In Yallop's book he writes that Cardinal Villot confirmed the Holy Father's death at 5:00 A.M. The Pope's slippers, glasses, and will disappeared, and "none of these items has ever been seen again," Yallop writes. There was speculation that if there had been vomit on the slippers - which there might have been, if indeed the Pope had been poisoned - it would give a conspirator a reason to remove the slippers permanently.

Cardinal Villot apparently phoned the embalmers around the time of death, and sent a Vatican car to fetch the embalmers. The car was also reported to have arrived at about 5:00 A.M., which would have been rather remarkable since the Pope's death was announced at that time. The reviewer of Yallop's book - a book which sold 5 million copies - writes that "It was not until 6:00 A.M. that Dr. Buzzonati (not Professor Fontana, the head of…...

mla

References

BBC News. "Four Charged over Calvi Killing." April 18, 2005. Retrieved May 17, 2005, from:  http://news.bbc.co.uk/go/pr/fr/-/1/hi/world/europe/4457975.stm .

Ebert, Roger. "The Godfather, Part III." Chicago Suntimes. December 25, 1990. Retrieved May 16, 2005 at http://rogerevert.suntimes.com.

Goeringer, Conrad. "Through the Looking Glass: Vatican Politics, the Calvi Murder and Beyond..." American Atheist: A Journal of Atheist News and Thought. Retrieved May 17, 2005 at http://www.americanatheist.org.

Yallop, David. In God's Name: An Investigation into the Murder of Pope John Paul I. Toronto /

He has been transformed by ineluctable fate and the events of the past few years and it is obvious that he has internalized and accepted the values and the morals of the Mafia family of which he is now the head. He is now truly the Godfather. This is made dramatically clear in the final scene of the film where Kay observes Michael receives gestures of respect from there other members of the Mafia family. This scene immediately takes us back to the very first scene of the film where we saw the respect that was shown to Don Vito Corleane. This tradition is continued with his son, Michael.
In conclusion, the story of Michael's life in the film from his early refusal to take part in the family business to his rise to the head of the family is an engrossing and intriguing cinematic experience. It is also conceptualized…...

The archetypal characterization of the Godfather is a rather sympathetic portrayal of a feudal empire. There is a clear hierarchy of characterization; from the King (Don Vito) to the serfs (for example, the baker Enzo, the undertaker Bonasera, who utters a classic phrase indicative of the best Tudor intrigue, "For justice, we must go on our knees to Don Corleone"). Thus, the feudal morality focuses on tradition vs. economic necessity, much as it did during the medieval period. Don Corleone made his fortune in, what he considers, "soft" crimes: gambling, extortion, and black-market goods; passions he considers part of human weakness. He is not above horrific violence, witness the manner in which he deals with Hollywood producer Jack Woltz when Woltz refuses to allow Vito's godson an important role in an upcoming film -- awakening one morning with the severed head of his prize stallion in his bed. However, Vito…...

"
In the fairy tale, the central conflict turns out to be the physician's pride, his deliberate attempt to defy death so that he can win the beautiful daughter of a King. At the end of "Godfather Death," the King tells the doctor that if he can heal his daughter he can have her hand in marriage. hen Death appears at her head and denies her healing, the doctor turns the bed around and angers death with his disobedience. In an act of revenge Death takes his life.

Galvadon makes a radical departure from the Grimm fairy tale and thereby transforms its theme and overall meaning. In the film, the central conflict is not Macario's pride but rather, Church politics. hen word gets out that Macario is healing the sick through miraculous powers, the Church sends an inquisition after him and accuses him of sorcery. The council sentences him to death and…...

mla

Works Cited

Grimm, Jakob and Wilhelm. "Godfather Death." Trans. By Dana Gioia.

Macario. Dir. Roberto Galvadon. Screenplay Emilio Carballido and Roberto Galvadon. Perf. Ignacio L. pez Tarso, Pina Pellicer, and Enrique Lucero. Clasa Films Mundiales, 1960.

