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WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 3 MARK WINEGARDNER Roman Aus dem Amerikanischen von Alexander Wagner und Frank Dabrock WILHELM HEYNE VERLAG MÜNCHEN WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 2 Das Buch New Orleans, 1963. Nachdem er den Mord an seinem Bruder Fredo befohlen hat, distanziert sich Michael Corleone immer mehr von sei- nen illegalen Aktivitäten. Da er gegen den Willen mehrerer anderer Dons den jungen Jimmy Shea zum Präsidenten der Vereinigten Staaten gemacht hat, wird er ständigen Anfeindungen ausgesetzt. Nicht zu- letzt, weil Sheas Bruder Daniel einen Kreuzzug gegen die Mafia be- ginnt. Teil davon ist es, den Paten von New Orleans, Carlo Tramonti, zeitweise nach Kolumbien zu deportieren. Im letzten Teil der einst von Mario Puzo begonnenen epischen Mafiasaga wagt sich der Corleone- Clan aus der Welt des organisierten Verbrechens auf die große Bühne der nationalen Politik. Intrigen, Rachepläne und korrupte Machen- schaften begleiten den Leser von New York über Washington und New Orleans bis in den Dschungel von Kolumbien. 1969 veränderte Mario Puzos legendärer Roman Der Pate, auf dem später Francis Ford Coppolas preisgekrönte Filme über die amerikani- sche Mafia basierten, die populäre Kultur. Nachdem die Fans lange über das Schicksal der Familie Corleone jenseits des berühmten Romans und der Filme grübelten, fügte Mark Winegardner, der von Puzos Erbengemeinschaft persönlich ausgewählt wurde, 2005 einen neuen, großen Paten-Roman hinzu. Mit Die Rache des Paten folgt nun der Abschluss der epischen Saga. Der Autor Mark Winegardner studierte Schriftstellerei und veröffentlichte mit sechsundzwanzig Jahren sein erstes Buch. Viele namhafte Publikatio- nen, unter anderem die New York Times und USA Today wählten seine Romane und Sachbücher zu den besten Büchern ihres Jahrgangs. Auch mit seinen Kurzgeschichten, die u.a. in GQ, Playboy oder im New York Times Magazine erschienen, feierte er große Erfolge. Mark Winegard- ner ist Dozent für Englisch an der Florida State University. Für weitere Informationen besuchen Sie www.markwinegardner.com Lieferbare Titel Der Pate kehrt zurück WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 5 Inhalt Zeittafel 6 Prolog 9 BUCH I 17 BUCH II 107 BUCH III 219 BUCH IV 329 BUCH V 425 BUCH VI 507 CODA 543 Danksagung 558 WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 6 DIE CORLEON Der Pate Die Rückkehr des Paten DIE ROMANE (1945–1955) (1955–1962) 1945 1950 1955 DIE FILME Der Pate Der Originalroman und der zweite Film schildern auch die frühen Jahre Vito Corleones (circa 1910–1939) HANDELNDE PERSONEN DIE CORLEONE-FAMILIE Vito Corleone: der erste Pate der mächtigsten Mafia-Familie New Yorks Carmela Corleone: Vito Corleones Frau und Mutter ihrer vier Kinder Santino »Sonny« Corleone: Vito und Carmela Corleones ältester Sohn (verstorben) Sandra Corleone: Sonnys heute in Floria lebende Frau Francesca, Kathy, Frankie und Santino Corleone Jr.: Sonny und Sandras Kinder William Brewster Van Arsdale III: Francescas Ehemann (verstorben) Tom Hagen: consigliere und (inoffizieller) Adoptivsohn Theresa Hagen: Toms Frau und Mutter ihrer vier Kinder Frederico »Fredo« Corleone: Vito und Carmelas zweitgeborener Sohn (Unterboss 1955–1958) Michael Corleone: Vitos jüngster Sohn und amtierender Don der Corleone-Familie Apollonia Corleone: Michaels erste Frau (verstorben) Kay Adams Corleone: Michaels zweite Frau (geschieden) Anthony und Mary Corleone, Kinder von Michael und Kay Connie Corleone: Vito und Carmelas Tochter Carlo Rizzi: Connie Corleones verstorbener Ehemann, Vater ihrer beiden Kinder DIE ORGANISATION DER CORLEONE-FAMILIE (um 1963) Pate Michael Corleone (1954–) Nachfolger seines Vaters Vito Corleone Consigliere Tom Hagen (1945–) Nachfolger von Genco Abbandando, Vito Corleones erstem consigliere Vito Corleone (1954–1955) und Peter Clemenza (1956-1957) übernahmen kurzzeitig die Funktion des consigliere Sotto capo (Unterboss) Position gegenwärtig nicht besetzt Früher Fredo Corleone (1955-1959); Nick Geraci (1959–1961) Caporegime Eddie Paradise (1962–) übernahm das regime von Salvatore Tessio 1955 zusammengelegt mit Nick Geracis regime (aufgebaut von Sonny Corleone) Richie »Two Guns« Nobilio (1959–) Übernahm das regime Peter Clemenzas, dem Nachfolger Frank Pantangelis, 1957 Weitere wichtige Mitglieder der Corleone-Familie Al Neri: Ex-Cop; Chef des Sicherheitsdienstes der Familie und inoffizieller sotto capo Cosimo »Momo die Schabe« Barone: Neffe von Sally Tessio; soldato unter Geraci und jetzt unter Eddie Paradise Tommy »Scootch« Neri: soldato unter Nobilio; Neffe von Al Neri Renzo Sacripante: soldato unter Nobilio WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 7 RLEONE-SAGA Die Rache des Paten (1963–1965) 1960 1965 1980 Der Pate, Teil II Der Pate, Teil III Die Rückkehr des Paten behandelt zusätzlich Michael Corleones Jugend (circa 1920–1945) Die Rache des Paten erforscht außerdem die frühen Jahre Tom Hagens (circa 1920–1922) MITGLIEDER DER KOMMISSION, DEM ZENTRALORGAN COSA NOSTRA (um 1963; aktive Zeit in der Kommission in Klammern) Die Fünf Familien von New York Michael Corleone (1954–), Boss der Corleone-Familie Nachfolger Vito Corleones (1931–1954) Paul »Fat Paulie« Fortunato (1955–), Boss der Barzini-Familie Nachfolger von Emilio Barzini (1931–1955) Osvaldo »Ozzie« Altobello (1962–), Boss der Tattaglia-Familie (New York) Nachfolger von Rico Tattaglia (1955–1961) und Phillip Tattaglia (1931–1955) Ottilio »Leo der Milchmann« Cuneo, Boss der Cuneo-Familie Gründungsmitglied der Organisation Weitere wichtige Kommissionsmitglieder (mit ständigem Sitz) Carlo »der Wal« Tramonti (1931–), Boss, New Orleans Gründungsmitglied der Organisation Guiseppe »Joe Z« Zaluchi (1931–), Boss, Detroit Gründungsmitglied der Organisation Salvatore »Silent Sam« Drago (1954–) Boss, Tampa wurde auf einen freien Sitz berufen John Villone (1963–) Boss, Chicago Nachfolger von Louie »Fuckface« Russo (1955–1961) Frank »der Grieche« Greco (1963–), Boss, Philadelphia Nachfolger von Vincent »der Jude« Forlenza, Boss, Cleveland (1931–1961) WEITERE VERBÜNDETE, FREUNDE UND GESCHÄFTSPARTNER Judith Epstein Buchanan: Tom Hagens comare Deanna Dunn: Schauspielerin, Oscarpreisträgerin und Fredos Witwe Marguerite (Rita) Duvall: Tänzerin und Schauspielerin; Gerüchten nach die Geliebte von Michael Corleone Johnny Fontane: Sänger, Schauspieler und Oscarpreisträger Patrick Geary: Senator aus Nevada Fausto Dominick »Nick« Geraci Jr.: geschasster Unterboss der Corleones Charlotte Geraci: Nicks Frau Barb und Bev Geraci: Nick und Charlottes Töchter Fausto »der Fahrer« Geraci: Lastwagenfahrer in der Organisation der Forlenzas und Vater von Nick Geraci Sid Klein: Anwalt der Corleone Familie; Sonderberater während der Kommunistenhetze der McCarthy-Ära Joe P. Lucadello (alias Ike Rosen): Jugendfreund Michael Corleones; CIA-Agent Ambros »Bud« Payton: ehemaliger Senator Floridas; jetzt Vize-Präsident Daniel Brendan »Danny« Shea: U.S.