#Virgil Sollozzo
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melis-writes · 8 months ago
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THE GODFATHER (1972) dir. Francis Ford Coppola.
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tilbageidanmark · 6 days ago
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MOVIES I WATCHED THIS WEEK #201:
The best films of the week: 'A taxi driver', 'Sudden fear', 'Sharper', 'The eloquent peasant', 'Rocks in my pockets', 'If anything happens I love you', 'Windy day', 'Late autumn', 'The big wait'.
2 BY KOREAN DIRECTOR JANG HOON, BOTH WITH STAR SONG KANG-HO:
🍿 A TAXI DRIVER (2017), my first by director Jang Hoon, is one the five best Korean films I've ever seen. What style! What a balance of emotional complexity, technical proficiency and political subtext! It's based on true events which happened during a perilous time in South Korean history. Song Kang-ho (The father in 'Paradise') is a street-smart taxi driver, who takes a German journalist into Gwangju and witnesses with him the student uprising and massacre that occurred there after the 1980 Coup d'état. Maybe even better than Scorsese's 'Taxi Driver'?... 10/10.
🍿 Jang Hoon directed only 4 features, and all were huge money makers in Korea. But his 2010 SECRET REUNION disappointed me greatly. It was just a standard police action film revolving around a North Korean sleeper cell of trained assassins, and it was unremarkable. 2/10.
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"Who are you? Another relative? You have broken 18 dicks! I'll kill you, all gorillas, all policemen and all the Dutch"
THE SUNDAY WOMAN is an unusual Italian comedy about a murder investigation. An eccentric architect is bashed on the head with a large stone phallus, and the clueless police force is scrambling to solve the high-society death.
It's definitely worth watching for the star power of "Commissioner" Marcello Mastroianni (with his sexy baritone voice), Jean-Louis Trintignant as a secret gay patrician and Jacqueline Bisset as the radiant, bored wife of a wealthy businessman. Also for the unmistakable score by Ennio Morricone's.
The director's ambiguous style makes the confusing 'Chinatown'-like plot even more convoluted. It's also wonderful to see the streets of Turin as they were in 1975. 7/10.
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2 OF DIRECTOR DAVID MILLER'S (??) BEST FILMS:
🍿 How come I never even heard of the stylish, smashing Noir thriller SUDDEN FEAR from 1952?? Milf'ish Joan Crawford is a rich and successful San Francisco playwright, who falls for younger actor Jack Palance, while he schemes to murder her for her inheritance. He looks here like one of the greatest film villains, with his chiseled jaw and piercing eyes, and his side-lover Gloria Grahame is just gorgeous. (Interesting side note: Crawford mentions that there were 2,174,000,000 people in the world at that time. Mmmm...) 9/10.
🍿 "If it didn't take men to make babies, I wouldn't have anything to do with any of you..."
LONELY ARE THE BRAVE is a 1962 new revisionist Western with Kirk Douglas as the "last" old-fashioned cowboy, a rugged individual and independently free. He's a 'Rebel without a cause', a freewheelin' ranch hand who refuses to join the contemporary society of mortgages and driving licenses. Unfortunately, he's now roaming a modern New Mexico which is filled with highways, Jeeps and helicopters. It's obvious that it's going to end up badly. Still, I did not expect the symbolism of his horse getting hit in a rainstorm by a long-hauling truck carrying toilets. (and chauffeured by Archie Bunker!). With young wife-of-a friend Gena Rowlands.
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HEAVY TRIP, (2018), a sweet comedy from Finland about 'Impaled Rektum', a Heavy Metal band from a small rural town which after 12 years of practicing, still have never played a live gig. I have absolutely zero interest in "symphonic post-apocalyptic reindeer-grinding Christ-abusing extreme war pagan fenno-scandian metal" or any other kind, but this was highly entertaining. Its mood reminded me of "Miss little sunshine", even though story wise the two had no connection whatsoever. 7/10.
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THE GETAWAY, Sam Peckinpah's suspenseful action-thriller of a Texas bank heist and Lovers on the run. Starring real-life, super-cool married couple Steve McQueen and Ali MacGraw. Also co-starring both "Virgil Sollozzo" and "Al Nery" (which makes sense as this too was filmed in 1972), as well as Silm Pickens.
Also with Quincy Jones' distinct jazzy score, highlighted by Toots Thielemans' mournful harmonica sound. In Peckinpah's usual misogynistic manner, there are multiple incidents of guys slapping women around, including the otherwise-loving McQueen. Also, the famous bad guy who kidnap a meek husband and his naughty wife, and then humiliates him by sleeping with the wife in front of him. I've seen a similar story multiple other times, but can't remember where. Re-watch♻️. 8/10.
RIP, Quincy Jones!
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THE ELOQUENT PEASANT (1969) is the most unusual film I saw this week. It's an Egyptian morality tale based on a 4,000 year old story from the 'Middle Kingdom' of Egypt. A poor peasant is robbed by a noble man of all his possessions, and he's seeking justice from a Pharaoh, by applying flowery arguments to make his case. His language skills are so appreciated by the ruler, that he delays his verdict, just so he can hear him speak longer. It's composed in the most beautiful Technicolor brushes, and has a striking, radiant look. It was restored and preserved by Martin Scorsese's 'World Cinema Foundation' (together with the director's 'The Night of Counting the Years' which is next on my list).