Coppola's 'The Godfather' was released as a film in 1972, critics were quick to condemn the movie for engaging in a mis-portrayal of organized crime. The simulacrum, it was said, over-emphasized the violent aspects of the traditional criminal social context, one that was usually characterized by mutuality and beneficial arrangements rather than what amounted to guerilla warfare. It was said that if such a culture did exist, it would act to the common misery of its principal actors, who are characterized by intuitive behavior and self-interest. In doing so, these critics failed to acknowledge the nature of the story; one in which an idealistic protagonist (as is reflected in the fact that he is home from fighting in the Second orld ar) falls prey to the standards of conduct endemic to a society bereft of moral principle which must rely on the pack instinct and family loyalties in order…...

mla

Works Cited

 http://www.questia.com/PM.qst?action=openPageViewer&docId=96435325 

Ferraro, Thomas J. "My Way in "Our America": Art, Ethnicity, Profession." American Literary History 12.3 (2000): 499-522.  http://www.questia.com/PM.qst?action=openPageViewer&docId=26289455 

Ferrell, William K. Literature and Film as Modern Mythology. Westport, CT: Praeger Publisher, 2000.  http://www.questia.com/PM.qst?action=openPageViewer&docId=27367398 

Raeburn, John. "Notes." Handbook of American Film Genres. Ed. Gehring, Wes D. New York: Greenwood Press, 1988. 60-63.

The Godfather Film Analysis 1. Name of the Film: The Godfather
2. Director: Francis Ford Coppola
3. Screenwriter: Mario Puzo and Francis Ford Coppola
4. Year Made: 1972
5. Major Stars/Actors: Don Corleone, Michael Corleone, Tom Hagen, Sony Corleone, Kay Adams, Fredo, Johnny Fontane, Amerigo Bonasera, Jack Woltz, Emilio Barzini, Jr etc.
6. Genre: Crime and Drama
7. Characteristics of Genre: (1) Drug crime (2) Violence (3) Low-key lighting
8. Protagonist: Michael Corleone
9. Antagonist: Emilio Barzini, Jr.
10. Central Message: To a large extent, the central message in this particular film is that there is no way for a person to escape his or her destiny as well as responsibilities.
11. In essence, the film is full of dramatic sequence as well as action. It as far as lighting is concerned, it is a film that extensively utilized the dark mode/look. This appears to have been a departure from the past whereby most of the films at the time were…...

Analysis of the Trilogy of The Godfather
In The Godfather trilogy, the character arc of Michael Corleone takes center stage when all is said and done. The universe of the film is sprawling with many characters, plots and subplots—but it is Michael’s character, played by Al Pacino, who serves as the focal point of each of the three films (though that point is shared to some extent with Michael’s father Vito, played in the first film by Marlon Brando and by Robert De Niro in the second film). Michael’s arc takes him from a state of innocence prior to his entry into the family business (he joins the Marines to fight for his country instead of taking over the family business, but is later initiated into the business in the bloodiest of ways—assassination) to the darker side of the Mafioso lifestyle (accompanied by many more murders—including the assassination of his own…...

This theory contends that properly managed contact between groups can occur if four fundamental factors are present: social status, common goals, acquaintance potential, and the support of authorities, law or customs (Pettigrew 66). Social status helps to reduce prejudice and discrimination when groups work to equalize social status among themselves; in the case of Corleone and the Five Families, it is understood that each "family" has an equal controlling share of the community. Common goals help to reduce competition and allows groups to work together to attain them. Acquaintance potential helps to reduce discrimination and prejudice when groups work together to know each other on a personal basis; this helps to identify the common goals that each group, or group member are working towards. Finally, prejudice and discrimination are reduced if a group supports and defines the social norms that create equality among them; in the film, conflict is…...

mla

Works Cited

The Godfather. Dir Francis Ford Coppolla. United States: Paramount Pictures, 1972. Film.

The Godfather Part II. Dir Francis Ford Coppolla. United States: Paramount Pictures, 1974.

Film.

