Michael Corleone: [To Calo, in Sicilian] What's Wrong? [Calo Shrugs, and Fabrizio Returns to Collect His Things.] Fabrizio: [In Sicilian] Let's Go
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Mafia Motifs in Andrea Camilleri's Detective
MAFIA MOTIFS IN ANDREA CAMILLERI’S DETECTIVE MONTALBANO NOVELS: FROM THE CULTURE AND BREAKDOWN OF OMERTÀ TO MAFIA AS A SCAPEGOAT FOR THE FAILURE OF STATE Adriana Nicole Cerami A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (Italian). Chapel Hill 2015 Approved by: Dino S. Cervigni Amy Chambless Roberto Dainotto Federico Luisetti Ennio I. Rao © 2015 Adriana Nicole Cerami ALL RIGHTS RESERVED ii ABSTRACT Adriana Nicole Cerami: Mafia Motifs in Andrea Camilleri’s Detective Montalbano Novels: From the Culture and Breakdown of Omertà to Mafia as a Scapegoat for the Failure of State (Under the direction of Ennio I. Rao) Twenty out of twenty-six of Andrea Camilleri’s detective Montalbano novels feature three motifs related to the mafia. First, although the mafia is not necessarily the main subject of the narratives, mafioso behavior and communication are present in all novels through both mafia and non-mafia-affiliated characters and dialogue. Second, within the narratives there is a distinction between the old and the new generations of the mafia, and a preference for the old mafia ways. Last, the mafia is illustrated as the usual suspect in everyday crime, consequentially diverting attention and accountability away from government authorities. Few critics have focused on Camilleri’s representations of the mafia and their literary significance in mafia and detective fiction. The purpose of the present study is to cast light on these three motifs through a close reading and analysis of the detective Montalbano novels, lending a new twist to the genre of detective fiction. -
Mustang Daily, April 2, 1975
CORE Metadata, citation and similar papers at core.ac.uk Provided by DigitalCommons@CalPoly Volume 39 Number 43 California Polytechnic State Unlverelty, San Lull Obispo Wednesday, April 2, 1975 Legal decision overrules SAC by FRED VULIN which Councilman T. Keith Gurnee was seeking M uiuni Daily stuff writer» have the right to re-election. endorte candidate» for public office, according to a In the Feb. 5 column Harvey wrote: legal opinion ittued by the Chancellor'» office. "Gal Poly students have an opportunity to The opinion, in effec t, nullifiet a Feb. 12 vote by show that they want a voice tn the decisions—a vote the Student Affair» Council, which called for an tyith some power—by voting for Keith Gurnee." immediate halt of such endortementi. Ronca saw the column as a violation of Title V The endowment», SAC held, were in violation and asked SAC to vote accordingly—which the of Title V (Sec. 42405) of the California Ad- legislative body did. The Ronca motion received miniitrative Code. The code prohibit» the u»e of only one dissenting vote—that of Mike Murdy of fund» of an auxiliary organization to: the School of Communicative Arts and "Support or oppo»e any i»»ue before the voter» of Humanities. thii »late or any »ubdiviiion thereof or any city, Mustang editor Marji Nieuwsma immediately munic ipality or local governmental entity of any requested the Chancellor's office to make a legal kind..." interpretation of Title V. The letter by Mayman HoweveV, Linda G. May man, an attorney work represents the official view of the California Suite ing for the Chancellor'» general counsel, informed University and Colleges on the subject. -
The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli
Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli Author: Marissa Sangimino Persistent link: http://hdl.handle.net/2345/bc-ir:104214 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. ! ! ! ! ! ! ! ! Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli By Marissa M. Sangimino Advisor: Prof. Carlo Rotella English Department Honors Thesis Submitted: April 9, 2015 Boston College 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ACKNOWLEDGMENTS!! ! ! I!would!like!to!thank!my!advisor,!Dr.!Carlo!Rotella!for!the!many!hours!(and!many!emails)!that!it! took!to!complete!this!thesis,!as!well!as!his!kind!support!and!brilliant!advice.! ! I!would!also!like!to!thank!the!many!professors!in!the!English!Department!who!have!also! inspired!me!over!the!years!to!continue!reading,!writing,!and!thinking,!especially!Professor!Bonnie! Rudner!and!Dr.!James!Smith.! ! Finally,!as!always,!I!must!thank!my!family!of!Mafiosi:!! Non!siamo!ricchi!di!denaro,!ma!siamo!ricchi!di!sangue.! TABLE OF CONTENTS Introduction.........................................................................................................................................1-3 CHAPTER ONE: The Hyphenate Individual ..............................................................................................................4-17 The -