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ANYTHING FOR HER (2008) is a French thriller by a first time director. Diane Kruger and her husband are an ordinary couple with a kid, when she is suddenly arrested for a murder she didn't commit, but is wrongly convicted for it and is sentenced to 20 years in prison. The first two acts are okay, but unremarkable. The last suspenseful 30 minutes are dynamite!
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FILMS WITH 100% SCORE ON ROTTEN TOMATOES X 2:
🍿 ROCKS IN MY POCKETS (2014), "A funny film about depression", is the most amazing adult animation feature from Latvia I've ever seen! I simply cannot understand how come there are original and amazing masterpieces like this out in the world which are completely off the radar. For. ex., it was submitted by Latvia as their official entry for the 87th Academy Award, but was not even nominated.
The trailer is all one needs to see before deciding if the movie is right for them. 💯 score on Rotten Tomatoes. 10/10! [*Female Director*]
🍿 Re-watch ♻️: IF ANYTHING HAPPENS I LOVE YOU won the Oscars in 2020. A married couple is wordlessly grieving the death of their 12 year old daughter [in a school shooting]. Inspired by (and reminiscent of) the Dutch 'Father and daughter' which also won the Oscars (in 2000). 💯 score on Rotten Tomatoes. It's Devastatingly Sad.
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Re-watch of the clever thriller SHARPER. An excellent long-com game, equal to the best of the 'Grifters' genre (in spite of the final, improbable twist). With an exceptional score that includes both Talking Heads and Cole Porter at the right moments. 9/10. ♻️.
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PUT OUR MÄRTA FIRST OR AS LUCK WILL HAVE IT is a traditional Swedish comedy from 1945. I watched it only because I was led to believe that it was some "obscure science-fiction comedy about drag queens", but it wasn't. It's obscure all right. But the sci-fi element was limited to a 2006 opening scene, with an old man telling his granddaughter the story about a hero from 1945, and the rest of the movie is just a flashback. The exact cross dressing plot was later used better on 'Some like it hot': 2 unemployed musicians can only get a job with a traveling women's band, so one of them has to dress up as a woman. [it even has some important scenes on a train, just like Wilder's!]. Unsurprisingly it morphs into a straight-up feminist message film, a-la-Tootsie, with a call for equal rights and free love. But it is told in a very dated, low-brow, broad comedic style. The director, Hasse Ekman, was apparently the most acclaimed Swedish director after Sjöström and before Bergman. 2/10.
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WHO KILLED JAZZ (Documentary, 2021) is a skillfully-made and impressionistic analysis of the economics of the live jazz music scene. The genre as a whole still flourishes, but the musicians themselves cannot make a living in it. Recommended.
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ITALIAN POETIC REALIST VITTORIO DE SETA IN 1955 X 3:
🍿 ISLANDS OF FIRE, a wordless natural documentation of fishermen and villagers on the island of Stromboli during a volcanic eruption in 1954. He did 10 ethnographic shorts like this during this time.
🍿 THE AGE OF SWORDFISH, another awesome story of Sicilian fishermen spear-fishing a large swordfish, a custom that disappeared around that time. 8/10.
🍿 PEASANTS OF THE SEA is even more brutal; A fleet of boats capture a large school of Tuna, and kill them all in an orgy of blood and guts. CW. 9/10. De Seta was really talented.
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“Ouch-e-megouch!"
MAGIC TOWN (1947) was the last movie I anxiously watched the night before the election, while being depressed by opposing polls predicting the winner. It was recommended because city slicker James Stewart played a public opinion pollster (for time on film) who moved into Small Town USA, believing that there he can find a perfect reflection of the country as a whole. But this Frank Capra-lite was terrible all around, with a lame-ass romance, and reactionary politics, including the outlandish proposition in one of the polls that "79% favor a woman for president" [Screenshot Above]. Ridiculous! 1/10.
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A BUNCH OF SHORTS:
🍿 BORED ON EDUCATION (1936), my first 'Our gang' episode, and the only one (Out of 220) to win an Oscar. The series was notable for featuring black & white children acting as equals during the Jim Crow era. I didn't realize that the series lasted for 22 years, and employed many sets of kids replacing others who grew out of their roles.
🍿 WINDY DAY (1968) was an adorable animation about two cute little sisters who chatter over each other's as they play and playact, in the cutest, most natural voices. 9/10.
🍿 GOD OF LOVE won the Oscars in 2010. It's a quirky independent comedy in a French New Wave style. A goofy-looking, young Brooklynite lounge singer receives an anonymous box of 'Love Darts' and becomes a local Cupid. Cute. 7/10.
🍿 LATE AFTERNOON (2017) a tender Oscar-nominated Irish story about an old woman who doesn't remember much of anything anymore. 10/10. [*Female Director*]
🍿 In LUCKY FISH (2022), two Asian-American girls exchange glances across the tables at a Chinese restaurant, and then meet by the magical gold fish tank to kiss. Pretty adolescent and not very deep. [*Female Director*]
🍿 PORTRAIT OF GOD (2022), a short horror story about a religious girl who prepares a presentation about a painting of God. Everything I don't like about the Horror genre is here: The eerie soundtrack, the mystical questions that remain unanswerable, the scary jump-cuts, the implied danger, the ambiguous undertone of evil. It's all so unnecessary. 1/10.