-Justizminister und James’ Bruder James Kavanaugh »Jimmy« Shea: Präsident der Vereinigten Staaten; Daniels Bruder Ben »das Phantom« Tamarkin: Anwalt und Problemlöser des jüdischen Syndikats, alias »Kosher Nostra« Agostino »Augie die Mücke« Tramonti: Carlo Tramontis Bruder und consigliere Jack Woltz: Chef von Woltz International Pictures; ehemaliger Rennpferde-Narr WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 9 Prolog Bekleidet mit einem Smoking und seinem abgewetzten alten Ang- lerhut stand der tote Fredo Corleone vor seinem Bruder Michael. Hinter ihm erstreckte sich die düstere, gepflasterte Gasse von Hell’s Kitchen, wo sie als Kinder aufgewachsen waren. In einer Hand hielt er eine Angelrute, im anderen Arm eine nackte Frau. Fredo schien auf herzzerreißend vertraute Weise zwischen Lachen und Weinen zu schwanken. Vom Ende des Blocks her hörte man den Eleventh- Avenue-Güterzug heranrattern, dessen Gleise längst stillgelegt und abgerissen waren. »Ich vergebe dir«, sagte Fredo. Blut begann aus einem Loch in seinem Hinterkopf zu strömen. Michael hatte keine Ahnung, was er da sah, aber offensicht- lich war es kein Traum. Und an Gespenster glaubte er erst recht nicht. »Das ist unmöglich«, sagte Michael. Fredo lachte. »Stimmt«, gab er zu. »Das kann nur Gott.« Wie angewurzelt stand Michael auf dem Treppenaufgang vor ihrem Haus. Außer ihnen war keiner da. Die Frau mit ihren verlockenden Kurven, der milchweißen Haut und dem raben- schwarzen Haar schien sich ein wenig für ihre Nacktheit zu schä- men. Gleichzeitig wirkte sie unerschrocken, wie eine, die sich nicht allzu sehr um die Meinung anderer schert. »Gott«, wiederholte Michael. »Richtig.« »Gehst du mit fischen?« Grinsend hob Fredo die Angelrute. »Oder willst du lieber ficken?« Die Frau trat einen Schritt vor. Im fahlen Licht verwandelte sie 9 WINEGARNER_Die Rache 30.03.2007 9:46 Uhr Seite 10 sich in eine verwesende Leiche und dann wieder zurück in Michaels Ideal weiblicher Schönheit. »Sag’s mir ruhig, okay?«, sagte Fredo. »Du traust es mir vielleicht nicht zu, aber ich arrangiere das für dich. Ich weiß, du bist einsam. Und wenn du was anderes brauchst – auch kein Problem. Ich will dir helfen, Michael. Ich will, dass du glücklich bist.« »Glücklich?«, fragte Michael. »Ist das nicht ein bisschen kin- disch, Fredo?« Michael bereute seine Worte augenblicklich, aber Fredo schien keinen Anstoß daran zu nehmen. Die Frau küsste Fredo, und er erwiderte ihren Kuss. Am Ende seiner Angelrute hing plötzlich ein gewaltiger Tunfisch. Er zappelte und begann derart heftig zu bluten, als hätte man ihn sowohl auf- gespießt als auch auf ihn eingedroschen. Die nackte Frau blickte zu dem Fisch und
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  • Revisiting Violence in the Godfather: the Ambiguous Space of the Victimage Model

    Revisiting Violence in the Godfather: the Ambiguous Space of the Victimage Model

    Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 2 October 2005 Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Paul Graham [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Graham, Paul (2005) "Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Abstract This article closely revisits and praises the long, contemplative scenes and the fast contrapuntal cutting of the violence displayed in The Godfather to show how the movie's superior editing and filming style help to overturn its own violent message. Thus, the film, however cynically, completes Girard's the victimage model without actually immolating its would-be scapegoat. By inhabiting the deconstructive "space” of the scapegoating motif, the film's bloody scenes undercut themselves and help to enact a message against the violence within the ideologies of the American Dream, capitalist competition, or any other factor that may serve to mitigate Michael Corleone's actions. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 Graham: Revisiting Violence in The Godfather The easiest way to sum up René Girard's writings is to say that a series of imitative behaviors will build up over time until they reach a crisis, which a community will vanquish by eliminating an innocent scapegoat or surrogate victim.
