Morris Lapidus Miami Beach Hotels Design

Morris Lapidus Miami Beach Hotels Design Morris Lapidus was one of the most important architects of the 20st century, not because of what he built but because of the way he thought and his willingness to break rules. His architecture manifested both popular culture and the collective unconscious. Through his designs- synaggogues and large-scale housing as well as the famous shops and glamorous hotels-he had a powerful way of enhancing an experience and lifting peoples spirits. His introduction to the Miami hotel scene began when his friend the architect Charlie Spector brought him to a meeting with Ben Novak, partner of Harry Mufson, to edit plans for the Sans Souci hotel on Miami Beach. Morris was sketching various parts of the hotel that could be made more interesting. He indicated that the exterior should have imposing pylons and a circular drive to dramatize the entrance. Several days later he got a phone call from Harry Mufson, asking when he could come to Miami Beach. The two resort hotels , Fontainebleau and Eden Roc, makes us see architecture differently. We can describe the form, tectonics, content, and detail of the resort hotels different as a pedestrian or when we drive a car. Lapidus resort hotels, were stage sets for tpuristic spectacle and glamour more than built demonstrations of distinctly modernist theories and practices. Miami, was the farthest extension of North America into the Caribbean, far enough from the rest of the United States to nurture exotic tropical fantasies. There is a reason that makes both of these resort hotels more prestigious and more as an image of Miami then any other hotel. In 1952, Morris Lapidus landed the job of the largest luxury hotels of Miami Beach, the Fontainebleau and Eden Roc perhaps the most famous hotels in the world. He designed the hotel in such an artistic and symbolic way that when you pass by the hotel by car or as a pedestrian, your brain captures its style and symbols so that you can separate it from other hotels.Fontainebleau and Eden Roc are located in Miami beach, between the beach and Collins avenue, where the best oceanfront hotels are based. It is a perfect location to impress tourist who comes to the beach and sees all the luxury resorts facing the ocean. The fronts of the Fontainebleau and Eden Roc look to the Collins avenue, the architectural structure and the decoration plays a big role in this part. The strategy here is to impress and make the building prestigious and interesting. If you are a tourist and driving a car in the Collins Avenue, you will see several Miami Beach hotels next to each other, almost all of them having the same color and design. Fontainebleaus perception is different than what the other hotels have. You can enter to the hotel by taking the entrance road. You will see multiple tall palm trees aligned and white sculptures matching the color of the building that are located in front of the lobby and on the waterfall. Compared to other luxury resorts, Eden Roc can also be easily distinguished. When by pass as a pedestrian,by car or even by a plane you will be able to compare Eden Roc to other buildings. As a pedestrian you will see that right by the entrance road, there is a big text of Eden Roc with a special font that makes it more unique. As a flying passenger, if you are passing over Miami Beach, you will see that all the buildings are colored white and have almost the same structure. So if you can not distinguish the buildings by its shape which is the case for most people, Morris Lapidu put the text of Eden Roc with the same font as the one at the entrance. Fonts are really important for branding, it gives a perception depending on the type of the font and also makes people remember the brand. These two luxury resorts inside are as prestigious as their exteriors. Morris Lapidus designed a modernism based on north?south connections. His hotel environments were containing Latin designs and tropical themes.   Lapidus interiors were juxtaposing his proven idea to commercial space with regional elements such as natural stone, singing birds and tropical foliage. With the Fontainebleau and Eden Roc, he was called as the as hotel doctor and hotel designer. From the idiosyncratic pedestal base to the bold curves of the two hotels, Fontainebleau and Eden roc broke with orthodoxy and defined Lapidus signature hotel

Iron Crowned Chapter 4