Marger, Martin. "Chapter 10: Italian-Americans and Other White Ethnics." Race and Ethnic

This is because they are interested in increasing their overall bottom line numbers at all costs. While, their American counterparts want to see an increase in market share and address a host of social issues. As they believe that the community is playing a vital role in helping to support the organization and its success. This is significant, because it shows how American entrepreneurs want to offer everyone some kind of program that will help to address a host of problems affecting their communities. (Studwell)
A good example of this can be seen by looking no further than idu.com. What happened was the firm was established by Google based on a desire to rapidly expand into China. At first, Google was considered to be the dominant player in the industry. However, the Chinese government began to impose a host of restriction on what content was available. Reluctantly, the company agreed…...

mla

Bibliography

Jeffries, Ian. Political Developments in Contemporary Society. New York: Rutledge, 2010, Print.

Studwell, Joe. Asian Godfathers. London: Profile Books, 2007. Print.

Myth of the Tragic King -- Sophocles' construction of Oedipus the Tragic King vs. Michael of Puzo's The Godfather
The central theme of the Oedipus myth in ancient Grecian society was that the truly tragic king could not escape his fate, despite his best efforts to do so. ith hubris in his heart, the tragic king attempts to avoid what the oracle forecasts, and only fulfills his fate in terrible circumstances as a result of his hubris. However, in modern, American society the idea of uncontrollable fate has somewhat fallen out of fashion. Americans are inclined to look at hubris, or ambition beyond the sphere of one's circumstances with favor. Thus, partly because of the influence of Freud and partly because of the influence of the belief that anyone can succeed in America, the myth of the tragic king, embodied in Oedipus has been rewritten, although it remains a part…...

mla

Works Cited

Freud, Sigmund. "Freud: The Wish Fulfillment of Oedipus." From the Interpretation of Dreams. Elpenor Greek World. 8 Dec 2004.  http://www.ellopos.net/elpenor/greeks-us/freud-oedipus.asp 

Davis, Charles. "Jung's Archetypes." Jung Website. Last updated 2003. 8 Dec 2004.

http://www.acs.appstate.edu/~davisct/nt/jung.html

Puzo, Mario. The Godfather, Original place and date publication -- New York: Putnam & Sons, 1969.

Characters and Situations -- "The Godfather" and "The Green Mile"
Both "The Godfather" and the prison epic "The Green Mile" depict characters at the center of moral dilemmas. To underline the significance of the ethical dramas of these characters, both films effectively make historical and literary parallels, as well as deploy the techniques of metaphors and visual and verbal symbolism, to give the characters and the plotlines a significance that transcends the purely 'entertainment' quality of the film.

For instance, the character of the Godfather played by Marlon Brando is immediately characterized as a man of power and immoral influence through the use of the literary or historical allusion of the singer at his daughter's wedding -- an obvious stand-in for the real-life Frank Sinatra, one of the most famous crooners of all time. But the exhibition of the Godfather Don Corleone is not limited to merely his association with the singer,…...

Additionally, eston Smith's wife Susan Jones-Smith, was also a finance executive at the company, a further example of the incestuous relationships that characterized the financial leadership of HealthSouth. A failure of the company meant the failure in the financial future of the family of one's friends and spouses.
Another warning sign should have been the nature of the company's assets. The firm was able to conceal its financial shenanigans for so long from outside auditors because of its multiple and constant stream of acquisitions of a variety of inpatient and outpatient facilities. The nature of the acquisitions should have been a clear warning sign to be wary of HealthSouth's spiraling profits. The volume of transactions meant there was great difficulty in keeping track of the 'real' value of the different operations, despite the company's alleged revenues on paper.

Also, the existence of such superficial nods to ethical practices, such as a…...

mla

Works Cited

Stuart, Alix Nyberg. (2005) "Keeping secrets: how five CFOs cooked the books at HealthSouth." CFO Magazine.

