The Godfather "highest-grossing film of 1972"

Harry Callahan is clearly an police officer who operates beyond the pale of accepted police regulations, and the evidence he secures is thrown out because of his deportment. Yet, he does not see it that representation and believes it is the system that is wrong, not him. There is an app arent tension in the study itself between rooting for Callahan and any understanding that his actions are wrong, and this tension calculates to extend to interpretations offered by Eastwood on the one and only(a) expire and Siegel on the other. Eastwood's conservative politics were expressed in the lit crit of the system even as Eastwood may have seen Callahan's behavior as mistaken. In subsequent outings, however, Callahan showed he had learned nil and was still always successful, and Dirty Harry would become a paradigm for violent police plastic tears with a certain right-wing message in "the way in which the film seems to press Callahan's excesses brought down upon it the charge that it condones a violent right-wing ideology. respective(a) reviewers thought the film to be an out-and-out apologia for fascism (Smith 90).

The film is told from Callahan's point of view, and he is the central character from the time of the firstborn murder, a woman swimming in a rooftop puss killed by a sniper. Callahan is a near-machine as a ship's officer and believes that he is always given the worst jobs to do, the ones no one else volition. The corollary is tha

t he will do anything because he no longer cares very overmuch about himself since his wife was killed in a traffic accident. He becomes the focus of the sniper, a crazed young man with no scruples at all and with an intense desire to pull in the city of San Francisco pay him for whatever perceived slights he has endured. In the course of the film, it is true that Zodiac, as the cause of death calls himself, commits a fig of dastardly crimes and is then released by the system because Callahan has gone overboard in his pursuit to the point of torturing a prisoner to get information about a kidnap victim who proves to be already dead.

The implication is that the system is broken when it burn allow a killer to walk free and when the killer can then manipulate the system to make it seem he is being persecuted.

Both Dirty Harry and The Godfather rebound aspects of American history and of the concerns of people at the time the films were made. Siegel's film depicts the petty corruptions of power that lead to a form of insurrection in the streets, and Coppola's film analyzes the nature of evil in a family and in a society.

The novel was written by Mario Puzo, an Italian-American old(prenominal) with this milieu and with the have intercourse of Italian immigrants and their descendants. Director Francis Ford Coppola is similarly an American of Italian descent and similarly understands the family and community structures of this population. Of course, the film was criticized because it told the story of a narrow grace of the Italian community, the shepherd's crook fringe, so that many may have believed that the film was presenting this fringe group as the average. The criminality of this family is not presented as the norm for Italian Americans at all but as the " furrow" in which this family operates. The family structures and social relations of the family, however, do reflect aspects of the Italian-American experience for a first- and even second-generation immigrant family such as this one.

The
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