Distracting your enemies by saying shocking things is a classic way to get an attack in. If this ghost had wanted to catch me off guard and move in, this would have been her chance. Instead, she just hung there in the air, staring at me. I forced my jaw closed and kind of wished Kiyo had stuck around to hear this bizarre development. Finally, I said, â€Å"That's not what I do. And anyway †¦ I mean, wouldn't you kind of know? Wouldn't you have seen it?† â€Å"No,† she said mournfully. â€Å"Whoever did it shot me in the head before I could see. They made it look like a suicide.† I grimaced. Weak ghosts often appeared in their final state, as they'd looked at the time of death. This one was strong and able to appear as she remembered herself, for which I was grateful. I wouldn't have wanted to see her after that gunshot. â€Å"Well, I'm sorry for your †¦ loss,† I told her, wondering why I hadn't already banished her. â€Å"But private detective work isn't my thing.† â€Å"I can't go to one!† she cried. â€Å"Or the police. Only you can see me. All the other ghosts said you were the one to go to.† â€Å"All the other – what, do you guys have a country club or something?† â€Å"Please, Miss Markham,† she begged. Her eyes were so, so sad. â€Å"I have to find out. If someone dangerous is walking around, I have to know. My family has to know.† From what I knew, family was usually behind most homicides. â€Å"Look, you're obviously strong. You have to be in order to move around like you do and come outside. It makes sense. If you're this upset about what happened, then you're bound strongly to this world while the, um, murder's unsettled. So, the odds are, you probably could appear to someone else. Wouldn't work on most humans, but you might get someone close to you to see you and hear you.† â€Å"But would they believe me?† she asked bitterly. â€Å"They'd think they were imagining things. You're the only one who knows this is real.† I shook my head. â€Å"Sorry. I don't investigate this stuff. Certainly not for ghosts. You're getting my best offer here. Otherwise †¦Ã¢â‚¬  I held up the wand. â€Å"You move on to peace.† She scowled and disappeared. Yes, a very strong ghost, one who should have already been in the Underworld right then and there. I shouldn't have stopped to talk. But what was one more ghost when I was already letting so many slide by? Kiyo's accusatory words came back to me. I felt like I was doing a half-ass job in both worlds, too divided to give either my full attention. Nonetheless, I made the most of my day in Tucson. I knocked off three more jobs for Lara, much to her relief. Jobs meant money, meaning both of us got paid. She'd hinted in the past that our drop in work was creating financial problems, enough that she might need a second job. That made me uneasy because a second job could easily turn into her only job. Finding an administrative assistant who could schedule and bill supernatural appointments wasn't that easy. I came home at last to an empty house, with a note scrawled from Tim saying he had â€Å"a gig† tonight and that there was fettuccine alfredo in the refrigerator if I wanted it. Eating in front of the TV, I selfishly felt resentful that he'd go out on one of the few nights I was home. But why wouldn't he? He certainly had a life, one I was hardly in. What really brought me down was that on a night like this, I once would have been over at my mom's eating dinner. For a second, I stared at my phone and considered taking the plunge. But, no. If she wanted to get in touch clandestinely, she would. Calling now would risk me getting Roland, who would hang up on me. Or most likely not answer. Frustrated, I decided I didn't want to stay here anymore. It was weird, especially since I'd wanted to come home so badly earlier. Yet, I felt like I wasn't welcome in my own house. I showered off the day's fights – no gentry baths for me – and headed right back to the Otherworld. I almost never came and went the same day, but suddenly, my kingdom seemed like the only place I had friends at the moment. They were surprised to see me back so soon. I found Shaya and Rurik playing chess in a formal sitting room, leaning together and laughing as she planned her next move. Both jumped when they saw me. â€Å"Your Majesty,† said Shaya. They'd instantly gone from casual to formal mode. â€Å"Sit, both of you. You should know better.† I sat as well, sinking into a down-filled love seat that I'd inherited from the castle's previous owner. Shaya and Rurik returned to their seats, relaxing somewhat. â€Å"We didn't think you'd be back for a while,† said Rurik, ever blunt. Shaya looked twitchy, like she wanted to get up, despite what I'd said. â€Å"Should I have the kitchen start preparing dinner?