Cases and Materials on the Outfit
Rosen: Cases and Materials on The Outfit David Rosen Don Corleone to Sonny, in The Godfather The Don sighed. "Well, then I can't talk to you about how you should behave. Don't you want to finish school, don't you want to be a lawyer? Lawyers can steal more money with a briefcase than a thousand men with guns and masks. " Robert Warshow, in "The Gangster as Tragic Hero" Thus, the importance of the gangster film, and the nature and intensity of its emotional and esthetic impact, cannot be measured in terms of the place of the gangster himself or the importance of the problem of crime in American life. Those European movie-goers who think there is a gangster on every comer in New York are certainly deceived, but defenders of the "positive" side of American culture are equally deceived if they think it relevant to point out that most Cases and Materials Americans have never seen a gangster. What matters is that the experience of the gangster as an experience of on art is universal to Americans. There is almost nothing we understand better or react to more readily or with The Outfit quicker intelligence. This night, though, Pam had a different tale to tell. She announced that she and her friend Annie, the daughter of a prize-winning biologist, had gone to see "The Godfather," that they had been so deeply moved that, instead of going home, she'd gone tripping around town in search of the Mafia. I remember one night Pam showed up at the House at "The Mafia!" three in the morning. -
The Godfather Part II Lay in Coppola ' S Eye for Detail and His Need for a Verisimilitude Transcending the Limits of Perfunctory Storytelling
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M TT HH EE GG OO DD FF AA TT HH EE RR PP AA RR TT II II Directed by Francis Ford Coppola Produced by Francis Ford Coppola Distributed by Paramount Pictures Released in 1974 mboldened by press accounts documenting the Apocalypse Now shoot as a self - destructive E odyssey, some c ritics confronting the film for the first time in 1979 tried to undermine Francis Ford Coppola ' s monumental achievement. Though its filming was as arduous as the war itself, they faulted him, a man who had never served in uniform, for promoting Apocalypse Now as the definitive statement on Viet Nam. To this day the film retains its primal angst and resolute daring, while film critics everywhere jealously disparage the pioneering work of yet another generation. Coppola is a keen observer, a progressive th inker who learns as much from talking to others as he does consulting his cherished collection of books. His early films find their genesis in childhood experiences — his mother ' s strange departure and subsequent return to the pressures of family became The Rain People (1969); a love of musicals nourished by his father led to Finian ' s Rainbow (1968); and his Manhattan misadventures as an AWOL military school cadet fostered You ' re A Big Boy Now (1967). Similarly, the ultimate triumph of The Godfather Part II lay in Coppola ' s eye for detail and his need for a verisimilitude transcending the limits of perfunctory storytelling. -
2000 Film Program Schedule
ACCOUNTANT, THE USA 2000 Betacam SP/16mm 106 mins. One Wheel Panther Productions East Coast Premiere [email protected] Director/Writer/Editor: Glenn Gers Producer: Spencer M. Clarke, Jr. Cinematography: Noah Prince Music: Bryan E. Miller Costumes: Loren Bevans Starring: David Valcin, Marlene Forte, John Randolph Jones The story of a gentleman who tries to protest the lack of civilized behavior in New York City and inadvertently brings about the end of civilization. A narrator-hero guides us through an Altmanesque/neo-Dickensian tale involving 18 principal characters in a tragicomedy of race, class, good intentions and bad luck. Shot for $62,000 in 88 locations with 120 actors, "The Accountant" is a no-budget magical-realist disaster movie. A.J.’S DOGUMENTARY USA 1999 Digital Video 53 mins. New England Premiere Director: A.J. Poulin The film offers a comic glimpse into the lives of obsessive dog owners, and shows the bizarre ways they pamper their pets. A.J.’s Dogumentary has been in four film festivals, winning the audience award for favorite film three times. ALZIRA: A MATRIARCH TELLS HER STORY USA 2000 Digital Video 63 mins. In English and Portuguese (with English subtitles) http://members.tripod.com/~christian-d/index.html Breaking Branches Pictures Official World Premiere [email protected] Director: Christian de Rezendes Music: Alberto Resendes Featuring: Alzira Rodrigues By 1929, Alzira de Jesus Soares had survived the conditions of her impoverished village in the north of Portugal, a place called Bouçoais - where her father and two younger siblings had died from influenza and starvation. Only months earlier, she had been granted the most unique of opportunities for those in her native homeland: a better life in America. -
