Parallel editing is a film technique that cuts between two unrelated scenes or stories in alternating shots to tell both simultaneously. The Godfather uses parallel editing during the baptism scene, cutting between Michael renouncing evil as his daughter is baptized and his men carrying out murders around the city on his behalf. This juxtaposition emphasizes Michael's hypocrisy by constantly reminding viewers that everything he says during the baptism ceremony is a lie.
Parallel editing is a film technique that cuts between two unrelated scenes or stories in alternating shots to tell both simultaneously. The Godfather uses parallel editing during the baptism scene, cutting between Michael renouncing evil as his daughter is baptized and his men carrying out murders around the city on his behalf. This juxtaposition emphasizes Michael's hypocrisy by constantly reminding viewers that everything he says during the baptism ceremony is a lie.
Parallel editing is a film technique that cuts between two unrelated scenes or stories in alternating shots to tell both simultaneously. The Godfather uses parallel editing during the baptism scene, cutting between Michael renouncing evil as his daughter is baptized and his men carrying out murders around the city on his behalf. This juxtaposition emphasizes Michael's hypocrisy by constantly reminding viewers that everything he says during the baptism ceremony is a lie.
stories are being told in the same sequence of film, changing between the two every other shot or so. They are usually in different locations and can be set so they are not happening at the same time, which can create a dramatic effect. The Baptism Murders from The Godfather is a good example of Parallel Editing. In the scene Michael is renouncing Satan as his daughter is getting baptised. Whilst he is doing this a group of men, who are for-filling his wishes, are darting round the city murdering a lot of people. All the murders are filmed from multiple angles, whereas Michael is shown from the same angle each time. Francis Ford Coppola has edited this sequence in a way that the two scenes juxtapose each other, as Michael is promising to do no evil and honour God whilst doing the complete opposite. This emphasises just how terrible of a person he is by constantly reminding you that everything he is currently saying is a lie.