🍿 THE BIG WAIT (2023) is a lovely Australian documentary about a couple who lives alone in the middle of nowhere, and maintains a 6-cabin B&B in pristine condition, for visitors who hardly ever come there. 8/10.
🍿 MNEMONADE, a brand-new A.I.-generated short about the Sands of Time and an old woman with dementia. It's not quiet yet there, but as I said a year ago here, I'm sure that within a year, two max, we'll start seeing 'Good' A.I. features, and that in 2025, I'll be viewing some of them. (Via).
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(ALL MY FILM REVIEWS - HERE).
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agendaculturaldelima · 8 months ago
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#ProyeccionDeVida
🎬 “EL PADRINO” [The Godfather]
🔎 Género: Drama / Mafia / Crimen / Años 40 y 50 / Familia / Película de Culto
⏰ Duración: 175 minutos
✍️ Guion: Francis Ford Coppola y Mario Puzo
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📕 Novela: Mario Puzo
🎼 Música: Nino Rota
📷 Fotografía: Gordon Willis
🗯 Argumento: América en los años cuarenta, Don Vito Corleone es el respetado y temido jefe de una de las cinco familias de la mafia en la ciudad de Nueva York. Tiene cuatro hijos: Connie, el impulsivo Sonny, el pusilánime Fredo y Michael, que no quiere saber sobre los negocios de su padre. Cuando Vito, contrario a los consejos de Tom Hagen (Il Consigliere), se niega a participar en el negocio de las drogas, el jefe de otra banda ordena su asesinato. Así, se inicia una violenta y cruenta guerra entre las familias mafiosas.
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👥 Reparto: Al Pacino (Michael Corleone), Marlon Brando (Vito Corleone), James Caan (Sonny Corleone), Diane Keaton (Kay Adams), Robert De Niro, Talia Shire (Connie Corleone), John Cazale (Fredo Corleone), Richard S. Castellano (Joven Peter Clemenza), Gianni Russo (Carlo Rizzi), Simonetta Stefanelli (Apollonia) y Al Lettieri (Virgil Sollozzo)
📢 Dirección: Francis Ford Coppola
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© Productoras: Paramount Pictures & Alfran Productions
👤 Productor: Albert S. Ruddy
🌎 País: Estados Unidos
📅 Año: 1972
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📽 Proyección:
📆 Martes 19 de Marzo
🕗 8:00pm.
🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)
🚶‍♀️🚶‍♂️ Ingreso libre
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🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛
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besiegedhunter · 11 months ago
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I keep trying to understand why they choose Saluzzo and not any other city, because this place have a literally no connections with mafia and was hardly even important for Roman Empire.
The only thing could be that it kinda was tossed between Italy and France a lot, but I highly doubt that they would connect Gaul and Siracusa through Lappland when there is a fucking PROVENCE.
But wouldn't it be interesting if they did Beast of Gevaudan thing-
So do you have any idea why it's Salluzo?
(Also happy New Year!)
Happy day of new year! And y'know what? I have been wanting to make a Provence post so I may talk a bit about the Beast of Gevaudan and Gaul but on Lappland's name.
So I don't know much about any of these topics and I don't have the confidence to say one thing or another but random bits of information I've heard while researching is like, Saluzzo apparently has things like iron, lead, silver, slate and marble in the mountains around it which, if that's substantial enough I could maybe see with Lappland's colour scheme and having oripathy.
There's also two people mentioned in the wiki for Saluzzo whose bodies of work I don't know but possibly could serve as inspiration. And having looked at other's I remember someone, I don't recall who, but they did fight the mafia iirc and die doing so.
Those are random odds and ends but two other thoughts I've had is one: Piedmont supposedly was influential in the Unification of Italy. The first King of Italy actually was from Piedmont and the Unification declare in Piedmont. There's even something known as Piedmontization which is the modernization and dominance of Piedmont following the Unification.
It's maybe possible they wanted somewhere in Piedmont and Saluzzo just was the place that they chose.
My second idea is one that I actually misunderstood at first. See I'd known her last name was Saluzzo since the CN livestream but when the event came to global I decided I'd watch the Godfather in the hours leading up to the servers opening.
I really thought that Virgil Sollozzo was Virgil Saluzzo and the inspiration for her name. Of course they're different and there's not really much you can connect between the two characters but maybe there is something there?
Like Lappland isn't a narcotics trafficker, we don't even know what the Saluzzo as a mafia do, and sure you could see the intimidation and power that he has as being somewhat reminiscent of Lappland but nothing exactly rings a bell.
But it's feasibly possible that the crucial role Virgil Sollozzo has in making Michael Corleone a ruthless mafioso could be similar to how Lappland desires to bring out the real old Texas that was ruthless. Maybe also in her role in Il Siracusano as a element from outside that comes to the city, inciting chaos and brokering deals that likely wouldn't have happened without her help.
Besides those options I have no idea.