He realizes that the only way to win the conflict is to kill both Sollozzo and Captain McCluskey. When his brothers kid him for bein naive and Sonny admonishes him for reacting too personally and emotionally, Michael makes a compelling argument for why killing the two is in the family's business. He concludes by stating, "It's not personal, Sonny. it's strictly business."
Not only does this scene demonstrate another example of removing perceived obstacles, it also touches upon parties perceptions and the roles they play in an organizational dispute. Although Michael is new to the business, from what he had seen in the hospital he perceives the problem being Sollozzo and McCluskey, or someone else. Based on this perception he makes the business decision to kill them, as it is what is in the best interest of his family, or the business.

As the film goes on and the violence and…...

Father Figures Arabian Asian Literature
Father Figures: Arabic / Asian Literature

Father figures all across the world embody a phenomenon which encompasses all attributes of a role model. They are meant to stand for discipline, caution, protection, guidance, and of course, love. The perfect amalgamation of all these can be found in the patriarch of any household, or any culture, for that matter. As such, the perfect patriarchal example is nothing short of a literary archetype. From Austen's "Pride and Prejudice" to Puzo's "The Godfather" we can find numerous examples of father figures establishing the age-old belief in fatherly conduct.

It is true, that the general conception of father figures is more or less the same in all areas of literature. However, one must pay heed to the fact that just like miscellaneous traditions; the perception towards father figures varies from culture to culture. Needless to say, the significance of this role is…...

mla

Bibliography

Kanafani, Ghassan. "A Hand in the Grave." Roberta Rubenstein, Charles R. Larson. A World of Fiction. 2002. 427.

Mukherjee, Bharati. "A Father." Robert Rubenstein, Charles R. Larson. A World of Fiction. 2002. 660.

Ramanujan, A.K. "Self-Portrait."

Formerly married to actresses Sharon Hugueny, Camilla Sparv, MacGraw and TV sports commentator Phyllis George, Evans has one son (by MacGraw), actor Josh Evans."
Ali MacGraw, according to Evans, was driven way with his obsession with the Godfather which "ruined my whole life, personally" he said -- but ultimately, was all worth it in the end.

For all of his faults and foibles, Evans says, he regrets nothing.

orks Cited

Higgins, Bill. "An evening with Robert Evans." Variety. May 26, 2008. Accessed October 24,

2009 at http://www.variety.com/vstory/VR1117986441.html?categoryid=38&cs=1

"Robert Evans." Fandango. Accessed October 24, 2009 at http://www.fandango.com/robertevans/biographies/p89202

"Robert Evans." Hollywood.com. Accessed October 24, 2009 at http://www.hollywood.com/celebrity/198019/Robert_Evans

Seal, Mark. "The Godfather ars." Vanity Fair. March 2009. Accessed October 24, 2009 at http://www.vanityfair.com/culture/features/2009/03/godfather200903?currentPage=1

"Trivia." The Sun Also Rises. Internet Movie Database. Accessed October 24, 2009 at http://www.hollywood.com/celebrity/198019/Robert_Evans

Bill Higgins, "An evening with Robert Evans," Variety, May 26, 2008, http://www.variety.com/vstory/VR1117986441.html?categoryid=38&cs=1

"Robert Evans," Hollywood.com, http://www.hollywood.com/celebrity/198019/Robert_Evans

"Robert Evans," Hollywood.com, http://www.hollywood.com/celebrity/198019/Robert_Evans

"Robert Evans," Hollywood.com, http://www.hollywood.com/celebrity/198019/Robert_Evans

"Robert Evans," Fandango, http://www.fandango.com/robertevans/biographies/p89202

"Robert Evans,"…...

mla

Works Cited

Higgins, Bill. "An evening with Robert Evans." Variety. May 26, 2008. Accessed October 24,

2009 at  http://www.variety.com/vstory/VR1117986441.html?categoryid=38&cs=1 

"Robert Evans." Fandango. Accessed October 24, 2009 at  http://www.fandango.com/robertevans/biographies/p89202 

"Robert Evans." Hollywood.com. Accessed October 24, 2009 at  http://www.hollywood.com/celebrity/198019/Robert_Evans