† â€Å"No, no, don't bother.† It was common among gentry monarchs for every meal to be a full-fledged banquet, particularly dinner, hosting the full court. With my schedule and the fact that I didn't even keep a full court – just the essentials – that was not the case around here. My kitchen staff had it easy, and I certainly didn't want them to get in a sudden panic over a meal they would have normally started on hours ago, had they known I'd be there. I stared off at the empty fireplace, which had been unused since I'd taken over. Had the Thorn Land shifted into winter, we might have needed it. A kingdom's seasons bent to its monarch's will, and although Tucson was in winter right now, my subconscious apparently thought summer was the proper state. Shaya and Rurik regarded me patiently, wondering what it was I wanted, if not dinner. I wasn't sure myself. I fumbled for something to say. â€Å"News or messages on the war front?† â€Å"No,† said Rurik. Not surprising. Ranelle had probably only just gotten home. She was likely feasting with the Linden King right now. I met Shaya's eyes. â€Å"It's probably dinnertime at Dorian's, huh? Or close to it.† She tilted her head thoughtfully. There were no clocks in the Otherworld, but she had a good sense of the time. â€Å"I would imagine so, Your Majesty.† â€Å"Do you think he'd mind unscheduled visitors?† â€Å"You?† Shaya laughed. â€Å"Hardly.† I glanced between the two of them, feeling a smile creep onto my lips. â€Å"What do you say? Should we go crash his party?† â€Å"Party crashing† might not be a colloquialism among the gentry, but it didn't take Shaya or Rurik long to figure out what I meant. Both sprang to action. I couldn't travel alone during wartime, so Rurik had to assemble a military escort for us. Shaya left to alert the civilians who'd go with us and make herself ready for a royal visit. Both of them were excited, I could tell. Humans and gentry weren't so different, in a lot of ways. Once at Dorian's, Shaya and Rurik would have few official duties. This was the equivalent of an Otherworldly night on the town. In my rooms, I found my handmaiden Nia anxiously awaiting me. Gentry magical skills ranged greatly. I controlled weather. Dorian could rip apart the earth. And Nia? Her talent was in beautifying others, in hair and clothing. Like those of my cooks, her skills were often underutilized. â€Å"Let's get ready,† I told her. Her face lit up, and she practically ran to the wardrobe. â€Å"Which would you like, Your Majesty?† Her hand hovered near a black cocktail dress from the human world, then moved to a gauzy blue sundress. Then, she hesitated altogether and glanced at me questioningly. It wouldn't have been out of character for me to show up at a state function in the jeans I already wore. After my earlier loneliness, I was excited to see Dorian – almost desperately so. He seemed like my only connection right now, and I suddenly liked the idea of surprising him. â€Å"The peach one,† I said. Nia nodded, her fingers skimming the dresses. Finding no peach, she frowned and rechecked them. Then, her gaze went to the other half of my wardrobe, where the gentry dresses she and others had had made for me hung. Her eyes widened as she pulled out a peach silk dress she'd probably never thought would see the light of day. â€Å"Your Majesty!† was all she could gasp. It was like Christmas morning for her. With coppery hair, I had to be careful with what colors I wore, but this was a warm enough shade of peach that it worked. The fabric was shining and fluid, like some living thing. The dress was one long piece, clinging around the torso and then flaring and falling like water from the waist to the floor. Gold ribbons laced up the back, decorated with aquamarines. Straps, also made from strings of aquamarines, hung loosely off my shoulders around my upper arm, trailing more streams of silk beneath my arm and giving the illusion of sleeves. For all intents and purposes, it was a strapless dress, leaving my arms, shoulders, and a healthy amount of cleavage exposed. â€Å"I think I need a bra,† I said, eyeing the way the thin silk wrapped around my chest. â€Å"But that's how it's worn!† said Nia. Gentry, in fashion and other ways, didn't always share the same taste as humans. Nia knew this, and I could see in her face she was terrified I'd do something human to ruin this dream-come-true of finally dressing me properly. â€Å"Fine,† I said. â€Å"But keep my hair down.