In the Godfather Part 2, Copella continues to use the same filming techniques and symbols as he previously used in the Godfather Part 1. These techniques include the level of the camera that the film is filmed, the lighting of illuminating the Don, and the technique of slowly panning in and out of scenes. Some symbols that he chose to continually use include filming scenes through doors, showing the difference between the private and public lives of the Corleones, the sanguinello oranges representing a future death, and the hero’s journey of Michael’s father Don Vito Corleone through flashbacks. Because the class has only seen the first half of the movie, we are unaware of the further events.
One example of the sanguinello oranges representing a future death includes when Vito gives Fanucci 100$, Fanucci proceeds to get an orange.
Throughout the film, the scenes continuously switch from Michael’s time, to a flashback of his father Vito Corleone. Not only did Michael follow the Hero’s Journey by Joseph Cambell, but his father did also. Michael is following the path of his father, which led him to becoming the Don in The Godfather Part 1.
An example of the camera level the film is being filmed at. As Mrs Shepard recently said, when the Corleone’s house was being shot, the camera angle made the audience feel as they are being apart of the scene, making the audience react to the gun shots.
Comparing Michael Corleone from the beginning of Part 1, to this point during Part 2, Michael is a different person. As said in my speech on the Hero's Journey, Michael's end to his civilian life is the beginning of his new life, making him a completely different person. He started off as someone who came back from the army and at this point he is the head of his family. His personality has changed along with the clothes he wears. In the photo of Michael to the left, he is in a suit with a serious expression on his face. In the photo of MIchael to the right, he is relaxed at Connie Corleone's wedding wearing to wear his army uniform.
