Goodfellas Reaction Paper
For this portion of the exam, I chose to review Goodfellas because it embodies a vast amount of the terms from the text. It is also the film that I was most familiar with prior to start of this class, as well the film that I have revisited frequently, for both entertainment and educational purposes. The film begins with the camera following a Lincoln that seems to be traveling at high speed. The tail lights serve as the high-key diegetic lighting which slightly illuminates the silhouette of the rear portion of the vehicle and a line to the left of the car indicating the road lanes. Based on the framing of this shot, they appear to be driving on the wrong side of the road. The lightly used in this scene, along with the diegetic sound of the car’s engine (which indicates the
…show more content…
aforementioned high speed of the vehicle) help set the tone for the events that ensue. As the car switches into the proper lane, the screen goes black and the text “New York, 1970” appears; giving the viewer—and the film—a sense of cinematic time. As the movie resumes, Ray Liotta (Henry) is shown driving Robert De Niro (James), who is riding shotgun, while Joe Pesci (Tommy) is in the back seat. While Henry is driving there is a continuous thumping sound that alarms everyone in the car. As they exit the car to evaluate the noise, low-key lighting from the car’s reemerge, and another close-up depicting the silhouette of the rear end of the car in shown; emphasizing the trunk on the car. The red, low-key brake lights shine on Henry, James, and Tommy, but their figures remain distorted by the darkness behind them. This lighting technique creates a grim atmosphere, and is often meant to imply ethical judgements that are taking place on-screen, and this scene is no exception. As they open the trunk to further evaluate the noise, a man confined by a bloody sheet is shown. Without hesitation, Tommy pulls out a machete and repeatedly stabs the man until there are no more sounds of restraint. James fires four point-blank shots for safe measures. With the brake lights still glowing on the cast, the camera zooms into a close-up of Henry. A freeze frame captures this close-up shot, and Henry’s characterization begins with a first-person narration. He explains, “As far back as I can remember, I always wanted to be a gangster”. As the narration begins, triumphant, nondiegetic, upbeat swing music begins playing as Henry informs viewers about how and why his childhood aspirations manifested into his current roadside fiasco.
The following scene is a flashback to Henry’s teenage years. An extreme close-up is shown on Henry’s eyes, which do not appear to capable becoming wider. Based on the current context of the story, I assume that the wide-eyed teenager is watching the gangsters in his community; in awe of the power they possess, and the fear that they inspire. Henrys narration continues to develop his characterization as he explains why he wants to become like Paulie, a local gangster. He goes on the describe Paulie as a man who “may have moved slow, but that was because Paulie didn’t have to move for anybody.” As Henry gained employment, and became increasingly involved with gangsters he admired so much, he received mixed reactions from his parents. His Mother supported his aspirations, but his Father began beating him because his job led to truancy. While Henry’s father was beating him, a low-angle freeze frame is used showing Henry’s Father’s arm cocked back, belt-in-hand; as well as Henry’s inferiority in that
moment. After telling his employers about the beatings he received from his Father, Henry received assurance that his misfourtanes would cease to exist. The pivotal point in Henry’s career in organized crime was when he was prosecuted for petty theft. This experience ensured his superiors that he could be trusted to keep his mouth shut in tight situations. The story flash-forwards to 1963, and follows Henry’s rise through the ranks.
Generally, I would stray away from writing 600 words detailing the first 15 minutes of a film, but the first 15 minutes of Goodfellas managed to capture my attention in a way that very few films have. The background information leading to Henry’s involvement in organized crime; the use of freeze frames, which gave Ray Liotta’s narration the chance to catch up to the overabundance of visual information you are expected to digest; and how elements of diegetic, and non-diegetic, sounds and lighting are interwoven to create cinematic language are second-to-none. Each detail of how Henry Conway is introduced to the viewer is meticulously crafted and adds to Scorsese’s unique brand of cinematic language and dramatic effect.
aforementioned high speed of the vehicle) help set the tone for the events that ensue. As the car switches into the proper lane, the screen goes black and the text “New York, 1970” appears; giving the viewer—and the film—a sense of cinematic time. As the movie resumes, Ray Liotta (Henry) is shown driving Robert De Niro (James), who is riding shotgun, while Joe Pesci (Tommy) is in the back seat. While Henry is driving there is a continuous thumping sound that alarms everyone in the car. As they exit the car to evaluate the noise, low-key lighting from the car’s reemerge, and another close-up depicting the silhouette of the rear end of the car in shown; emphasizing the trunk on the car. The red, low-key brake lights shine on Henry, James, and Tommy, but their figures remain distorted by the darkness behind them. This lighting technique creates a grim atmosphere, and is often meant to imply ethical judgements that are taking place on-screen, and this scene is no exception. As they open the trunk to further evaluate the noise, a man confined by a bloody sheet is shown. Without hesitation, Tommy pulls out a machete and repeatedly stabs the man until there are no more sounds of restraint. James fires four point-blank shots for safe measures. With the brake lights still glowing on the cast, the camera zooms into a close-up of Henry. A freeze frame captures this close-up shot, and Henry’s characterization begins with a first-person narration. He explains, “As far back as I can remember, I always wanted to be a gangster”. As the narration begins, triumphant, nondiegetic, upbeat swing music begins playing as Henry informs viewers about how and why his childhood aspirations manifested into his current roadside fiasco.
The following scene is a flashback to Henry’s teenage years. An extreme close-up is shown on Henry’s eyes, which do not appear to capable becoming wider. Based on the current context of the story, I assume that the wide-eyed teenager is watching the gangsters in his community; in awe of the power they possess, and the fear that they inspire. Henrys narration continues to develop his characterization as he explains why he wants to become like Paulie, a local gangster. He goes on the describe Paulie as a man who “may have moved slow, but that was because Paulie didn’t have to move for anybody.” As Henry gained employment, and became increasingly involved with gangsters he admired so much, he received mixed reactions from his parents. His Mother supported his aspirations, but his Father began beating him because his job led to truancy. While Henry’s father was beating him, a low-angle freeze frame is used showing Henry’s Father’s arm cocked back, belt-in-hand; as well as Henry’s inferiority in that
moment. After telling his employers about the beatings he received from his Father, Henry received assurance that his misfourtanes would cease to exist. The pivotal point in Henry’s career in organized crime was when he was prosecuted for petty theft. This experience ensured his superiors that he could be trusted to keep his mouth shut in tight situations. The story flash-forwards to 1963, and follows Henry’s rise through the ranks.
Generally, I would stray away from writing 600 words detailing the first 15 minutes of a film, but the first 15 minutes of Goodfellas managed to capture my attention in a way that very few films have. The background information leading to Henry’s involvement in organized crime; the use of freeze frames, which gave Ray Liotta’s narration the chance to catch up to the overabundance of visual information you are expected to digest; and how elements of diegetic, and non-diegetic, sounds and lighting are interwoven to create cinematic language are second-to-none. Each detail of how Henry Conway is introduced to the viewer is meticulously crafted and adds to Scorsese’s unique brand of cinematic language and dramatic effect.