† Hopefully it would give me some coverage. Lack of a haircut had my ends just barely touching my shoulder blades lately. Nia took this as an acceptable compromise, going over every lock of my hair so that it was smooth and slightly curled at the ends. Aquamarine barrettes (the gentry loved jewels too) were placed strategically throughout my hair, and she forced more jewelry on me in the same color scheme. After a bit of cosmetics, Nia deemed me fit to be a queen. I planned on bringing her to Dorian's and was about to tell her we should go when a strange and unexpected thought came to me. â€Å"Nia †¦ can you get my sister ready too?† â€Å"Your †¦ your sister, Your Majesty?† She was equally surprised. â€Å"Is she coming?† I thought about it, wondering the same thing. I never let Jasmine leave the castle and its grounds, for everyone's safety. Yet, I couldn't shake the thought of how bored and lonely she seemed. Plus, I'd forgotten her Twinkies. â€Å"Yes,† I decided. â€Å"She's coming. Be fast.† Nia nodded and headed toward my door, off to whatever closet she always produced endless stores of dresses and jewelry from. Jasmine had once been the mistress of this castle's former king; for all I knew, her wardrobe was still here. â€Å"Nia?† I called. The gentry girl paused. â€Å"Long sleeves.† Nia nodded again, catching my meaning. It was no secret among the gentry that the Thorn Queen kept her sister a prisoner. That didn't mean I wanted her chains flaunted, however. And when my whole entourage met up to leave, I could see that Nia really was magically gifted with beauty. Jasmine – who looked utterly stunned by this unexpected field trip – wore a dress made of pale green velvet. It was floor-length like mine but had long bell sleeves that did a good job of hiding the chains. The dress was more modest than mine too, but I had a feeling Nia hadn't done it to protect Jasmine's fifteen-year-old modesty. Most likely, Nia didn't want the queen's sister to draw more attention than the queen herself. The minimal jewels on Jasmine proved as much, and the looks from my own people showed that I was definitely attention-getting. I doubted they'd ever seen me dressed up like a full-fledged gentry woman. Riding a horse in that dress was a pain in the ass. It wasn't the first time I'd done so, and I was glad the skirt wasn't as snug as the top. I was also glad our route was short tonight. The Otherworld folded in upon itself, taking travelers through ways that seemed impossible but which often proved the most direct path. These paths also cut through other kingdoms – often my neighbors'. Knowing this, our party was on high alert as we rode, everyone tense. To my relief, the road didn't take us through the Rowan Land – as it frequently did. The only transition between my land and the Oak Land was a brief stint in the Willow Land. Not comforting, but safer than enemy territory. Once Dorian's castle was in sight, my group's mood lifted, and the party-crashing spirit returned. His home was exactly what you expected from a castle, multi-turreted and made of heavy dark stones, with stained glass windows. As always, it was autumn in the Oak Land, and although night prevented me from seeing the orange-leaved trees, the smell of harvest and touch of fall chill on my skin reaffirmed for me what season it was. Scattered on the castle grounds, I spotted small clusters of peasants around campfires, watching us curiously. Like me, Dorian had war refugees seeking aid from their monarch. The sight of their faces twisted my stomach, and I forced myself to look away. Servants took our horses, people scrambling at our unexpected arrival. Guests dropped in all the time for dinner – especially at Dorian's – but we were VIPs. I walked briskly toward the banquet hall while groveling stewards scurried at my side, promising proper accommodations for my companions and checking on anything else we might need. I came to a halt when I reached the banquet doors. Even I with my bad human etiquette knew I had to be announced first. A herald swung open the door, revealing light, color, and noise. Dorian had about a hundred people in there tonight, gathered around various tables on chairs and couches. Most were gentry nobility. Some were his soldiers. Others were creatures of the Otherworld, types I fought when they crossed to the human world. As I'd guessed, dinner was already being served, with servants scurrying around and the guests chatting and eating. That all came to a halt when the herald's voice rang out: â€Å"Her Royal Majesty, Queen Eugenie Markham, Called Odile Dark Swan, Daughter of Tirigan the Storm King, Protector of the Thorn Land, Beloved of the Triple Moon Goddess.