Mark Winegardner - The Godfather returns

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Even before you open the book, the stark red, white and black cover sparks the strains of Nino Rota's "The Godfather Waltz" begin playing in your mind. Mark Winegardner has been granted to task of writing a sequel to Mario Puzo's essential 1969 novel The Godfather, a novel which not only must pick up the story of that book, but must also fit the characters and situations Puzo, Francis Ford Coppola, Al Pacino, and others traced through three epic films. The result in The Godfather Returns.
Perhaps most of Winegardner's readers will be more familiar with the films than with the novel, which followed several different characters, many of whom, such as Johnny Fontane or Lucy Mancini, are only peripheral to the films. Winegardner returns to Puzo's novel to follow several different characters. Taking a technique for the second film, however, he also moves through time to present Michael Corleone's story before the first film, between the first two films, and between the second and third films.
Winegardner's decisions to fill in the blanks between the films is one of the weaknesses of The Godfather Returns. The films left out much of the empire building Michael had to do between them in his attempt to go legitimate. While Winegardner manages to add interesting layers of intrigue to Michaels' quest, and to the characters who surround him, the novel really works best when the characters are engaging in mafioso wheeling and dealing.
One of the strengths of Puzo's work was the characters he made come to life, and Winegardner does an excellent job not only with the lives of Puzo's characters, but with his own. Just as Puzo eventually picked up the story of Santino's son, Vincent, in "The Godfather, Part III," Winegardner also elects to follow Santino's offspring, in this case his twin daughters, as they take their first steps at breaking from the family business. Fredo, a pivotal character in the first two films, is actually fleshed out in The Godfather Returns, in which Winegardner adds to the appetites he exhibits in the first films and gives a deeper look into his need to become his own man and gain his older brother's approval.
The central character to the novel, however, is Nick Geraci, a member of the Corleone family who, Winegardner reveals, becomes the button man who killed Sal Tessio, his mentor. After proving his loyalty to the Corleones, it is clear that Geraci will eventually turn on the family as he tries to strike out on his own, setting up an eventual confrontation with Michael. Although it is clear Michael will be victorious, the cost of his victory helps build tension.
In many ways, Winegardner manages to recapture the style and spirit of Puzo's original novel. Nevertheless, there is the feeling that something is missing from The Godfather Returns. Winegardner successfully captures every individual aspect of Puzo's work, whether in the original novel or the films, but there is a magic beneath it that is missing. Despite missing the Puzo magic, The Godfather Returns is a welcome reintroduction to the Corleone clan.
Steven H Silver

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“Turns out we have some mutual friends.”

A few minutes in, as the lead characters literally bumped into each other in a Technicolor soundstage version of Paris, the theater owner brought them two sodas and a bucket of fresh popcorn. The man and the woman in the movie took an instant dislike to each other, signaling the dull inevitability of their falling in love. Soon Kay and Michael began making out in the dark, like kids. They couldn’t leave, not after getting the owner to show the movie just for them. They kept at it. Things escalated. “Behold,” Kay whispered, grabbing his cock. “Wood.”

Michael burst out laughing.

“Shhh,” Kay said.

“We’re alone,” Michael said. “All alone.”

A year ago, one of the two men pacing near the ticket counter at Gate 10B of the Detroit City Airport was a barber on Court Street in Brooklyn who made book on the side, reporting to a guy who reported to a guy who reported to Pete Clemenza. The other one had been a goat farmer in Sicily, near Prizzi. In the intervening years, loyalty and battlefield promotions and a frank shortage of labor had caused them to come up through the ranks more swiftly than a person could in times of peace. The barber was third generation, with terrible Italian; the goatherd still struggled with English. Their flight to Las Vegas was boarding now. There was no sign of Fredo Corleone. The goatherd held a phantom telephone to his ear. The barber sighed and nodded. What choice did he have? He went to a pay phone and started dumping quarters into it.

“Service,” said the voice in Las Vegas. Rumor had it that the girls at the phone service, this one and the one in Brooklyn, were nieces of Rocco Lampone’s, all of them gorgeous, but no one ever saw them or knew for sure.

“This is Mr. Barber calling,” he said.

“Yes, sir. And your message, Mr. Barber?”

“Our luggage,” he said, “has been misplaced.” He almost said lost, but lost would have been taken as killed. “It won’t be on the scheduled flight.”

“Yes, sir. Is that all?”

Is that all? When Don Corleone hears that Fredo’s new bodyguards lost him in a casino somewhere in the wilds of Detroit, yes, that’ll be all, all right. “Just say that me and Mr.-” The barber blanked. Goat in Italian was what? He put his hand over the phone. The goatherd was across the hall, getting coffee. “ Come si dice ‘goat’?”

La capra, ” said the goatherd, shaking his head.

As if, growing up on Court Street, the barber had ever seen a goat, had ever had an occasion to learn that fucking word. “Mr. Capra and me are looking for it. We hope to be on the next flight out, luggage and all.”

