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Michael Corleone As Gangster Figure in Mario Puzo's and Francis Ford Coppola's the Godfather Texts / by Carmela Coccimiglio

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Michael Corleone As Gangster Figure in Mario Puzo's and Francis Ford Coppola's the Godfather Texts / by Carmela Coccimiglio Lakehead University Knowledge Commons,http://knowledgecommons.lakeheadu.ca Electronic Theses and Dissertations Retrospective theses 2006 "I'm with you now, I'm with you ..." : Michael Corleone as gangster figure in Mario Puzo's and Francis Ford Coppola's The Godfather texts / by Carmela Coccimiglio. Coccimiglio, Carmela http://knowledgecommons.lakeheadu.ca/handle/2453/3323 Downloaded from Lakehead University, KnowledgeCommons ‘I’m with you now. I’m with you . Michael Corleone as Gangster Figure in Mario Puzo’s and Francis Ford Coppola’s The Godfather Texts Carmela Coccimiglio A Thesis in The Department of English Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (English) at Lakehead University Thunder Bay, Ontario, Canada October, 2006 Carmela Coccimiglio, 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliothèque et 1^1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-31189-9 Our file Notre référence ISBN: 978-0-494-31189-9 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet,distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be includedBien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT “I’m with you now. I’m with you . Michael Corleone as Gangster Figure in Mario Puzo’s and Francis Ford Coppola’s The Godfather Texts Carmela Coccimiglio This thesis examines the construction of the gangster figure as embodied by Michael Corleone in Francis Ford Coppola’s The Godfather. The Godfather. Part IT and The Godfather. Part III. The examination of Michael is contextualized in an analysis of the conventions of the gangster’s construction in early American film, specifically the “Golden Trilogy” comprised of Little Caesar. The Public Enemv and Scarface. The “Golden Trilogy” represents the height of the gangster’s representation in film; therefore, to critically analyze Coppola’s films is to recognize what Coppola borrows and changes for his films and how his choices affect the portrayal of the gangster. Also important to this study is the novel on which Coppola’s films are based, Mario Puzo’s The Godfather. A number of changes to the conventions of the gangster genre are located in Puzo’s texts, especially in terms of ethnicity, masculinity and an emphasis on religion. The result is that while Michael’s roots are located in the early films, he emerges as a different kind of gangster, one that faces irmer conflicts as a result of his lifestyle. Michael’s choices in the novel and the films, especially his decision to legitimize the Corleone Family, place him in contrast to his father, Vito, the aging Don who must appoint a successor. That Michael’s dream is to live an all-American, or WASP, lifestyle indicates that the family and business will no longer be distinctly Sicilian under his leadership. Although Vito believes Michael to be the ideal successor, he is proven to be very wrong in Coppola’s films. The disastrous consequences of Michael’s choices destroy everything that Vito appoints him to Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. protect; thus, Michael is inappropriate as a successor and a gangster, a point that Puzo hints at in his novel. Coppola’s take on the gangster is that he can never be a success and he therefore must lose what he has been fighting so ferociously for, and deal with his losses until the day he dies, which is precisely the fate of Michael Corleone. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Dedication Like Michael Corleone, I have sat for many hours in a chair made vacant by the passing of my father. Michael’s office chair is crafted from dark brown leather and wood and has exquisite detail. The chair I sit in as I write this is a typical kitchen chair: it is not particularly unique for a chair, having an inconspicuous pattern and silvery handle, but it serves its purpose in this room. Michael’s chair bears an obvious imprint from its original owner: the back of the chair has a visible dent from the person who occupied it previously, mirroring the lingering memory of the first owner. I feel my back sink into this chair, too, and when I sit here I am flooded with the memories of the person who used to occupy this seat: Saverio Coccimiglio, my father. The practicality and simplicity of this chair testify to the type of person my father was. I continue to believe in his assertion that education throughout one’s lifetime provides opportunities unlike anything else. That is why I sat in this chair to complete my thesis. I continue to be inspired by his example of diligence and devotion to everything that he did and hope that I can continue to make him proud. This thesis is dedicated to him. Ti amo. Papa. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgements I could not have completed this work without the support of my family. The strength and courage of my mom, Anna, are simply unbelievable, and I thank her for continuing to encourage my brother, sister and I to achieve the good things that she and my father helped to prepare us for. The inspiration and humour of my brother, Danny, will serve as excellent guidelines for me as I continue to educate others as he does. I thank him, a fellow Thunderwolf, for his support. To my sister, Maria: Tm a Master! I want to thank her for keeping my drafts safe on her computer, and for being almost as passionate about The Godfather as I am. And, yes, I still plan to write a letter to A1 Pacino. The home that she and I will share in Ottawa will surely be covered with Godfather posters. My appreciation also goes to Buimy and Blackie who are good listeners and wonderful distractions through the often isolating writing process. I owe many thanks to my thesis supervisor. Dr. Batia Boe Stolar. She inspires others to reach beyond what they think they are capable of to achieve amazing things. Her ideas, comments, and suggestions have all been thoughtful and accurate. She encouraged me to make my own interpretations, and be open to see new things, and I trusted her strategy because I knew that she could see “the big picture” that eluded me over a year ago. She believed in me and my ability to work through the process. The dialogues in person and over the phone, as well as e-mail exchanges over these years have been integral to my creation of this thesis. The most important thing that I take away from this process is that I have gained confidence in my own abilities as an academic, and I have also found a kind friend in her. I know that Batia will excite others about an academic career just as she has ignited the spark in me. 1 could not have done this thesis without her. Now if I could just kick the sunflower seed habit. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I also want to thank my readers, Dr. Gary Boire and Dr. Mervyn Nicholson, for taking an interest in this thesis and reviewing it carefully. I am grateful for their respective effort. I look forward to sharing my thesis with my uncle, Joe, aunt, Fran, and cousins, Natasha and Adrian. I am grateful for their continued support of my studies. Thanks to my Nonno, Carmine Florio, for shedding insight into the many meanings of the word “Don.” Our conversations were very enlightening. I am possibly the luckiest person in the world to be surrounded by such beautiful friends: Amy Boyer, Gloria Bums, Agnes Rogaczewski, Lori Romano and Joey Smuczek, whom I have known for over a decade. Each of us has experienced the dizzying highs and the painful lows that life has to offer, and the one thing that remains constant is that we are all there to laugh hysterically and point fingers, or to hug tightly and console each other.
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