† I would never get used to all those titles. Conversation dropped, and then there was the usual screeching of chair legs as people hastily stood up. Once I would have cringed from this, but I knew what was expected now. I began to stride forward but stopped after two steps. Most of my soldiers had stayed at the doors, and none of the rest of my retinue would be announced since I had no high-ranking nobility with me. Almost. I glanced at the herald. â€Å"My sister, announce my sister.† His eyes bugged, and I could guess his confusion. Not only was that kind of a weird request coming from me, it was also hard for him to manage since Jasmine didn't have any official titles. The guy was fast on his feet, though. That was his job. â€Å"The Lady Jasmine Delaney, Daughter of Tirigan the Storm King, Sister of Eugenie the Thorn Queen.† That got a few surprised glances. I smiled at the herald. â€Å"Thank you,† I said softly. â€Å"Only next time, announce my name before our father's.† He blanched. â€Å"Y-yes, Your Majesty.† I entered the room at the head of my party, startled I'd said that to the herald. Where had that come from? A need to diminish Storm King? A desire to tout my own importance? Whatever the reason, I already regretted the words. A long walkway stretched through the room, and halfway down it, Dorian emerged from the crowd and stood to meet me. I reached him, and he took my hand, giving it a long and languid kiss. Among the gentry, that kiss was perfectly acceptable for receiving one's lover or a visiting monarch. â€Å"My dear,† he said, lifting his eyes. They swept over me in that clever, efficient way of his. To all those watching, he was as calm and in control as always, his lips curved into the devil-may-care smile normal for him. Still, I could imagine his surprise. He hadn't expected to see me this soon. He certainly hadn't expected to see me in full queenly glory. I might have been Christmas morning for Nia, but for Dorian, I was dessert being served before dinner. â€Å"You and yours are very welcome.† It was a formality, one that returned the guests to their seats and declared my party was under Dorian's hospitality, meaning no one here could do us any harm and vice versa. â€Å"I guess ‘soon' does mean all sorts of things,† he murmured. He glanced toward my cleavage. â€Å"All sorts of things.† â€Å"Hey.† I kept my voice as low as his. â€Å"Are you looking down my dress?† â€Å"My dear, I want to do much more than look down it. Much, much more. And I want to do it now. I don't suppose,† he added, â€Å"that your transformation came along with an embracing of many of our other superior customs?† He was referring, of course, to couples scattered about the room who had promptly returned to amorous activities after I was announced. People made out, took off clothing, and even had sex with ease in public. Some guests watched, but most went on with their meal as though nothing out of the ordinary were happening. â€Å"No,† I said firmly. â€Å"Are you sure?† he asked, leaning closer. â€Å"No one would take it amiss. Indeed, many would find it reassuring to see their king and queen consummating their relationship. It's a sign of dominance and power.† â€Å"I'm here for dinner,† I said sweetly. Underneath my prim attitude, his words and his body language were already getting to me. You would have thought we'd last had sex a year ago, not this morning. I might not consent to his exhibitionism, but if I said I wanted to go to his bedroom right now, he'd immediately turn around and walk out with me. â€Å"Dinner, it is,† he said regretfully. â€Å"Perhaps I'll serve you something special. And I'm sure you'll enjoy our guests tonight.† He began steering me toward the hall's front. His throne sat on a high pedestal, and below that was the head table where he'd been dining. My eyes fell on the aforementioned guests, and I nearly stopped walking. Instead, I glanced behind me and called, â€Å"Rurik?† I'd given instructions for Shaya and Rurik (and a handful of guards) not to leave Jasmine's side. They were seeking out their own table, and even though they were halfway across the room, Rurik heard me and turned. With a sharp head nod, I gestured for him to join us. He crossed the room swiftly, arching an eyebrow when he saw the dinner guests and understanding why I'd want one of my own people around. There, sitting at the head table and watching me with cold blue eyes was Ysabel – Dorian's former lover.

