Mark Winegardner - The Godfather returns

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The Godfather returns: краткое содержание, описание и аннотация

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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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From down the street came a horrible splintering crash. The buckboard.

“Don’t worry,” Fredo said. “That’s in the script, too.”

“Yeah, well,” Geraci said. “Forgive me if I’m a little jumpy about crashes.”

“I don’t have that kind of power,” Fredo said. “You want forgiveness, it’s Mike’s department.”

Geraci tried not to look surprised. He’d never heard Fredo voice any sort of resentment toward his brother. “So Fontane’s here?”

Fredo shook his head. “They flew in some writer to write him out of the picture, can you believe that? It’s his stand-in that’s out there dying.”

Fontane’s inattention to his own production company was getting to be a bigger and bigger problem, but this was the first time he’d ever skipped out on a movie in the middle of shooting. “So that’s all?” Geraci said. “He’s going to get away with that?”

“I don’t want to get into it,” Fredo said. “I got Dee Dee in one ear, my brother in the other, fucking Hagen in the other.”

“You have three ears?”

“Feels like it,” Fredo said. “It ain’t a feeling I’d recommend.”

They got down to business. Geraci had expected Fredo-as he had done other times they’d sat down to meet-to relay messages about Geraci’s operation back in New York. Instead, Fredo gave him the news about the peace talks the day before. It was all set: Geraci was going home.

This, too, was the sort of thing a guy might hear right before he got clipped. But if that’s what was going to happen, why had Mike sent Fredo?

“You okay?” Fredo said. “Your hearing going or something? I’d’ve thought a guy gets news like this he’d be on cloud nine.”

Men from the lighting crew had come in and started to set up a shot. Prop guys scattered sawdust on the floor and set out playing cards, poker chips, dirty glasses, and sheet music for the presumably doomed piano player. “It’s just going to be complicated, that’s all,” Geraci said. “Going home.”

Fredo lowered his voice. “Hey, how are you with the Straccis? I mean, you know, how were you? Before all this down here. I got a reason for asking.”

“I’ve got guys there I work with.” Without the tributes he paid to Black Tony Stracci, the drugs could never land in Jersey and get to New York so smoothly. “What’s your reason?”

“I’ve got this idea. There might be something in it for you. New source of income. Could be one of the best things we ever had. When I talked to Mike, he said no dice, but the more I get to know you, the more I think you and me together can make him come around.”

“I don’t know, Fredo.” Geraci hoped he didn’t show it, but he was shocked. Fredo hardly knew him yet was enlisting him to defy Michael Corleone. “If the Don turned it down-”

“Don’t worry about that. I’ll take care of that. I know him like nobody knows him.”

“I’m sure that’s true,” Geraci said. This sort of open disloyalty would have been outrageous coming from some neighborhood punk. But from the sotto copo ? From the brother of the Don? “I have to be straight with you, though, Fredo. I’m not going to-”

“I appreciate what you’re saying, but hear me out, okay? Okay. So here it is. You’re a lawyer, right? Did you know it’s against the law to bury people in San Francisco?”

Wrong, he wasn’t a lawyer, but Geraci didn’t bother to correct him. Just then, Deanna Dunn burst through the swinging doors.

“Barkeep,” she growled, “gimme a shot of your best red-eye.”

“That’s pretty good,” Geraci said, because it was. She sounded exactly like the actor who played the villain in this movie, a grizzled lout who’d also started out as a boxer.

“Those aren’t real bottles of whiskey,” Fredo said.

“This attachment you have to the real,” she said, “is very cute. Knock it off, will ya?”

“Oh, and yeah,” Fredo said, ignoring his wife and addressing Geraci. “I almost forgot.” He grabbed the lapels of his own suit. “I do have a guy. He’s out in Beverly Hills, but I fly him to Vegas for fittings. He’s Fontane’s guy out there, too, which is how I heard about him.”

“Unlike you,” said Deanna Dunn, “Johnny has to have his pants made special. Otherwise they wouldn’t fit right because his dick’s-”

Fredo smiled wanly. “It’s true.”

“Big one, huh?” Geraci couldn’t believe Fredo was going to let her get away with that.

“That’s what they say,” Fredo said.

“Who’s they?”

“Oh, darling. ” Deanna Dunn turned a chair around and straddled it. “Who isn’t they?” She waggled her eyebrows.

Geraci could see in Fredo’s eyes that he was mad, but the smile lingered gruesomely on his face of the underboss.

“I did a picture with Margot Ashton,” said Deanna Dunn, “while she was still married to Johnny. The director-Flynn, that fat Mick slob-was razzing her about being married to a skinny ninety-eight-pound weakling like Johnny Fontane. This was awhile back, you know. So in front of ev-v-v-v-v-verybody, Margot says, real loud, ‘He may be skinny, but his proportions are perfect. Eight pounds Johnny and ninety pounds of cock.’ ”

Fredo exploded in shrill laughter.

“Lovely woman, Miss Ashton,” Geraci said. And you, Miss Dunn, are eight pounds Deanna and ninety pounds of gigantic head.

“Naturally,” Deanna said, “after she said that, I made it my business to see if she’d been exaggerating.”

The only people Geraci had ever seen whose faces could go from joy to despair as swiftly as Fredo Corleone’s were his beautiful daughters’, but only when they were still babies.

“And so it is with great pleasure, in front of all you good people, that I can reveal, at long last, and I do mean long-”

“I should go home,” Geraci said, and he did. He’d hear about the stiffs in San Francisco some other time.

One thing kept bothering Pete Clemenza.

That night at the Castle in the Sand? When they were watching Fontane and Buzz Fratello and Dotty Ames, until Mike got the phone call from Hagen with the news about the plane crash? Why did Mike tap Clemenza on the shoulder to get his attention to leave before he even started talking to Hagen? How did he know they’d be getting up and going?

Not that Clemenza would ever say anything.

But it’s the kind of little thing a guy thinks about a lot. Kind of thing that can make a guy go outside at two in the morning in his silk pajamas, light a good cigar, flip on the floodlights, and wax the living shit out of his Cadillac.

Chapter 15

T HE CONGRESSMAN- a former state attorney general, a vigilant opponent of the incursion of the Cosa Nostra into his beloved Silver State, and also, for what it’s worth, a rancher whose property lay downwind of Doomtown-first received his grim diagnosis in the hospital’s newly completed Vito Corleone Wing. When he went back to Washington, he got a second opinion from a specialist. The news was the same: the Big C; lymphatic, inoperable; six months to live. He chose to keep his illness a secret and fight it. If anyone was tough enough to lick the Big C, it was that big ox. A year later and eighty-eight pounds lighter, he died. As so often happens, the person whose constitutional responsibility it was to appoint a successor was a political rival of the deceased. The governor asked Thomas F. Hagen, a prominent Las Vegas attorney and financier, to abandon his long-shot bid for his party’s Senate nomination and accept the appointment to Congress. Mr. Hagen graciously agreed to put aside his plans for the chance to serve the good people of the State of Nevada.

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