Good & Evil in Film Made Sense

The scene shifts to the Stone farm. following(a) the claimmaking procedures of the time, most of this fritter away is set on a soundstage, allowing the filmmakers to give the farm they want rather than having to find one and free them complete control over every element in the scene. Of course, the result is a setting that does not look kind of real or natural, but works very frequently in a favorable way in this film and contributes to the fantasy element. James Craig as Jabez Stone is constantly on the edge of hysteria, a man rushing headlong to his assign from the first time we see him. Walter Huston as Mr. Scratch has a comic intensity that deliberately runs against traditional notions of the devil, though at times the lighting is extremely low-key in erect to create shadows in his features to evoke a vision of blithesome evil. The most direct and natural performance in the film is that of Edward Arnold as Daniel Webster, for he is the voice of reason, the messenger from the real creation and from history, the man from New Hampshire who fought the devil and won. The use of Webster and the reference to the fiction in the opening of the film links the story to American mythology and to the optimism and certainty of life in the New World and consequently to our vision of what has made America great.

Most of the film is patrician and foreboding. It is bright when Daniel Webster arrives in the area on a speak tour, and it

becomes bright again at once Mr. Scratch has been sent back to the underworld and Jabez has been released from his bond. Evil is unyielding and frightening, and it is always march--Mr. Scratch appears in the barn as if liberation by. He hears his name spoken and there he is--he is always watching and listening, waiting to answer the call. He is deceitful. His world is a world of weariness and pain, as can be seen from the faces of the life-threatening group he summons to be his jury.

The imagery in the film is often Catholic in origin, and the film has a Catholic sense of sin.

The family unit is supposed to be fast(a) and sacrosanct, but it decays in this film until brother kills brother and until the present patriarch of the clan is left alone, a shell of his causality self, and increasingly facing a hostile world without whatsoever family support. The enormity of the sin and how it relates directly to the disintegration of the family is apparent as a religious service is balanced against a serial publication of killings, an image that was used in the first Godfather as strong for much the same purpose. The clear hypocrisy of the family patriarch is unambiguous here, but more than this the image emphasizes the constant struggle among good and evil for the souls of weak human beings.

Coppola evokes history in the shape of the film, the locations, and the progression of change in the underworld. Among the historical references of moment are the Cuban revolution of 1959-1960, showing first the wide-open hedonism and free rein of the Batista era followed by the germ of the revolution. The mobs smashing gambling equipment in the streets is an image of the end of one era and the beginning of another. Much of the imagery in the film contrasts with the imag
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