Loneliness Of Mice And Men - 1364 Words

Loneliness in Of Mice and Men REVISE Loneliness is defined as sadness because one has no friends or company, and people’s most common response to loneliness is looking for someone or something to take away their loneliness. This is a common trait in the characters of the novella Of Mice and Men by John Steinbeck which follows the experience of migrant farm workers George Milton and Lennie Small after they are run out of Weed, California and go to another ranch near Salinas, California during the Great Depression. Throughout the entire story, Steinbeck illustrates how Candy, Crooks, and Curley’s wife express the same trait of loneliness and their search for someone or something to quell their loneliness. One of the more forefront characters in the story is Candy, who is the very kind and helpful â€Å"swamper’, or maintenance man, of the ranch and befriends George and Lennie soon after they arrive at the ranch. Of the many lines Candy says throughout the book, the line â€Å"I d make a will an leave my share to you guys in case I kick off, cause I ain t got no relatives or nothing†¦ (Steinbeck 58) opens up Candy’s feelings about his life and his emotions. The quote shows how Candy has no relatives and few to none really close friends because of his old age relative to George and Lennie and the rest of the farmhands, which makes him feel isolated and lonely. Candy wants to fill that void of loneliness by giving the money to George and Lennie and living and working on the farm theyShow MoreRelatedLoneliness in of Mice and Men721 Words   |  3 PagesLoneliness in â€Å"Of Mice and Men† Friends are needed in a person’s life for emotional stability whom without would lead to a life of loneliness and solitude. In the novel, Of Mice and Men by John Steinbeck, the characters Crooks, Candy and Curly’s wife exhibit a form of loneliness. They are driven to George and Lennie’s friendship because they lack support and that emotional stability in their own lives.A guy goes nuts if he aint got nobody. Dont matter no difference who the guy is, longs he withRead MoreLoneliness in Of Mice and Men970 Words   |  4 PagesLoneliness in Of Mice and Men The novel Of Mice and Men, by John Steinbeck, takes place during the Great Depression era in the 1930s. Life changed dramatically from the thriving 1920s. Work was hard to find because of the bad economy, and everybody lived tough lives. It was even tougher for African Americans, women, and the elderly because they were all considered useless at the time. Everyone had no respect for them, and they were very low on the social pyramid. Due to their low status and respectRead MoreOf Mice and Men (Loneliness)2148 Words   |  9 PagesOf Mice and Men essay on Loneliness is a basic part of human life. Every one becomes lonely once in a while but in Steinbecks novella Of Mice and Men, he illustrates the loneliness of ranch life in the early 1930s and shows how people are driven to try and find friendship in order to escape from loneliness. Steinbeck creates a lonely and blue atmosphere at many times in the book. He uses names and words such as the town near the ranch called Soledad, which means loneliness and the card gameRead MoreTheme Of Loneliness In Of Mice And Men998 Words   |  4 Pages In Of Mice and Men, John Steinbeck utilizes loneliness as an overarching theme, there is however one character that is noticeably longer than the others in Steinbecks novella. This character is Crooks, a bitter and aloof man, he used to have a family with brothers and a 10 acre chicken ranch. Now he lives the life of a stable buck isolated by his race (he is the only African American on the ranch) among other things (Steinbeck,2002). This loneliness truly characterises him and causes no end toRead MoreOf Mice And Men : Friendship And Loneliness1274 Words   |  6 Pages Of Mice and Men: Friendship and Loneliness Peyton Willett Period 1 In John Steinbeck’s Of Mice and Men a man and his mentally slow best friend embark on the journey of life together. Their friendship is very strong and this is unusual due to the other characters in the book being very lonely. Every time the two men get a job Lennie makes a mistake and they are forced to leave. After all of their intense work they hope they can finally have their dream and get a place theyRead MoreOf Mice and Men Loneliness Essay1123 Words   |  5 PagesOf Mice and Men Essay: ‘Soledad’ means loneliness. Why is this relevant in ‘Of Mice and Men’? The relevance of ‘Of Mice and Men’ being set in the town of Soledad comes from the parallels drawn between the meaning of the name ‘Soledad’ and the deeper sense of loneliness expressed through the characters of the novella. The symbolism of the loneliness that is associated with the town of Soledad establishes an underlying sense of