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violasmirabiles · 2 years ago
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The Godfather + Onion Headlines (part 7)
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francis-ford-kofola · 2 years ago
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STOP talking shit about The Godfather antagonists
Don Barzini is POWERFUL
Virgil Sollozzo is SMOOTH
Hyman Roth is SMART
Joey Zasa is FASHIONABLE
Don Tattaglia
Don Fanucci is FUNNY
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saturn-c · 3 years ago
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*kisses sollozzo: i hate you but i love you
Omg anon you are kissing Sollozzo do you have a crush on him???
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samtrapani · 3 years ago
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Male wife Sollozzo!
is it bad i'm imagining him in his white shirt and little apron w the whole oven gloves, "hi honey i'm glad you're home, dinner's ready" schtick >:3
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meme-streets · 3 years ago
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one of the most annoying things about the godfather is that they feel the need to tell you that sollozzo's great with a knife and it's the source of his nickname yada yada and then he only stabs one guy in the hand and it's not even that impressive! and in the book we don't even get that! i'm calling chekhov's gun (er, knife), they should've let him stab more people
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shahs1221 · 4 years ago
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Commission done for @a-gentleman-at-hart!
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verre-a-vitres · 4 years ago
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Virgil Sollozzo, “The Godfather”, 1972. 
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melis-writes · 3 months ago
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THE GODFATHER (1972) dir. Francis Ford Coppola.
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pedroam-bang · 6 years ago
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The Godfather (1972)
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aion-rsa · 4 years ago
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Scarface’s Tony Montana vs. Michael Corleone: Which Al Pacino is the Boss of Bosses
https://ift.tt/3haJ9K7
Scarface hadn’t been made when Pete Townshend’s 1974 song “The Punk and the Godfather” came out, but The Godfather certainly had. The Who’s anthem was a musical allegory about the rock scene, but the lyrics might as well be interpreted as a conversation between Michael Corleone and Tony Montana. Possibly right before they rumble.
Al Pacino played both men in both movies, and in each film, he begins the story as a punk. But in The Godfather, at least, he grows into the establishment. Michael becomes don. Tony was a shooting star on the other hand, one on a collision course with an unyielding atmosphere. Both roles are smorgasbords of possibilities to an actor, especially one who chased Richard III to every imaginable outcome. Each are also master criminals. But which is more masterful?
The obvious answer would seem to be Michael Corleone because he turned a criminal empire into a multi-billion-dollar international business, and lived to a ripe old age to regret it. Cent’anni, Michael. Tony Montana doesn’t live to see the fruits of his labor, but his career in crime is littered with the successes of excess.
Montana is a hungry, young, loose cannon, just like real-life’s “Crazy” Joe Gallo, who went up against the Profaci family in the street fight which Mario Puzo and Francis Ford Coppola used as inspiration on The Godfather. Gallo stand-in Virgil “The Turk” Sollozzo (Al Lettieri) did a lot of damage while he was trying to muscle in on Don Vito Corleone’s territory, selling white powder. Montana leaves a larger body count in the wake of his cocaine empire career. 
Scarface is Pacino’s film. The whole movie is about Tony Montana and his meteoric rise through money, power and women. The Godfather is a mob movie, crowded with top rate talent in an ensemble case, but it belongs to Marlon Brando. While Michael inherits the position by The Godfather, Part II, he shares Godfather roles with Robert De Niro there, and people come away feeling a little sorry for Fredo. Michael isn’t the focus of an entire film until The Godfather, Part III, and by then folks were only distracted by his daughter. Tony Montana owns the screen from the moment it opens until his last splash in the fountain under the “World Is Yours” sign. The picture was his.
Making Your Bones on First Kills
Pacino brings little of the wisdom of his Godfather role to Scarface’s title character. This is by design. Every crime boss has to make his bones. In mafia organizations, real and cinematic, the button men on the street are called soldiers. And every soldier has to go through basic training before they’re ready to earn their button. Michael gets assassination training from his father’s most trusted capo, Pete Clemenza (Richard S. Castellano) before he goes out to enjoy the veal.
Scarface doesn’t give us many details of the crimes Tony was involved in while still in Cuba, so he makes his cinematic bones executing General Emilio Rebenga in the American detention camp for Cuban refugees. The two scenes are polar opposites in all ways but suspense.
When Michael is sitting at the dinner table with Sollozzo and Police Captain McCluskey (Sterling Hayden), he lets Sollozzo do all the talking, easing him into comfort before pulling the trigger. Tony barely lets Rebenga get a whimper in during his first onscreen hit, which plays closer to an execution. Tony covers the sounds of his own attack with a chant he himself begins. It is a brilliant overplay, especially when compared to another scene that resembles The Godfather, with Tony killing a mid-level gangster and a crooked cop towards the end of Scarface. 
A major difference between the two roles is best summed up in a line Tony says in Scarface. He learned to speak English by watching James Cagney and Humphrey Bogart. Montana comes from the Cagney tradition of broad gangster characterizations. In The Godfather, Kay Adams (Diane Keaton) asks Michael if he’d prefer Ingrid Bergman. The young soldier has to think about it. This is because Pacino is miles removed here from Bogart, who played Bergman’s lover in Casablanca. Pacino’s two gangster icons approached their criminality differently, and Pacino gets to play in both yards.
