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Provide a 2 pages analysis while answering the following question: Comparison on Pietro Germi’s film Divorce, Italian Style and Martin Scorsese’s film Goodfellas. Prepare this assignment according to the guidelines found in the APA Style Guide. An abstract is required. Comparison on Divorce Italian Style and Goodfellas films It is a clearly well known fact that the Italian film industries went through major transformation in the 1960’s. Additionally, it was during this point tin time in which Italian cinema started the litmus test of discussing cultural change in that country. This was prior to the war. Post war Italy was at this time ushering in with a customary sense of modernity and new social-cultural system of existence. Come to think of it, Italian cinema in the early 1960s was going through a rapid innovation and change. In this new phase of transformation, Italian cinema brings to us the reality that the Italian people were slowly coming to terms with vivacity of the present. Clearly, their future, their past was something that was hidden in the dark corners of their minds (Liehm 56).

Germi’s film Divorce. Italian style examines ideas like social customs through a shadowy comedy about a gentleman, Ferdinando. He attempts at thinking of reasonable and legal way in which he can get divorced from his wife. This reason behind all this thinking is because Ferdinando wants the freedom to marry his true purpose of craving, his 16 year-old cousin. In this mirror, we can clearly see that the Italian social life is extremely at odds with each other. The illegal divorce and the stigmatization of women in society clearly show that something is extremely at stake. In a lot of many ways, Ferdinando’s actions show the extreme levels of peculiarity the society can get to. Additionally, the manner in which Fernando gets annoyed his wife, just serve at great to show us the banalities of the two characters. What is quite unbelievable is that the society well accepts Fernando’s decision to murder his wife. This is like adding salt to injury. In any case, it highlights how callous the society can get (Liehm 96).

Martin Scorsese’s film Goodfellas is wrought in sinister gangster activities. In terms of courses of texture, no film comes near it. In short, this means that it ahs shares a large monogyny in the sphere of rivalry, detail, and expansiveness. It covers widely the gangster life-style. In this film, the gangsters are mostly men, and such they have the slightest tinge of idea about of appropriate attitudes, the notion of masculinity, and certain inclinations. Some of the crucial aspects in this film and the predominately male gangster society include reputation, trustworthiness, and brazenness. Ideally, the idea of male masculinity is expressed in the manner in which the characters are concerned with the welfare of each other by watching out each other (Liehm 78).

To exhibit a high status which is measured by what one has, all manifests the masculinity of gangsters in Goodfellas. It is evidenced in the movie that the most reputable men are those with money, who own the coolest things in life, and who can afford to walk Scots free, without anyone pressing charges against their heinous crimes. For instance, one of the loony gangsters in the film like Jimmy easily pays his way off to freedom by bribing policemen (Liehm 107).

The crucial issue of family adds some vitality to the film. Through the scene we catch snatches of cases of infidelity and adultery. The gangsters despite their infidelity still manage to keep their families. Ideally, Scorsese’s argues by the gangsters characters. he hardly rebukes their deeds. Unlike Germi who deals substantially about social customs and their relationship with human beings. Scorsese’s to a large extent deals with masculinity and its connection to crime and violence. The lead character in Goodfellas uses a voice-over element to give the audience the feeling of the sort of life he’s living (Liehm 120).

Work Cited

Liehm, Mira. Passion and Defiance. Film in Italy from 1942 to the present. Berkley: University of California press, 1948.