The Godfather, Part II
RANCIS FORD COPPOLA (Detroit, Michigan, 7 April 1939) has directed 30 films, among them Megalopolis 2005, John Grisham's The Rainmaker 1997, Bram Stoker's Dracula 1992, The Godfather: Part III 1990, Tucker: The Man and His Dream 1988, Gardens of Stone 1987, Peggy Sue Got Married 1986, The Cotton Club 1984, Rumble Fish 1983, The Outsiders 1983, One from the Heart 1982, Apocalypse Now 1979, The Conversation 1974, The Godfather 1972, The Rain People 1969, and Dementia 13 1963. He received Best Director Oscar nominations for Godfather Part III, Godfather Part II (won), Apocalypse Now, The Godfather; Best Picture nominations for Godfather Part III, Godfather Part II (won), Apocalypse Now, The Conversation, American Graffiti; Best Screenplay nominations for Apocalypse Now, Godfather Part II (won), The Conversation, The Godfather (won), and Patton November 30, 2004 (IX:14) (won). GORDON WILLIS ( 28 May 1931, Queens, NY) has shot 31 films. His colleagues call him the “Prince of Darkness” for his astonishing ability to get gorgeous scenes out of underexposed negatives. He did all three Godfather films, as well as many of Woody Allen’s films. Some of his films are The Devil's Own 1997, Malice 1993, Presumed Innocent 1990, Bright Lights, Big City 1988, The Purple Rose of Cairo 1985, Broadway Danny Rose 1984, Zelig 1983, A Midsummer Night's Sex Comedy 1982, Pennies from Heaven 1981, Stardust Memories 1980, Manhattan 1979, Annie Hall 1977, The Drowning Pool 1975, The Parallax View 1974, Bad Company 1972, Klute 1971, Little Murders 1971, End of the Road I970 and others. He received Oscar nominations only for The Godfather: Part III and Zelig 1983. -
The Godfather
THE GODFATHER Part Two Screenplay by Mario Puzo and Francis Ford Coppola SECOND DRAFT September 24, 1973 Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library FADE IN: The Paramount Pictures logo is presented over a simple black background, as a single trumpet plays the familiar theme of a waltz. White lettering fades in: Mario Puzo's THE GODFATHER There is a pause, as the trumpet concludes, and there is the additional title: - Part Two - INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL CORLEONE - DAY standing impassively, like a young Prince, recently crowned King. CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. Then it is taken away. We can SEE only the empty desk and chair of Michael's father, Vito Corleone. We HEAR, over this, very faintly a funeral dirge played in the distance, as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair. DISSOLVE TO: EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY We can barely make out the funeral procession passing over the burnt-brown of a dry river bed. The figures move slowly, seemingly from out of hundreds of years of the past. The MUSICIANS walking unsteadily on the rocky bed, their instruments harsh and blaring. They are followed by six young peasant men, carrying the crude wooden coffin on their shoulders. Then the widow, a strong large woman, dressed in black, and not accepting the arms of those walking with her. Behind her, not more than twenty relatives, few children and paisani continue alone behind the coffin. -
Godfather Part II by Michael Sragow “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
The Godfather and The Godfather Part II By Michael Sragow “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author Although Francis Ford Coppola has often been depicted president.” — and loves to depict himself — as primarily an emotion- Kay re- al and intuitive director, “The Godfather” is a film filled sponds, with correct choices, painstakingly thought out and pas- “You know sionately carried through. Part of what made it a break- how naïve through as a crime move is that it’s about gangsters who you sound? make choices too and aren’t propelled simply by blood- Senators lust and greed. They’re battling for position in New York’s and presi- Five Families, circa 1945-1946. If Don Vito Corleone dents don’t (Marlon Brando) and his successor Michael (Al Pacino) have men come off looking better than all the others, it’s because killed.” In a they play the power game the cleverest and best — and line that Marlon Brando as Don Vito Corleone. the game is sordidly exciting. marked a Courtesy Library of Congress breakthrough For all the movie’s warmth, you could never confuse the for mainstream political awareness when the film premi- Corleones or their allies and competitors for fun-loving ered in 1972, Michael wearily answers, “Who’s being ethnic types. The first scene shows the Don exacting naïve, Kay?” deadly patronage, coercing an undertaker named Bonasera into vows of love and pledges of unmitigated But when Michael says his father’s way of doing things is loyalty in exchange for a feudal bond than can’t be bro- finished, he is being naïve. -