Pacino remains on an even keel in the Godfather films, but gives a tour de force of violent expression in Scarface, which burns like white heat.
The Handling of Enemies and Vices
In Scarface, Pacino gets to be almost as over the top as he is in Dick Tracy. His accent would never make it past the modern culture board at The Simpsons, but he pulls it off in 1983 because he says so. Pacino bullies the audience into believing it. It’s that exact arrogance which makes us root for Tony Montana. We don’t want to be on his bad side. But the chilled reptilian stare of Michael Corleone is a visual representation of why Sicilians prefer their revenge served cold.
Michael is diabetic, and is usually seen drinking water in The Godfather films. Sure, he has an occasional glass or red wine, and possibly some Sambuca with his espresso, but Michael always keeps a clear head. Tony, not so much. He makes drunken scenes at his favorite nightclubs, and not only gets high on his own supply, but gets so nose deep in it he develops godlike delusions of superheroic grandeur.
Montana is impulsive, instinctive, and decisive. Tony kills his best friend Manny Ribera (Steven Bauer) immediately upon finding him with his little sister Gina (Mary Elizabeth Mastrantonio). Michael waits until his sister Connie (Talia Shire) is on a plane to Tahoe before he has her husband killed in a hit years in the planning. Later Michael hangs his head silently as the shotgun blast which kills his brother, Fredo (John Cazale), echoes in the distance.
Tony, meanwhile, continues yelling at Sosa’s right-hand man long after his brains are all over the automobile’s interior.
Clothes Make the Man
Tony is written to be charismatic. Even coked out of his mind, he’d be a better fit in Vegas with Fredo’s crowd than with wet blanket Michael in Tahoe. Tony sports white suits, satin shirts, and designer sunglasses. Michael accessorizes three-piece ensembles with an ascot. This isn’t to say Michael had any issues with getting somebody’s brains splattered all over his Ivy League suit. 
Designed by Theadora Van Runkle, Michael preferred dupioni silk. That’s smart. The dark navy wool chalk-stripe suit Tony wears in his death scene was designed by Tommy Velasco and carries the class of a tuxedo. It was after 6pm. What do you think he is, a farmer?
“I’m the guy in the sky, flying high, flashing eyes. No surprise I told lies, I’m the punk from the gutter,” Roger Daltrey belts out on “The Punk and The Godfather.” This is exactly against the no-flash advice Frank Lopez (Robert Loggia) tries to impart on his young protégé in Scarface. Tony was raised not to take any advice other than his own. He also ignores his consigliere’s advice on several occasions. When Manny reminds Tony the pair of them were in a cage a year ago, the rebel gangster says he’s trying to forget that, he’s going after the boss’ girl. 
“I come from the gutter,” Montana proudly contends. “I know that. I got no education but that’s okay. I know the street, and I’m making all the right connections.” 
By contrast, Michael attended Dartmouth College and then dropped out to join the Marines after the attack on Pearl Harbor. Michael is both intelligent and well-connected, loosely modeled on Joseph Bonanno and Vito Genovese. He also accepts the wisdom of his father, who most closely resembled “The Prime Minister” of New York’s Five Families in the 1950s, mafia boss Frank Costello.
The Better Family Man
Pacino’s Don Michael Corleone has access to all his family’s connections, stretching back to the old world. He learns to expertly pull the strings of powerful men, like his father did, but as he grew, he bent. Michael is friends with senators, meets with the President of Cuba, has money in the Vatican, and confesses his sins to a Pope. Michael was insulated throughout his childhood and criminal career. If Tony gets in trouble, he has to get out of it himself, or with the help of a handful of low-level operatives.
Michael is the family rebel, risking his life and getting medals for strangers. He also gets to be both the prodigal son and the dutiful son. He gets the fatted calf and pays the piper. He even tips the baker’s helper for the effort. Michael comes back to both of his families, crime and birth, with a vengeance. He is there for his father the moment he is needed. Michael is the better family man. Tony’s mother is ashamed of him, and he completely ruins his sister’s wedding. Michael’s family means everything to him, and while he still manages to lose them, he actually maneuvers his two families well over rough waters for a very long run.  
Tony Montana is the rebel’s rebel. Even before he tosses off his bandana at the dishwasher job to make a quick score, we knew. He was born bad, in the cinematically good way. This also makes Montana a natural at crime. In The Godfather, Michael has it in his blood as a Corleone, but has his heart set on college, a straight career, and a shot to bring his whole family into the American Dream, which for Montana only exists as a wet dream.
Tony never gets past the hormonal teenage phase of his love of America. He wants to love his new country to death. He is turned on by the dream. He wants to take it. Not earn it. No foreplay necessary, as he claims his latest victim’s wife as his own.
Managerial Skills
Michael is pretty good with his underlings, when he’s not having them garroted on the way to an airport or advising them to slit their wrists in a bath. He promises Clemenza he can have his own family once the Corleones relocate to Las Vegas. He lets Joe Zaza (Joe Mantegna) get away with murder as the guy he sets up to run his old territory in The Godfather, Part III. Michael doesn’t keep turncoats like his trusted caporegime Tessio (Abe Vigoda) around for old times’ sake, and he doesn’t suffer fools at all. It may seem he cuts Tom Hayden (Robert Duvall) loose a little fast, and without warning or due cause. But if he was a wartime consigliere, he would have seen it coming.
