Wrong-Doing in the Name of Good
The characters in Julius Caesar and The Godfather engage in actions that are far from normal or even socially acceptable; but in both, they are made to seem as absolute necessities. (See Gabe's Site) But how are we as an audience able to accept these actions as justified means to an end? The reason why is that we allow ourselves to believe in the epic situations that the characters experience.
You talkin' to me? Oops, wrong movie!
The players are set in plights where there can be no possible escape or compromise without the inevitable infraction of what is considered good. It is owed to Shakespeare that occurences of this sort are still found in contemporary films such as The Godfather. In Julius Caesar, the conspirators, many of whom are friends or advisors to Caesar himself, agree to assassinate their ruler in the name of the better fate of Rome. Though they all meet their own fate either at the hands of Mark Antony or their own, the conspirators take it upon themselves to do wrong in the name of a supposed greater good.
The same can be said for the situation of the Corleone family. In the face of changing social trends and the impairment of their leader, the remaining family members must take it upon themselves to go against the implied wishes of the Don to insure the survival of their family and their very way of life. As the film progresses, loyalties are tested and broken, lives are shattered or ended, and reversals of fortune and character occur; but we as an audience are left enthralled as a result. This use of bad done in the name of good leaves the audience speculating as to the true motives of the characters, and wrapped up in the splendor of the spectacle going on before them.
The idea of finality and redemption is brought into play as well. In Julius Caesar, both Brutus and Cassius take their own lives to redeem the spirit of Caesar. In The Godfather, Frank Pentangelli, a former Corleone loyalist does the same to make amends for his turning as an informant to the FBI. Once again, these are more of the aspects of drama that captivate us as an audience to examine not only the characters we see but also ourselves. Additionally, the prospect of what will come next is simply an exciting and suspense-filled journey to undertake, and the best experience any audience member can hope for.
These are just a few of the things that make the work of Shakespeare applicable to contemporary film. When it is all outlined in a manner such as this, it is not difficult to see the modern parallels to Shakespeare's work; what entertained audiences in the sixteenth century is not radically different from what entertains us in the twenty-first century. If this much of a parallel can be found between Julius Caesar and The Godfather, imagine what other films are applicable to this and any other of Shakespeare's plays. Re-evaluate what you yourself find entertaining after viewing a performance of a Shakespeare play, and this may prove true. I just hope this all proved to be useful and informative for you. Thanks for reading!
Which of us is making the offer, Dad?
Back to Caesar Dressing
|
