Love Gangster Movie

[Nazarena Lugg]

Ihave something of a guilty pleasure in gangster movies, recently I watched some older classic gangster films and began wondering why they were so popular, why they resonated with people, specifically in America where they were most popular so here is another short essay of some of the reasons I think these films have stood the test of time. The films I talk about are The Godfather, Scarface and Mean Streets.

Secondly the idea of individuality, in some ways similar to the idea of the American dream the image of America as a melting pot brimming with people of every race and religion, the notion that America is all about freedom and liberty goes hand in hand with the idea of individuality, in America one is supposed to be able to practice any religion, reach any goal, and truly be individual this is a value held close by American citizens. However these films suggest that individuality is difficult to find first of all and then maintain in America. Lots of these characters are lost, they are seeking meaning and in many cases copying the people above them in the hierarchy of the mafia. And these choices to follow those above them and rise through the hierarchy and get involved with criminality often leads to a very desperate place for these characters.

How I Fell in Love with a Gangster (Polish: Jak pokochałam gangstera) is a 2022 Polish film directed by Maciej Kawulski, written by Krzysztof Gureczny and Maciej Kawulski and starring Tomasz Wlosok, Aleks Kurdzielewicz and Antoni Krlikowski.[1][2]

The film tells the story of the rise and fall of Nikodem "Nikoś" Skotarczyk. Nikoś was born in Pruszcz Gdański, a small town in Pomerania, to a father who abused and beat him. As he grows up, he gathers around him a gang of delinquents, led by his good friend "Komo". At first, Nikoś and his gang engage in petty crime, but later they begin stealing cars from Germany and selling them in Poland. This business yields them enormous profits and turns Nikoś into the underworld ruler of the Polish coastal area.

You're leading an ordinary life in sunny California when suddenly you get kidnapped by LA's most wanted gang! Thrown into the extravagant life of these stylish but dangerous gangsters, you must choose one of them to watch over you...but who can you trust? Living in the gang's world isn't easy, yet in the face of all the shootouts and explosions, an undeniable attraction begins to form... Not only are you the key to important information the gang needs, but you are also in possession of something else they are missing in their lives: your heart!

Hot gangsters, a giant mansion, car chases, and shootouts! The extraordinary became your everyday life when LA's most stylish gang kidnapped you! They say they want you for the information you hold... but is that really the only reason they want you?

If I said that Damon Runyon, who died 75 years ago this month, is one of the most influential artists of the last century, you might think me mad. In the UK, he is little-read, and what reputation he has rests on the faded glamour of having written the stories that inspired the Fifties musical Guys and Dolls.

But when Runyon wrote his stories in the Thirties and Forties, he was bringing us news, softening us up for the century to come. He made us fall for the guy who is dubious in business and negligent in his home life and his love life.

Gangsters flourish where there is chaos. In many ghettos of Mumbai, gangsters provided social stability and, dare I say, quick justice to ghetto occupants. Gangsters are a result of weak, corrupt and incompetent governance.

Why do we lovegangsters and crime cinema so much? They represent everything thatAmerica, and Americans, do not stand for. They focus on brutish,murderous thugs whose sole goal is accumulating power and money byusing fear tactics. They will do anything to anybody to get ahead,regardless of how many laws they break or people they shoot.

The Hollywoodmobster is an historic character. He got his start in the early daysof sound film because during the 1920s, thanks to endless mediaattention, he had already become a major figure on the Americanscene. Most of the early real life gangsters were immigrants whocould not succeed in American because of persecution anddiscrimination against ethnic groups. So, nowhere else to go, theyturned to crime. They had to turn to crime, shrugged Americans. Sinceall of us are, way back, immigrants from somewhere, we understoodthat.

What movie writers did was take thereal gangster, sanitize him, glamorize him and put him on the bigscreen as a hero. He was the immigrant tough guy who blasted his wayto the top. The judges, public officials and cops were the villainsin all those 1930s gangster movies (did they all star James Cagney ordid it just seem that way?). They were Robin Hoods with machineguns.

The movie gangstersucceeded because real life gangsters of the era, such as Al Capone,Bonnie and Clyde and John Dillinger, had also become folk heroes,thanks to huge press coverage of their lives. The movies just tookreal life, put some make up on it, added music, printed posters androlled the cameras.

N2 - Popular AbstractI denna studie str de brottslingar som befolkar amerikanska polis- och deckarserier i fokus. Tv huvudgrupper urskiljs: De som begr brott p grund av de omstndigheter de befinner sig i och de dr brottsligheten framstlls som en inre egenskap. I de olika avsnitten skildras hur de senare frdms och exkluderas frn den samhlleliga gemenskapen medan de frra frlts fr sin brott och inkluderas. Detta grs genom en mngd attribut och TV-polisernas och detektivernas frhllningsstt. Lagvertrdarna utgr moraliska klicher som har sina motsvarigheter ven utanfr TV-serierna. De r ltt igenknnbara. Brottslingarna r vl sammanfogade ur detta perspektiv, vilket ocks r TV-producenternas och manusfrfattarnas avsikt. Man kombinerar inte egenskaper som strider mot allmnna uppfattningar: En gangster kunde kanske lska sin mor, men inte i denna TV-vrld. TV-brottslingarna utgr sledes ganska allmnna sociala typer som vi p olika stt kan frhlla oss till.

AB - Popular AbstractI denna studie str de brottslingar som befolkar amerikanska polis- och deckarserier i fokus. Tv huvudgrupper urskiljs: De som begr brott p grund av de omstndigheter de befinner sig i och de dr brottsligheten framstlls som en inre egenskap. I de olika avsnitten skildras hur de senare frdms och exkluderas frn den samhlleliga gemenskapen medan de frra frlts fr sin brott och inkluderas. Detta grs genom en mngd attribut och TV-polisernas och detektivernas frhllningsstt. Lagvertrdarna utgr moraliska klicher som har sina motsvarigheter ven utanfr TV-serierna. De r ltt igenknnbara. Brottslingarna r vl sammanfogade ur detta perspektiv, vilket ocks r TV-producenternas och manusfrfattarnas avsikt. Man kombinerar inte egenskaper som strider mot allmnna uppfattningar: En gangster kunde kanske lska sin mor, men inte i denna TV-vrld. TV-brottslingarna utgr sledes ganska allmnna sociala typer som vi p olika stt kan frhlla oss till.

All content on this site: Copyright 2024 Elsevier B.V. or its licensors and contributors. All rights are reserved, including those for text and data mining, AI training, and similar technologies. For all open access content, the Creative Commons licensing terms apply

3a8082e126