While Tony Montana may have a competitive and fast-tracked entry program for new workers (“hey, you got a job”), he’s also the guy who shoots his right-hand man Manny for marrying his sister. Tony exacts a brutal and dangerous revenge for the death of his friend Angel Fernandez in the Miami chainsaw massacre, but doesn’t lift a finger when his cohort Omar Suarez (F. Murray Abraham) is hanged to death from a helicopter by drug lord Alejandro Sosa (Paul Shenar). Michael does have a tendency to have his soldato kiss his ring, but he’s not entirely a .95 caliber pezzonovante.
Read more
Movies
Scarface: Where Tony Montana Went Wrong
By Tony Sokol
Movies
The Godfather Coda: The Death of Michael Corleone Proves a Little Less is Infinitely More
By Tony Sokol
One of the most important skills a boss must exhibit is how to delegate, and Corleone is a minor Machiavellian master at his delegation. He whispers orders from behind closed doors. Tony is more hands-on. The only reason he tells Manny to “kill that piece of shit” Frank is because he’s already humiliated his former boss into a shell of a real man.
Montana is in the trenches with his soldiers and sets standards by example. He shoots a guy on a crowded Miami street in broad daylight. Montana is a born triggerman and only reluctantly delegates the duty. He has 10 bodyguards when Sosa men raid his mansion fortress. He takes the invading force with one little friend, an M16A1 rifle with a customized grenade launcher. But it sure doesn’t help the employees getting murdered outside.
A Handle on Finances
We don’t know what kinds of criminal activities the Corleone family were involved in between 1958 and 1979. Still, Michael had proven himself a traditionalist and a bit of a prude, so he spends most of his career shaving his take from harmless vices and avoiding drugs, which he sees as a dirty business. But through whatever means, by The Godfather, Part III, Michael has earned enough capital to buy himself out of crime.
Michael gambles successfully on Wall Street, keeps the Genco olive oil company going, and invests in hotels, casinos, and movie studios. He’s got to be pulling in a billion dollars a year in legitimate business. He makes enough to pad the coffers of the Vatican, and his share of Immobiliare stocks pulls in another $1 billion.
Tony looks like he’s earning about $15 million a month. But it doesn’t look like he puts much stock in his future. He makes no investments, only purchases. His only visible holding is the salon his sister works in. But we also have to take into account that he built his empire from scratch. Michael inherited his. And while the head of the Corleone family can blackmail a U.S. senator with a tragic sex scandal, Montana fares no better than Al Capone with tax evasion.
Who Would Win in a Mob War?
Scarface is as violent as the 1932 Howard Hawk original. Blood is a big expense, and 42 people are killed in the 1985 film. It came out amid other over-the-top action blockbusters like First Blood and the contemporary reality of the South American drug trade. So, it would seem, the film has far more violence. But they are easily matched.
The Godfather has a horse’s head, Scarface has a chainsaw. Michael’s brother Sonny (James Caan) gets machine gunned to smithereens at the toll booth, Tony blows the lower limbs off his would-be assassins at a nightclub. Omar is lynched in a chopper, the upper echelon of the mob is taken out by helicopter fire in The Godfather, Part III. Tony and Michael each get to kill a cop.
Both mob figures survive assassination attempts. Michael loses his wife Apollonia in Sicily in a car bombing meant for him. He also avoids the trap Tessio sets at the meeting with Emilio Barzini (Richard Conte), on his turf, where Michael “will be safe.” Tony lives through his initial professionally ordered hit, as well as being saved by Manny from certain death by chainsaw.
While Michael Corleone is able to take care of Barzini, Victor Stracci, Carmine Cuneo, and Phillip Tattaglia – the leadership of the five families – at the end of The Godfather, Tony Montana can only put up a good fight. The Corleone family would win in a protracted war against Montana’s cartel, but there is a possibility Tony would have outlived Michael while the battles raged. Expert swordsmen aren’t afraid to duel the best in the field, but they’re scared of the worst. 
As far as crime tactics and strategic villainy, Michael Corleone plays a game of chess. Tony Montana plays hopscotch. He wins by skipping cracks in the street, but he only rises as far as the pavement.
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fabioferreiraroc · 4 years ago
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16 filmes melhores que os livros que os inspiraram, na Netflix e Amazon Prime Video
Os leitores ávidos defendem que o livro é sempre melhor que o filme, mas é possível que o oposto aconteça. Existem longas que conseguem resumir toda a complexidade da história e, em algumas vezes, até torná-la melhor. A Bula reuniu em uma lista 16 dessas produções, disponíveis na Netflix ou no Amazon Prime Video.
