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Godfather

In the history of cinema there are two forme UCLA film student whose making lost until now in the flashes of fictitious Corleone "family" are ac­ specific genres which are uniquely previous directorial efforts have fast editing and special effects which tually directly analogous to the in­ American-- two groups of films which ranged between s~mi-successful have come to dominate current film tricate character of the American have both derived their content totally "personal" folms and half-hearted trends. And, after all this, it's still the people. Each mafia "family" is the from the- American experience, and commercial efforts. Actually, up until most exciting film released thus far rough equivalent of a separate, then been accorded universal ac­ now he has been less known for his this year. operating nation and, because we ceptance as forms of popular en­ directing than for his co-authoring of Probably the most effective section become best acquainted with the tertainment and dramatic art. The two Patton and his creation of the ex­ of the film (or at least my personal Coreones, they serve finally as our own are, of course, the western and the perimental production company favorite) is the "baptism by blood" confused reflection. gangster film, and we know them by American Zoetrope. All of that scene in which shots of multiple such eminent titles as The Great Train changes, however, with The _ murders are intercut with serene shots I won't develop the analogy .through Robbery, Stagecoach, and McCabe and Godfather. Coppola has suddenly from a "family" religious service. all its logical specifics, but it anyone Mrs. Miller on one hand, and Public shifted from a reputation of moderate Inside the church, Michael Corleone thinks this movie is simply about Enemy. Little Caesar, and Bonnie and competence to unquestioned inclusion (AI Pacino), as the new "godfather", gangsters, they should at least listen Clyde on the other. None of these films among the best of American directors. participates in the baptism of his first again to one conversation between -could be said to absolutely epitomize He has created a film so powerful, so "godson"; outside, according to his Michael Corleone and his finance, Kay life in America,. but neither could any visually beautiful, and so important instructions, each of his major mafia (Diane Keaton): Michael tells her that of them have originated in a culture that 3 hours barely seems a suffic­ enemies is being efficiently, his father, Vito Corleone (Marlon other than our own. ient period of time to <:ontain all that graphically eradicated. Not only .does Brando) is no different from any other The most recent addition to this he's put into it. The script, which ~e the scene complete his symbolic man with power or responsibility over distinguished company of homegrown . nelped -Mario Puzo to adapt from initiation as leader (or "don") of his others ... "like any senator or American movies is The Godfather. It Puzo's one conversation between mafia "family", but also brings to a president"; Kay answers that represents not only the most advanced original novel, is incredibly compelling head the film's superb contradictions "senators and presidents don't have development to date of the gangster and insightful. Gordon Willis's brilliant between these people as brutal, men killed"; and Michael simply asks film fOFm, t:>ut also one of the finest photography lies somewhere between avaricious butchers, and as loyal, "who's being naive, Kay?" American pictures ever made. It Greg Toland (master American religious, affectionate Americans. succeeds on so many different levels cinematographer of the thirties and The themes of the film are, of course, The Godfather is a vastly important that, much as I hate referring to a film forties) and Rembrandt in its display of contained within the remarkable film. Any attempt to hastily sum­ as flawless, The Godfather comes as deeply muted colors and high-contrast contradictions. Puzo and Coppola marize or explicate it must necessarily close to perfection as any rye every lighting. The acting and character hardly mean for the film's moralistic prove inadequate, and any journalist seen. development is so far above any recent dualities to apply to organized crime worth his saltpeter should know better . The person primarily responsible for .film dramatization that it's like and Italian-Americans only. All the than to try. See it for yourself. all this is Francis Ford Coppola, a rediscovering a whole facet of film- attributes which they bestow upon the -Bob Mugge

Two flicks

It was all too good to last forever. finally realize that that is the entire I thought that the performances were Jennifier O'Neill are glamorous but That brief pre-academy award rush of picture. very well done, considering, and if wasted. Coburn was more suited for fantasic films, such as Clockwork I found myself watching my watch, anyone has any ideas as to the purpose those Flint flicks wherE~ his.. Orange and The Last Picture Show, has much to my dismay finding it would not of the film that allowed them the op­ ridiculousness could be passed off as crumbled almost helplessly to the seem to speed up the end of the film. portunity to be great, please let me reality ground .. ~ Last week was a terrifying. It must strike someone else as know. . As for Miss O'Neill, she was almost week for new films peculiar that both Finch and Jackson great in The Summer of '42 but placed *** are nominated for best actor and ac­ *** in the fall of '72 is abominable. She is Glenda Jackson was a busy little tress respectively for Sunday, but the Finally, the most ridiculous attempt cast as the quickly won mistress of Dr. actress this year but should have left film itself is not. at "tough-nosed-guy out to prove his Peter Carey (Coburn) a brazen and well enough alone with Mary. But she I have a theory. ~ntrested? They are. buddy innocent" movie is The Carey arrogent doctor of pathology in ventured to deep and got herself hung nominated for. the· martyered role of Treatment. But this triteness and Boston. We are told she has a little up in an absurd social study type of kee,ping a dying movie afloat-not sloppiness of the film is really un­ sone by an estranged husband but you film. Sunday, Bloody Sunday was not moving, just afloat-with seemingly no fortunate because it was based on a would never believe it. She lives with the worst film of the year but it cer­ regard for their own lives. Very book entitled "A Case Of Need" by Carey in his apartment and throughout tainly was the biggest disappointment. courageous. Jeffry Hudson (the early pen name of the picture we never hear of the kid It hinged on a loosely developed The movie roughly depicts two dull Michael Crichton.> The movie strives again. She constantly says plastic little triangle with Jackson and Peter Finch and socially barren people clinging for nowness instead of purpose and things only add to the senselessness of both in love with the same man. How desparately to a young man full of love comes off as a shallow bit of the film. "My husband thinks that the quaint. Well, it revolves around this and creativity and drive. But that is it. nothingness. things I do in bed are immoral" she relationship but it takes you-an hour to So who really cares. The movie's star, James Coburn and says slyly. "They are" retorts Carey, knowingly. Now come on! The film is almost social comment on the ineptness of the abortion law and almost uncovers some deep inadequasies of the medical profession. It has been a rough year for them. Anyway, a doctor friend of Carey's is imprisoned for supposedly performing an abortion on the chief of the hospital's daughter. Who dies from an internal hemmorage, or something. Carey knows that his buddy did not do it. And he never puts in a day's work in the hospital trying to prove it. Instead, he dresses up like Joe Mannix and goes to solve the case. A few people are inadvertently tossed into the script to temporarily throw us off the track. Finally, after a near fatal mishap, Carey finds the murderer and the case in solved. Three cheers for an empty popcorn box. The key word to the Carey Treatment is almost. It almost says something important about the abortion laws, almost speaks out on the sometimes rusty hosQital p'rocedures, almost comes off as a successful adaptation of Photo by Skip Boyd Chrichton's novel. But it only comes SINGIN' IN THE SUN Orange, accost fellow student Bret Schaeffer on their way out as a badly organized B-Ievel movie Students Gary Honik, Joe and Jay Dannick, dressed to class. and a waste of time. similiarly to the droogies of Stanley Kubrick's CjocJcwork --Steve Libowitz