loneliness in all characters. The author uses a variety of techniquesRead MoreTheme Of Loneliness In Of Mice And Men1368 Words   |  6 PagesOf Mice, Men and Loneliness John Steinbeck is the author of the story Of Mice and Men. He grew up in the Salinas River Valley in California, where Of Mice and Men takes place. Steinbeck grew up in 1929 when the Great Depression was going on. Of Mice and Men also takes place during the Great Depression. There were many migrant workers during the Great Depression. Migrant farm workers are men who move around the country working and earning wages and then moving to the next farm. These migrantRead More Of Mice And Men Essay On Loneliness1267 Words   |  6 Pages In the novel Of Mice and Men, John Steinbeck looks at the theme of loneliness as it affects many characters on the ranch. Crooks, Curleys wife, and Candy are the most excluded characters on the ranch, because they all have dreams that they will not be able to live out and they all are at loss when it came to companionship. Crooks is lonely because he is the only black man on the ranch. Since this book is set during the Depression, Jim Crow laws are still in effect, whites and blacks had separateRead MoreLoneliness Isolation in of Mice and Men862 Words   |  4 PagesAn idea I found interesting in the novel ‘Of Mice And Men,’ by John Steinbeck was loneliness and isolation. I found this idea interesting because it helped me understand how important it is to be surrounded by people. George and Lennie’s friendship contrasts this idea as they are friends and they have each other, whereas most of the other ranch workers travel alone. The idea of loneliness was strongly conveyed through the characters Crooks and Curley’s wife, they are both key examples of lonely andRead MoreOf Mice and Men Essay on Loneliness1318 Words   |  6 PagesMarch 2014 Of Mice and Men Literary Analysis Essay on Loneliness â€Å"Actually, feeling lonely has little to do with how many friends you have. It s the way you feel inside. Some people who feel lonely may rarely interact with people and others who are surrounded by people but don t feel connected† (Karyn Hall 2013). Truthfully, loneliness is something almost all people fear. It s a deeper feeling then just being isolated. It s feeling distant or disconnected from others. Loneliness is so much more

The Godfather Essay examples - 601 Words

The Godfather is the story of a Mafia family. It follows the rise of Michael Corleone within the family. Michael was once a war hero and did not want to be involved in the family business. When his father is shot though, Michael takes revenge on the people who did it and becomes a part of the Mafia lifestyle. When his older brother is murdered, Michael ascends to become the boss of the family, and proves to be more ruthless than his father and brother combined. The scene that I am analyzing is one where Michael is becoming his nephew’s godfather at his baptism. nbsp;nbsp;nbsp;nbsp;nbsp;The Godfather is a traditionally edited movie. This particular scene however uses Eisenstein’s method of montage editing. Francis Ford Coppola uses†¦show more content†¦nbsp;nbsp;nbsp;nbsp;nbsp;There are no special camera angles, with the exception of a few close-ups. The camera remains stationary. The meaning of the scene is inferred through the editing and the content. Coppola uses this montage in order to give the audience an insight into Michael. He contrasts religion and murder in order to show the complexity of Michael. The newly baptized baby is without sin, and Michael is his guardian into life. Michael is extremely sinful; he has ordered murder as he is taking the godfather vows. The use of religion and murder contrasted is representative of Michael himself. It is used to show the mix of good and evil in him. In Hegel’s dialectic, Michael is the synthesis, a twisted mix of good and evil. The line between the two has become blur red for him. He claims to reject Satan yet he commits the worst sin. He claims to believe in god, yet does not follow the tenets of religion. He is the guardian of this child without sin, and he is full of sin. nbsp;nbsp;nbsp;nbsp;nbsp;Coppola chose to use a montage in this segment. The hard cuts between such polar opposites as baptism and murder reflects on the contrasts in the main character. Overall, Coppola used this segment to communicate how twisted Michael has become. Michael can no longer distinguish between good and evil or right and wrong. He only evaluates his actions on whether or not they help him. It also shows the changes he has made in the movie. The baptism andShow MoreRelatedEssay On The Godfather1739 Words   |  7 PagesOne of the greatest films and novels of all time, The Godfather by Mario Puzo is the book that I chose to write my report about. This book falls under the drama