And then, as Robert Warshow put it in his essay The Gangster as Tragic Hero, “the gangster is the 'no’ to that great American 'yes’ which is stamped so big over our official culture and yet has so little to do with the way we really feel about our lives”.
ROBERT WARSHOW The Gangster As Tragic Hero
Gangsters as Tragic Heroes in American Film Introduction Various films with themes that touches on gangster lives are mostly met with mixed reactions by the audience . The main characters of such movies on which the themes of the films are created may sometimes be elements of both despise and admiration . Through their actions which no doubts are mostly tragic , the main actors to such films are “tragic heroes .In respect to this knowledge , this paper will analyze two films ,Godfather part I and Scarface , both shot in the US and whose major themes are about gangster lives . In order to fulfill the intended purpose the analysis will seek to portray the main characters of the films as tragic heroes . This will be achieved through the description of what they do that warrant them the tragic heroes name and how the audience perceive them to be again based on what they do . The Films Analysis Godfather In the first film , Godfather , the main character , Michael Corleone is introduced as the last born of wealthy and influential Italian family that lives in the US . [A Look Inside (2001 )] Don Vito Michaels father and who is also known as “Godfather ‘ by associates is the head of the Corleone Mafia family . From the introduction Michael is an ex-marine hero coming from the World War II is depicted as a nice person who reassures his girl friend Kay that he is planning to marry her soon and help to create a good name different…
COURS ROMAN POLICIER: The Gangster as Tragic Hero
I'd like to close more or less where I began: by quoting a passage from Warshow's essay The Gangster as Tragic Hero in which he not only describes the identification between the gangster and the city, but also posits the resultant representative or universal nature of the gangster figure in other words, the quality that makes the gangster memorably emblematic in ways that Larry, Travis and Tony could only (or perhaps could not even) dream. Here then is Warshow, writing in 1948 about the gangster-as-tragic-hero, just as, at that moment in the history of cinema, the ethically mottled protagonists of film noir (not gangsters, but not cops either) were taking over the screen:
Mesrine, the gangster as tragic hero | Film | The Guardian