Elements of the Gangster Film Genre..

            Welcome back to Gangster’s Paradise! In this installment, as promised, we are discussing the elements of the gangster film genre. Within the film criticism community, there is not one unanimously accepted definition of  “genre”. However, for the purposes of this post, a genre is defined as: a label given to narrative films that essentially possess similar film elements such as story structure, presentation, approach, themes, and values. Essentially, genres are a label given to a film or films to give a “hint” to the viewers about what they might expect from a film.

            Knowing that, we can now define what elements or general themes the gangster film genre contains. As Martha Nochimson outlines in a journal article in Film Quarterly titled Whaddaya Lookin’ At?, within the gangster film, these elements and themes are, but are not limited to: The central character that we identify with swapping our usual patterns of identification by connecting us and our feelings with criminals, the story functioning in a thick social context that paints us a picture of the culture and it’s values, and the central character operating in a well established hierarchy of associates often having codependent unstable relationships (2003). 

            Again, the first of these reoccurring themes in gangster films is the central character that we identify with swapping our usual patterns of identification by connecting us, and our feelings, with criminals. Because we are following this protagonist through out the conflicts in the film, we naturally empathize with that character as we experience the transpiring events along with him. This goes against our natural tendencies as people of respectable society to not have sympathy for criminals. For example, in the GodFather part I (1972), when “Don” Vito Corleone’s son, Sonny, is brutally murdered by a rival mafia, he becomes visually physically weak and shaken. Combining the physical demeanor of the Don, the somber score in the background, and the lighting, makes for a very emotional scene and allows us to empathize with him. However, we are using this example because, although it is sad whenever anybody dies, it is the Don’s own criminal activity, as well as Sonny’s, that ultimately provoked the murder, something that the evoked emotion clouds from memory.

James Caan as "Sonny" in the Godfather part I (1972)

            The next reoccurring theme in gangster films is that the story functions in a thick social context that paints us a picture of the culture and it’s values. This element or theme of the gangster film can be better understood by using the film Donnie Brasco (1997) as an example. In the film, Donnie Brasco is an FBI agent undercover in the mafia. To gain entrance into the family as an associate, Donnie needs an established member to “vouch” for him, or guarantee that he is a person that can be trusted by offering his own life. Heavy with these types of inherent meanings of words and symbols, this illustrates the established culture and values that the story operates in. Furthermore, there is also a scene in the film where Donnie is trying to explain these cultural meanings to a few FBI agents who are outside of this social context: Forggettaboutit.

            The final element to be discussed here is the theme of the central character in gangster films operating in a well-established hierarchy of associates, and often having codependent unstable relationships. To explain, in GoodFellas (1990), the central character Henry becomes involved in selling drugs and is arrested. This prompts his boss (the Hierarchy) to excommunicate him from the crime family. Then, suddenly his buddy Jimmy (who is of similar rank) comes out of the blue and asks him for help on a murder. Sensing the setup, Henry seeks the aid of the FBI and the witness protection program. This demonstrates the idea at hand because of the fact that, although the two are friends and have worked together for a long time, in the projected gangster film culture, business is business and one would not hesitate to off the other.

            These three elements are common themes that span the width of the gangster film genre. Also, it is important to remember that the elements discussed in this post alone are not the only elements that the gangster film genre can be defined by. Essentially, this blog and it's encompassed topics being discussed are  elements of the genre of gangster films. None the less, to further your own knowledge, you are encouraged to come up with some of your own arguments for genre elements and themes that define this genre and post them here. Also, take the ideas that have been demonstrated  and create your own examples from other films in this genre that illustrate the presented concepts and do the same.
            
            The next Gangsters Paradise post will cover semiotics: the study of signs. Keep it gangster..








Nochimson, M. (2003). Whaddaya Lookin' At?. Film Quarterly, 56(2), 2-12.