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É muito comum que o público se decepcione com filmes baseados em obras literárias, pois é difícil resumir em pouco tempo toda a complexidade de um livro e de seus personagens. Mas, em raras vezes o oposto aconteceu: alguns longas conseguiram superar as histórias nas quais foram inspirados. A Bula reuniu em uma lista 16 dessas produções, disponíveis na Netflix ou no Amazon Prime Video. Entre os selecionados, estão “O Lado Bom da Vida” (2013), de David O. Russell, “Meninas Malvadas” (2004), de Mark Waters; e “Los Angeles: Cidade Proibida” (1997), dirigido por Curtis Hanson. Os títulos estão organizados de acordo com o ano de lançamento.
Imagens: Divulgação Netflix e Amazon Prime Video
Netflix
Lion: Uma Jornada para Casa (2016), Garth Davis
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Saroo, um garoto de cinco anos, se perde do irmão mais velho em uma estação de trem, em Khandwa, indo parar em Calcutá, numa outra parte da Índia. Sozinho, ele mora na rua e passa por muitas dificuldades até ser adotado por uma família australiana. Incapaz de superar o que aconteceu, aos 25 anos ele decide procurar por sua família na Índia. Para isso, ele conta com a ajuda de seus pais adotivos e de sua namorada, Lucy. O filme é baseado no livro autobiográfico “Uma Longa Jornada para Casa”, de Saroo Brierley.
Tropa de Elite (2007), José Padilha
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O filme acompanha a jornada dos agentes do Batalhão de Operações Policiais Especiais (BOPE) do Rio de Janeiro, liderado pelo capitão Roberto Nascimento. Roberto está cansado da pressão do trabalho e, com o nascimento do primeiro filho, pretende encontrar um substituto para seu cargo e abandonar a corporação. Mas, antes ele precisa ter certeza de que seu sucessor será tão bom quanto ele. Nas operações contra o tráfico, ele observa a conduta de dois novatos da polícia. O longa é baseado no livro “Elite da Tropa” (2006), de Luiz Eduardo Soares.
Diário de uma Paixão (2004), Nick Cassavetes
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Em um asilo, um idoso conta a história de amor de Noah e Allie para sua esposa. Na década de 1940, Noah, um operário, e Allie, uma moça rica, se apaixonam, mas a família da jovem proíbe o romance. Quando Noah é convocado para lutar na Segunda Guerra Mundial, Allie perde as esperanças de reencontrá-lo e fica noiva de outro homem. Mas, antes do casamento, Noah retorna para a cidade e os dois se envolvem novamente. “Diário de Uma Paixão” foi inspirado no livro homônimo de Nicholas Sparks, lançado em 1996.
Meninas Malvadas (2004), Mark Waters
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Cady foi educada na África pelos pais cientistas. Quando eles voltam para os EUA, ela precisa estudar numa escola regular, onde fica espantada com a fama das Poderosas, grupo de garotas liderado pela bela e cruel Regina George. Apesar de ser alertada para evitá-las, Cady acaba tendo uma conversa com elas, que resolvem convidá-la para ser uma das poderosas. Cady aceita, com o objetivo inicial de se vingar das maldades de Regina, mas logo acaba se deslumbrando com os privilégios que a popularidade traz. O filme foi inspirado no livro “Queen Bees & Wannanes” (2002), de Rosalind Wiseman.
Forrest Gump: O Contador de Histórias (1994), Robert Zemeckis
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Mesmo com o QI baixo, Forrest Gump nunca se sentiu desfavorecido. Por obra do acaso, ele participou de alguns dos mais importantes eventos da história dos Estados Unidos. Forrest ensinou Elvis Presley a dançar, serviu com honra no Vietnã, foi estrela de um time de futebol americano, conheceu Richard Nixon e percorreu vários estados a pé. Apesar de todas as suas experiências, ele não consegue esquecer Jenny, seu amor de infância. Forrest Gump foi inspirado no livro homônimo de Winston Groom, lançado em 1986.
Lendas da Paixão (1995), Edward Zwick
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O filme conta a história de três irmãos que vivem com o pai em uma fazenda do interior dos EUA, no início do século 20. Alfred, o mais velho, é reservado e sério. Tristan, o do meio, é selvagem e apaixonado pela natureza. Samuel, o caçula, é o mais sensível e constantemente protegido pelos irmãos mais velhos. A noiva de Samuel, Susannah, decide passar um tempo na fazenda e a presença feminina no local acaba criando uma rivalidade entre os irmãos. “Lendas da Paixão” é inspirado no romance homônimo de Jim Harrison, lançado em 1979.
Tubarão (1975), Steven Spielberg
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Após os restos mortais de uma jovem serem encontrados na praia da pequena cidade de Amity, todos começam a desconfiar que um tubarão está atacando nas proximidades. O chefe de polícia, Martin Brody, pede que o local seja interditado, mas o prefeito se recusa, com medo de interferir na economia. Então, Brody se une ao pescador Quint e ao cientista Matt Hooper para tentar capturar o animal. Mas, eles não sabem que se trata de um tubarão branco gigante. Tubarão foi inspirado num livro homônimo, de Peter Benchley, de 1974.