  • The Reflection of Successful American Dream Through the Character of Michael Corleone in Mark Winegardner’S the Godfather Returns

    The Reflection of Successful American Dream Through the Character of Michael Corleone in Mark Winegardner’S the Godfather Returns

    THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i ACKNOWLEDGEMENTS My first and greatest gratitude goes to Allah SWT who has given me life, power, guidance and everything so I can stand still till this second and by his blessing and guidance I can finish my study and my thesis. This thesis is dedicated to my beloved mother and father who always pray for my success, encourage me and support me emotionally, spiritually, and financially. My gratitude also goes to my advisor Paulus Sarwoto, S.S., M.A. who has given me big help and support during the writing of my thesis. I would like to thank to J. Harris Hermansyah S., S.S., M.Hum. and Ni Luh Putu Rosiandani, S.S., M.Hum. for the critical corrections and suggestions. My warmest thanks go to my older sister Debie and my best friend Budi. Thanks to Mbak Debie for accompanying and supporting me during my hard time in writing this thesis and to Budi for the support and our friendship.
  • The Godfather Brando During the Shooting of Apocalypse Now (1979) and His Ambitious Attempt to Form His Own Studio/Distributor Conglomerate, Zoetrope Studios, in 1980

    The Godfather Brando During the Shooting of Apocalypse Now (1979) and His Ambitious Attempt to Form His Own Studio/Distributor Conglomerate, Zoetrope Studios, in 1980

    GODFATHER ENCYCLOPEDIA OF POPULAR CULTURE The Godfather Brando during the shooting of Apocalypse Now (1979) and his ambitious attempt to form his own studio/distributor conglomerate, Zoetrope Studios, in 1980. One of American popular culture’s most resilient narratives is In 1972, Coppola adapted Mario Puzo’s popular novel for the that of the Mafia and its antiheroic gangsters, and one of this genre’s screen, and although the two worked together on the script, Coppola most popular and poignant products is Francis Ford Coppola’s The dramatically shaped the project during the shooting. The second Godfather trilogy, based on Mario Puzo’s novel of the same name. installment was entirely his creation. Cutting out much of the novel’s Released in 1972 to universal acclaim and rewarded with several romanticized violence, the director decided to instead focus on the Academy Awards, including Best Picture, The Godfather instantly Corleone family dynamics, personalizing the film in accordance with fixed its place in the American cultural psyche, establishing itself as his own experience growing up as the second-generation son of an the de facto gangster film to which all other subsequent exercises in the genre would be compared. Italian immigrant. The Mafia, as always, was the perfect vehicle for Powered by Marlon Brando’s timeless delivery of the film’s the consideration of American culture and values, Coppola asserted in namesake, Godfather Vito Corleone, the film also established the an interview: ‘‘I feel that the Mafia is an incredible metaphor for this futures of Hollywood royalty Al Pacino (Michael Corleone), Robert country.