Pontifícia Universidade Católica Do Rio Grande Do Sul Faculdade De Comunicação Social
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO GRANDE DO SUL FACULDADE DE COMUNICAÇÃO SOCIAL CRISTINE DE ANDRADE PIRES O PODER DO CHEFÃO: O MITO DA MÁFIA ITALIANA NO CINEMA DE HOLLYWOOD Porto Alegre 2016 PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO GRANDE DO SUL FACULDADE DE COMUNICAÇÃO SOCIAL CRISTINE DE ANDRADE PIRES O PODER DO CHEFÃO: O MITO DA MÁFIA ITALIANA NO CINEMA DE HOLLYWOOD Dissertação apresentada como requisito para obtenção do grau de Mestra pelo Programa de Pós-Graduação da Faculdade de Comunicação Social da Pontifícia Universidade Católica do Rio Grande do Sul. Orientador: Prof. Dr. Francisco Ricardo Rüdiger Porto Alegre 2016 Dados Internacionais de Catalogação na Publicação (CIP) P667 Pires, Cristine de Andrade. O poder do chefão: o mito da máfia italiana no cinema de Hollywood / Cristine de Andrade Pires – 2016. 151fls. Dissertação (Mestrado) – Pontifícia Universidade Católica do Rio Grande do Sul / Faculdade de Comunicação Social, Porto Alegre, 2016. Ficha catalográfica elaborada pela Bibliotecária Clarissa Jesinska Selbach CRB10/2051 Orientador: Prof. Dr. Francisco) Rüdiger 1. Comunicação social. 2. Cinema. 3. O poderoso chefão (Filme). 4. Máfia – Itália. I. Rüdiger, Francisco. II. Título. CDD 791.43 Ficha catalográfica elaborada pela Bibliotecária Clarissa Jesinska Selbach CRB10/2051 CRISTINE DE ANDRADE PIRES O PODER DO CHEFÃO: O MITO DA MÁFIA ITALIANA NO CINEMA DE HOLLYWOOD Dissertação apresentada como requisito para obtenção do grau de Mestra pelo Programa de Pós-Graduação da Faculdade de Comunicação Social da Pontifícia Universidade Católica do Rio Grande do Sul. Aprovada em: _____ de __________________ de ______. BANCA EXAMINADORA: ____________________________________________ Prof. Dr. Francisco Rüdiger Pontifícia Universidade Católica do Rio Grande do Sul ____________________________________________ Prof.a Dr.a Miriam de Souza Rossini Universidade Federal do Rio Grande do Sul ____________________________________________ Prof. -
Influence of Michael Corleone's Personalities on His Relationship
Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Influence of Michael Corleone’s Personalities on His Relationship With Other Characters in Trilogy of The Godfather Longhe Cao Shenzhen Middle School, Shenzhen, Guangdong 518034, China *Corresponding author. Email: [email protected] ABSTRACT Analyzing the personalities and relationship of the characters is an effective method for both the professionals and the ordinary audience to comprehend movies. By discovering and explaining how Michael Corleone in The Godfather influences his relationship with other characters, this dissertation is aimed at assisting readers to fully comprehend the essence of movies in detail. This paper utilizes the method which extracts a variety of conflicts and major transitions between Michael and other characters to reflect how Michael’s personalities work on these relationships. Based on the facts in the movie, Michael demonstrates different attitudes to his family members and the outsiders of his family. It will be helpful for the audience if there are researches which can deeply analyze a more well-rounded image of Michael’s Corleone, besides analyzing his relationship and personalities appears in the future. This paper finally concludes that Michael’s personalities cause him to have completely different relationships with two types of character, as the family members and the outsiders. Keywords: Personalities, relationship, influence, gangster, Godfather 1. INTRODUCTION 2. OVERVIEW OF MICHAEL CORLEONE’S PERSONALITIES The Godfather, as a classic and representative Italian gangster movie, reflects the conflicts between Corleone Overall, Michael has two types of personalities, including family and other forces in United States as well as the stable personalities and the variational personalities. -
2. the Godfather Returns.Pdf
The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr.