#lovestory I One Day Movie I latest Telugu movie COMPANY TEASER I Trailer I SONG II vIZAY II 2021 II
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Presente by : Stunt Master Veeresh Vanapalli (Kakinada)
Bhargavi (Annavaram)
Tiktok Star Suri Babu (Producer & Actor)
Co-Director & Editor : Venu (GVG)
Associate Director : NVVSN Kumar
Assistant Director : Joshua
Story-Screenpay-Dialogues-Photography-Backgrond Score- Direction : vIZAY

Song Credits: movie : D-COMPANY
Singer : RGV Sir
Music : Paul Praveen
Lyrics : Sira Sree

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" I made COMPANY as I was mainly inspired by Maverick film maker RGV (RAM GOPAL VARMA) Sir's " Satya, Company, Gayam, Satya-2 and now D-company...and also the world cinema of gangster films "

Mafia films—a version of gangster films—are a subgenre of crime films dealing with organized crime, often specifically with Mafia organizations. Especially in early mob films, there is considerable overlap with film noir. Popular regional variations of the genre include Italian Poliziotteschi, Chinese Triad films, Japanese Yakuza films, and Indian Mumbai underworld films.
History
The American movie The Black Hand (1906) is thought to be the earliest surviving gangster film.[1] In 1912, D. W. Griffith directed The Musketeers of Pig Alley, a short drama film about crime on the streets of New York City (filmed, however, at Fort Lee, New Jersey) rumored to have included real gangsters as extras. Critics have also cited Regeneration (1915) as an early crime film.
Though mob films had their roots in such silent films, the genre in its most durable form was defined in the early 1930s. It owed its innovations to the social and economic instability occasioned by the Great Depression, which galvanized the organized crime subculture in the United States.[2] The failure of honest hard work and careful investment to ensure financial security led to the circumstances reflected in the explosion of mob films in Hollywood[3] and to their immense popularity in a society disillusioned with the American way of life.
1930s
Little Caesar (1931)
The years 1931 and 1932 saw the genre produce three enduring classics: Warner Bros.' Little Caesar and The Public Enemy, which made screen icons out of Edward G. Robinson and James Cagney, and Howard Hawks' Scarface starring Paul Muni, which offered a dark psychological analysis of a fictionalized Al Capone[4] and launched the film career of George Raft. These films chronicle the quick rise, and equally quick downfall, of three young, violent criminals, and represent the genre in its purest form before moral pressure would force it to change. Though the gangster in each film would face a violent downfall which was designed to remind the viewers of the consequences of crime,[5] audiences were often able to identify with the charismatic anti-hero. Those suffering from the Depression were able to relate to the gangster character who worked hard to earn his place and success in the world, only to have it all taken away from him.[5]
Because of the Production Code, such films had to always end with the gangster protagonist dying in a hail of bullets at the film's climax. Furthermore, the film's protagonist was always somehow "deviant" from the norms of American society.[6] In Little Caesar, it is strongly implied that Caesar Enrico Bandello (Edward G. Robinson) is gay as he is clearly jealous when his handsome friend Joe Massaria (Douglas Fairbanks Jr) dances seductively with his lover Olga (Glenda Farrell), which causes him to make his first major mistake that leads to his downfall.[7] In The Public Enemy, the protagonist Tom Powers (James Cagney) is a casually brutal misogynist, most notably expressed in the famous scene when he rammed a grapefruit into the face of his girlfriend after she annoys him..[8] About this scene and many others similar to it, the American critic Thomas Doherty noted "what went largely unremarked was the vicious nature of the relationships between men and women in the gangster genre".[8] In Scarface, Tony Carmonte (Paul Muni) has a barely veiled incestuous passion for his sister Cesca (Ann Dvorak), which leads to his death.[9]
Despite the genre spanning the decade before dying out, some argue that the gangster film in its purest form only existed until 1933, when restrictions from the Production Code led to films that did not have the same power as the earlier ones.