach, while the older Scorsese used clever photography techniques and a high-speed pace that audiences had expected would come from the Cohen brothers. However, it just happened, and the swap worked. The fight between the Dragon and the Tiger of the Mafia has always been one of the most unforgettable and mature works of the Cohen brothers. (New Jack City (1991)
New York Black Street (1991)
throughout the 1970s, producers tried to combine gangster films with "black films" with little success. Although there are films like "Black Caesar" and "Black Godfather" for entertainment, they are not good films. Mario Van Peebles' Black Street in New York in 1991 has been affected by some of the same theatrical trends (and a resurgence of trends that think funny is also important). But the film was successful and not forgotten, thanks to the brilliant performance of the lead actor Wesley Snipes, who played the unrepentant liar Nino Brown in the film. Of course, Snapes later became a laughing stock, but it was an earth-shaking and gripping transformation, and his charm lies not only in his evil but also in the back of the film. the fragility he shows when communicating with his childhood friend and pesky trading partner, Giamani (Alan Payne).