“Yes, sir. Thank you, sir.”

Sandra Corleone parked her Roadmaster wagon on the grass near Francesca’s dormitory.

“Oh, Ma,” Francesca said. She slipped into her stylish new raincoat. “You’re not going to park here, are you?”

All the other cars were squeezed onto the pavement of the street and the loading zone.

“I’m sure it’s fine,” Sandra said, turning off the car and reaching into the backseat to wake Kathy. As if on cue, two other cars followed her lead. “People have to park somewhere.”

They opened the gate of the wagon, and Kathy loaded Francesca and Sandra up with boxes, which were all from the liquor store her mother’s fiancé owned. Most of the other kids had moving company boxes or steamer trunks. Kathy took only a table fan and Francesca’s Bakelite radio. “Someone has to get the door,” she said.

The front doors were wide open. Kathy punched the elevator for them. Already, their mother was drenched in sweat. She set her boxes down in the elevator. “I’m fine,” she said, too winded to say anything more. She was thirty-seven, ancient, and had gained a lot of weight since they’d moved to Florida.

“I can’t believe you’re making Ma carry the heavy stuff,” Francesca said.

“I’m not feeling that great.” Kathy smirked. “I can’t believe you’re wearing a raincoat.”

“You never know when it might rain,” Francesca said. Kathy knew full well it was the dress code. Francesca was wearing Capri pants. Female students in anything other than a dress were required to cover themselves. Most, Francesca had been told during orientation, chose raincoats. The dress code probably didn’t apply on moving day, but Francesca wasn’t taking any chances. She was the kind of person who followed rules.

When they got to Francesca’s room, Kathy set down the fan and the radio, flopped down on the bare twin bed, curled up, grabbed her abdomen, and moaned.

Francesca rolled her eyes. Because she rarely got cramps, she was skeptical about her sister’s ongoing problems with them. But complaining about it was as useless as Kathy was.

“Where are the sheets?” Sandra said.

“On the other bed,” Francesca said.

“Not those.” She pulled out a nail file and started slicing open boxes. Francesca made a trip by herself. When she got back upstairs the bed was made with pink sheets, and Kathy was propped up on the pillows from both beds, the fan trained on her, her eyes closed, a wet washcloth draped on her forehead, sipping a Coke through a straw, listening to jazz on the radio.

“Where’d you get the soda?”

“The dorm mother came by with them,” Sandra said. “To welcome you.”

“I said I was you,” Kathy murmured.

Francesca was, for a split second, furious. But it probably wasn’t a bad idea. It was just a soda. And as for Kathy’s pretending to be Francesca, it was efficient and would hardly cause trouble in the long run. Just like Kathy herself. “Thanks,” Francesca said.

Kathy waved a hand. “Don’t mention it.”

“I won’t. You going to share that Coke?”

“That’s Charles Mingus there.”

“Wonderful. You going to share that Coke?”

Kathy handed it to her. “Charles Mingus plays bass. Wild, huh?”

Francesca took out the straw and drank as much of the soda as she could, hoping to finish it, but the fizz in her nose overcame her. She handed the bottle back to her sister.

On the next trip down, her mother stuck her head into the common living room, grabbed a delicate-looking wooden chair, and motioned Francesca down a dark hall to the side door. Classes didn’t start until Tuesday, and, thanks to her mother, Francesca had already broken two cardinal rules from orientation -Never leave the side door open and Never take furniture from the living room. Other girls and their parents immediately benefited from this, too, of course.

Her mother took three heavy boxes and could barely walk. Francesca set her load down on the steps to the side door, waiting for her mother to catch up.

“Why couldn’t you have gone to a girls’ school?” called Sandra Corleone, breathing heavily, pointing with her head toward the next building, where dozens of young men and their parents were moving in. Her mother was a loud talker. “Like your sister is?”

Her mother’s sundress was so drenched with sweat that in places Francesca could see her dark-colored bra and underpants. She was not a slim woman, but her underwear seemed unnecessarily gigantic. “How are you possibly going to unload Kathy’s stuff all by yourself?”

“Don’t worry about Kathy. She’ll be fine. You know, no one said the boys’ dormitory would be right next door.” Her voice grew even louder. “I don’t like the looks of that.”

People were looking, Francesca was sure. Francesca was tempted to correct her and say men’s dormitory, except that that would have made things worse.

On the next trip, her mother took a lighter load. Still, by the time they got to the side door, she was huffing and puffing and had to stop. She plopped down on that wooden chair, which made a splintery sound. People are supposed to move to Florida and be out in the sun all the time and slim down so they’ll look good in tennis clothes and at the beach. Her mother was getting bigger all the time. This summer, Francesca had caught Stan the Liquor Man pinching her mother on the ass and saying he liked her caboose. Francesca shuddered.

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