O Poderoso Chefão (1972), Francis Ford Coppola
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Nos anos 1950, Don Vito Corleone é o chefe de uma das famílias de mafiosos mais influentes em Nova York. Virgil Sollozzo, um gângster, anuncia a Don Vito que pretende estabelecer um grande esquema de vendas de narcóticos na cidade, mas só fará isso com a permissão da família Corleone. Vito se nega a apoiá-lo e acaba sendo vítima de um atentado. Enquanto se recupera, ele pede que o filho mais velho, Sonny, assuma os negócios em seu lugar. O Poderoso Chefão foi baseado no livro homônimo de Mario Puzo, lançado em 1969.
Psicose (1960), Alfred Hitchcock
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Após roubar 40 mil dólares da imobiliária onde trabalha, a secretária Marion Crane fica desnorteada, dirigindo sem destino pelas estradas, até chegar ao Motel Bates, um hotel decadente. Lá, ela é recepcionada pelo tímido e simpático dono do local, Norman Bates. Marion decide passar a noite no local e desaparece logo em seguida. Sem receber notícias de Marion, sua irmã, Lila Crane, decide procurá-la. O livro homônimo que inspirou o filme, escrito por Robert Bloch, foi lançado em 1959.
Amazon Prime Video
O Lado Bom da Vida (2013), David O. Russell
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Após passar um tempo internado em uma instituição psiquiátrica por conta de seu comportamento explosivo, Pat Solitano Jr. deseja reconstruir sua vida e se reaproximar da ex-mulher. Em um jantar com amigos, ele conhece Tiffany, uma jovem viúva que também está sofrendo com problemas emocionais. Ela convida Pat para ser o seu parceiro em uma competição de dança e uma inesperada amizade nasce entre os dois. O longa é inspirado no livro homônimo de Matthew Quick, publicado em 2007.
Drive (2012), Nicolas Winding Refn
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Durante o dia, um misterioso motorista trabalha como dublê em filmes de Hollywood. À noite, usa seu talento para ser piloto de fuga em assaltos. Calado e solitário, ele vê sua vida mudar ao conhecer Irene, uma garçonete cujo marido, Standard, acaba de sair da prisão. Percebendo que Standard corre perigo por dever muito dinheiro a criminosos, ele se oferece para ajudá-lo como piloto num assalto. “Drive” é uma adaptação do romance de mesmo nome, escrito por James Sallis e publicado em 2005.
O Clube da Luta (1999), David Fincher
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Jack é um jovem executivo cansado de sua vida monótona. Após voltar de uma viagem, ele descobre que houve uma explosão em seu apartamento. Sem ter a quem pedir ajuda, ele vai morar com Tyler, um homem que conheceu durante a viagem. Para extravasar a raiva, Tyler convida Jack para uma luta. Eles começam a brigar frequentemente e as lutas atraem outros homens. Assim, nasce o Clube da Luta, uma organização anarquista e violenta. O longa é baseado no livro homônimo de Chuck Palahniuk, lançado em 1996.
Los Angeles: Cidade Proibida (1997), Curtis Hanson
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Ed Exley, Bud White e Jack Vincennes são três detetives de Los Angeles que precisam trabalhar juntos num caso de múltiplos homicídios ocorridos no café Nite Owl. As pistas levam a uma lucrativa casa de prostituição de luxo, que na verdade serve como fachada para negócios ainda mais ilícitos, envolvendo grandes personalidades da cidade, desde astros de Hollywood até oficiais do departamento de polícia. O filme é adaptado do livro homônimo de James Ellroy, lançado em 1990.
Trainspotting, Sem Limites (1996), Danny Boyle
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O filme acompanha Renton, um jovem usuário de heroína que vive no subúrbio de Edimburgo, na Escócia. Ele leva uma vida despreocupada, dividindo-se entre o namoro com a adolescente Diane e os encontros com seus outros amigos viciados: Sick Boy, um imoral desenhista de HQs; Tommy, um atleta responsável que acaba se desvirtuando; Spud, um rapaz ingênuo e de bom coração; e Begbie, intempestivo e violento. “Trainspotting” é baseado no livro homônimo de Irvine Welsh, de 1993.
Era Uma Vez na América (1984), Sergio Leone
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O filme acompanha a história de quatro amigos de ascendência judaica que crescem cometendo pequenos crimes nas ruas do Lower East Side, em Nova York. Os crimes vão assumindo maiores proporções, eles se tornam importantes mafiosos e acabam rivalizando. Com o passar do tempo, apenas um dos gângsteres sobrevive. Então, ele volta ao bairro para descobrir o que realmente aconteceu com os outros. “Era Uma Vez na América” foi inspirado no livro “The Hoods” (1953), de Harry Grey.
Um Estranho no Ninho (1975), Milos Forman
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Randle Patrick, criminoso reincidente, é transferido de uma prisão comum para uma instituição psiquiátrica. Embora não tenha nenhuma doença mental, ele mente para evitar o trabalho forçado e para passar o resto de sua sentença em um ambiente menos hostil. Incomodado com as regras rígidas que a médica Mildred Ratched impõe aos internos, ele incita todos a se rebelarem, mesmo sabendo que isso pode aumentar seu tempo preso. O filme é baseado no livro homônimo de Ken Kesey, lançado em 1962.
16 filmes melhores que os livros que os inspiraram, na Netflix e Amazon Prime Video Publicado primeiro em https://www.revistabula.com
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saturn-c · 3 years ago
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Does anyone else think Sollozzo is 
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