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Violencegangsters, and goc

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a magazine of essays and reviewb
on american perspectives

(Continued from Page 13)
they do unto you. These were
the rules and every gangster
lived or died by them.
Inevitably, with prosperity the
angster begins to opt for a
gentler life, and as a family man
more is expected of him. When
Cagney pushes a grapefruit into
Mae Clarke's face, we accept it
as hisCordinary behavior; when
the Don's son-in-law Carlo slaps
around his wife, we are shocked.
This doesn't mean that the gang-
ster has altered his ways across
the board. The Godfather, in.
fact, focuses obsessively on both
the strict compartmentalization

paniment of "Have Yourself a
Merry Little -Christmas;" a
Vorkapich Effect superimposes
photos of bullet-riddled corpses
on domestic scenes of gang sol-
diers wolfing down their meals;-
a Sicilian wedding tableau is
marked by two gun-toting body-
guards; and, in the most chilling
example, a baptism is juxtaposed
wit ha bloody gangland version
of the Night of the Long Knives.
Everything indicates that Don
Vito, entrepreneur extraordi-
naire, knew how to erect the
barirers and keep his two lives
absolutely separate, though if the
film has any single weakness it

Jorge Luis Borges in the United States
Interviewing a master poet and storyteller .... meryl gordon
Post Prison Notes with John Sinclair
Views on the revolution, rock and roll, prison............
Pat Oleszko's Living Statue of Liberty
"The Dancer-is the dance"................marvin felheim
Political Primer of Angela Davis
A review of realities and rhetoric ...........gayle pollard
An Examination of What's Left of SDS
Recalling the early years in Ann Arbor . ....... robert ross
Prof. John Aldridge's "Fire and the Devil"
Analyzing the high art of criticism...........r. c. gregory
"The Godfather" and American film
The good, the bad, and the Company ..........neil gabler

pg. 3

/(( 'Y vy," "{{""{ri sti $}.Lr'rv.r :: iif r1C}'."}}'r/%r';::'.?.;.S .n ."'.?irYv}. 'rY :/iY I?,::{y , ryri'r,:t;{ 'ry' ,: ' f> }"'.?}'., :? " l r:",ii ^:3j: } >^ ,", C,
OIOCK. Sv}e4: "..".a...J.. ". +r$ ...::.:::tia"i:......F..:rJ."b.."..."?i..1. :J ".."R r.. r.:J.:"Y...<."o ".. ...

"Coppola has successfully

taken the

his Father's life. In pique, Con-
nie's husband Carlo sets up Son-
ny for a rival gang. Michael
takes revenge on Carlo. And in
the last scene Michael foolishly
answers his wife's query about
the murder. The young chieftian
has only vaguely understood the
injunction by Family counselor
Toni Hagen that some things-
even deaths-are "business, not
personal."
While the power relationships
in family and business are vastly
different-which is why Don Vito
can be both loving father and
ruthless criminal - Michael's
problem is that his less than
strict adherence to the com-
partmentalization exposes the
artificiality of the barriers. This
is the modern gangster's pathos.j
His family is the reward of his
career, but his family also means
that for the first time in the
genre there is a moral referentj
--something against which he
can be judged and, coincidental-
ly, something which eases his
way into being judged. The po-
lice never provided such a yard-
stick because they were as fated
to kill as the gangster w a s
fated to be killed. Indeed, the
only policeman in The Godfath-
er is the crooked cop McClus-
key played by Sterling Hayden

with all the criminal allusio
Hayden can bring to the ro
(Asphalt Jungle, The Killin
Dr. Strangelove.) In the fili
very last image Michael's wi
the new judge, watches two c
poregimes swear fealty to th
new Don, and we see in her fa
the recognition of betray
Michael told her he hadn't ki
ed Carlo, but now she knot
he's lied. That old weapon
the underworld has come ho
to roost.
In a way Michael's bind
The Godfather is our bind t
We have ridden out the bumn
road. to materialism but
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pg. 4

pg. 5

movie gangster of the early 30s and modern-
ized him not by dragging Scarface into the
60s, as 'The Brotherhood' mistakenly tried
to do, but through a revisionist history which
reveals our values by imposing them on the
> ,,:
past."
---.==as nas" *..**..*.....

pg. 6

pg. 6
pg. 7

of the Corleone's family and bus-
iness lives, and on the insane
contradictions of that compart-
mentalization. The opening scene,
Connie Corleone's huge wedding,
alternates between the deep
browns of her father's silent
study- where favors are solemnly
asked and granted, and the
bright greensward noisy with
music and laughter. In other
scenes Sonny's cross gleams as
he calmly discusses murder;
killer Luca Brasi straps on his
bullet-proof vest to the accom-

is this point's lack of deveolp-
ment; there are things we don't
know about Papa Corleone's
technique that we should know
if we are to contrast it with
Michael's. We do know that the
Don's sons, and especially Mi-
chael, aren't able to make the
same distinctions their father
does, and therein lies the spring
of the film's tremendous action:
Sonny indiscreetly contradicts
his father in front of the dope
dealer Sollozzo. Michael unthink-
ingly revenges the attempt on

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pg.8

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MERYL GORDON is a third year
English major who spent a day laost
month interviewing Jorge Luis Bor-
ges in East Lansing.
JOHN SINCLAIR, of the Rainbow
People's Party, was recently freed.
after serving two years of a 912-10
year dope rap.
MARVIN FELHEIM, chairman of
the American culture program, is
a critic, collector, and avid theatre-
goer. He has written a book on
Augustin Daly, the late 19th-cen-
tury theatre director.

GAYLE POLLARD, a senior major-
ing in history, has written for the
Washington Post and Metromedia,
as well as for The Daily.
ROBERT ROSS was vice-president
of SDS in 1962. He attended the
Port Huron Convention, and re-
mained an officer in the organiza-
tion through 1966.
R. C. GREGORY, a free-lance writ-
er, works at Centicore Books.
NEIL GABLER has been the chief
Daily film critic for three years.



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Sunday, April 16, 1972. Sunday, April 16, 1972

THE MICHIGAN DAILY