A. Introduction
This discussion will compare two generic gangster texts, Dick Tracy (1990) and the Untouchables (1987). The functionality from the essay is going to be to compare the narrative aspects together with the intended audience and also the genre specifics of them. The narrative section will begin by discussing the story line and discuss the ways exactly where the story is told. Here part will analyse the intended audience for each text though component D will discuss the generic issues and how they compare to each text.
B. Narrative
The narrative structure of Dick Tracy follows the story line which is not uncommon in similar films from the same genre. The principal story line with the film is Dick Tracy's efforts to bring down Large Boy Caprice's gangster empire and also the search for a mystery assassin named The Blank. A secondary storyline follows Tracy's romances with Tess Trueheart and Breathless Mahoney. The third sub-plot is Tracy's rescuing a young orphan boy, The Kid, who looks as much as Tracy as being a father figure. All this becomes simply tangled as soon as Tracy finds himself framed for your murder of Chicago's beloved (although corrupt) District Attorney, and Caprice's empire begins to eat more than the city itself.
Classical Hollywood cinema has traditionally presented its viewer having a unified narrative. The Untouchables is often a perfect instance of this. The film's narrative deals with Treasury Officer Elliot Ness's quest to get criminal Al Capone behind bars. This really is a goal that is clearly and explicitly delineated from the start, and most scenes follow the protagonist’s actions from that point on. At very first he tries to gain this goal by himself, which leads to failure after he finds out that the rest in the police force is corrupt. As he walks home, depressed about his embarrassing failure, the character of Malone is introduced. The death of Malone not merely has the plot function of strengthening Ness's resolve to catch Capone, it also functions structurally as reinforcement on the audience's sympathy for his quest.
C. Audience
When comparing these a couple of texts together and placing them within the gangster genre that they belong, it's apparent that they are each incredibly similar, narratively and generically. The truth how the genre itself includes a cult audience after (which begun with films for instance the Godfather, and even the 1930’s Dick Tracy), implies this even more. The audiences over generations have grown up with these kinds of films, and it is undoubtedly a sort that audiences are even now interested in considering gangster films are still produced today. The audience knows that once they go to see a gangster film, they will likely be involved with a film that contains guns, high speed chases and commonly a few crooked cops. Audiences are attracted to films like this due to the fact they know they will receive a ‘closed ending’ which in turn gives them a sense of closure and satisfaction by the end.
D. Genre
While the gangster genre plays a predominant role as the primary generic element of these texts, they are apart of the much bigger genre, drama. The gangster genre itself is extremely just an additional breed of drama, and each text is consistent with this fact. As noted before, gangster films are constant in producing high levels of drama that keep men and women coming back to them, that is certainly why the genre itself has been so successful throughout filmic history.
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