and crime fiction genres, due to its dramatic story of people being shot and murdered. The Godfather takes place in New York during the years 1945-1955, right after World War II. Most of the story is written from a narrator s perspective, save for two points in the book in which the story becomes a first person point of view. One of theRead MoreComparing Hamlet And Th e Godfather1758 Words   |  8 PagesOne of the most similar pieces of work to Hamlet is The Godfather the movie directed by Francis Ford Coppola in 1972. The Godfather is a prominent crime film about a war hero of World War 2 named Michael Corleone, who openly volunteered to take control of his father’s (Vito Corleone) mafia business, after the death of his father and his older brother (Sonny Corleone), so he seeks revenge for the loved ones that he lost. Hamlet and The Godfather were both solely based on seeking revenge, and that’sRead MoreGodfather Goodfellas Essay802 Words   |  4 PagesThe Godfather and Goodfellas are both considered â€Å"mafia movies.† Both of these films portray some form of organized crime committed by Italians. They mutually romanticize the mob lifestyle and depict it with pure clarity. Although both of these movies portray the lives of the same kind of people, they are more than just a simple characterization. Violence plays a majo r role in each of these films. The Godfather and Goodfellas are obviously very similar. However, they also have several aspects thatRead More Realism and Idealism for the Godfather Essay1173 Words   |  5 Pages Realism and Idealism for the Godfather I will never forget what I felt when I first seen my first mobster movie, I was about 12 years old, it was real late at night and I just could not fall asleep. I was flipping the channels looking for something to watch, and that is when I encountered my first mobster movie. I was intrigued from beginning to end; it was like nothing I had ever seen before. The way they talked so confident and cool to the way they looked so sharp and sophisticated. AlthoughRead MoreThe Movie The Godfather 1537 Words   |  7 PagesFrancis Ford Coppola directed the gangster crime drama film, The Godfather (1972), inspired by the novel of the same name, written by Author Mario Puzo. The film plays out in the beginning how Don Corleone declined to join the narcotics business with notorious drug lord Sollozzo. With this in mind, one of the greatest gangster films created by a man who decided to lead, and not follows. Moreover, explaining the formalist approach for this film which covers an array of el ements that include plotRead MoreThe Godfather the Movie Essay532 Words   |  3 PagesThe Godfather the Movie THE GODFATHER, made in 1974, details the Corleone crime family in Manhattan during the mid 1930s. The Don, Vito Corleone, played by Marlon Brando, leads his organization against a relentless narcotics push by a rival family, the Sollozzos. Vito Caleone does not want anything to do with drugs because he believes they will be the downfall of the Mafia. The story, covering a ten year time period, offers a rich tapestry of Mafia life from the inside, drawing the audienceRead More Analysis Of The Use Of Lighting In The Godfather Essay959 Words   |  4 Pages I am writing about the use of lighting in the opening scene of The Godfather, (1). The photography of The Godfather as an entire film is very planned and used specifically to generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method,Read MoreThe Godfather Movie Review1875 Words   |  8 PagesMichael’s transition from good son to head of the Corleone family takes center stage in The Godfather, but as the title character and head of the family, Don Vito Corleone is arguably the most important character in the film. The success or failure of the film depended on who played the Godfather and therefore it was the first role cast. Francis Ford Coppola and his producers were looking for someone special. Despite wanting to cast unknowns for the movie, they felt it necessary to make an exceptionRead More Cinematography in Godfather the Movie Essay638 Words   |  3 PagesMario Puzo’s The God father was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on. The lighting in The Godfather, is very dim andRead MoreComparing The Godfather And The Tv Drama On The Flesh2185 Words   |  9 PagesAt first glance there may seem little similarities between the movie The Godfather and the TV drama In The Flesh, However if one looks in more detail at the characters and motivations of the leading characters one can argue that they bare many of the same traits and substance as each other. These similarities can fall into certain genres such as patriarchal society and culture, gender roles, sexuality and family values for clarity. To support my argument I will deal with each of these similarities