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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He looked at himself in the bathroom mirror. He put a bullet in the reflection of his balding head. Then he shot the mirror over the bed, too. The shower of glass was spectacular. His life up to now had been but forty-three years of bad luck; if he’d just brought on another seven, another fourteen, so what?

Fredo looked at his watch. The whole day had gotten away from him. He was supposed to meet Jules Segal and some possible investors at Gussie Cicero’s supper club in an hour. Fredo called the front desk and said that his wife had had a wild party last night. “You might want to send someone up to figure out the damage,” he said. “Just put it on my bill.”

The clerk asked if Fredo had heard shots fired.

“Oh, that,” Fredo said. “I had a Western on the TV full-blast.”

He hung up. He gave the ruined TV set a kick. He went into the flooded bathroom and turned off the water to the toilet. He looked around the suite. A hell of a goddamned mess, but in the end, all he’d wasted on this one was a day. He’d spent forty-three years on the mess he’d made of his life. He grabbed his tux and his Mary Janes. He could get dressed at Cicero’s.

After two encores, J. J. White, Jr., left the stage, drenched in sweat and to a standing ovation. Fredo and Jules Segal were at a table in front, along with two Beverly Hills attorneys, Jacob Lawrence and Allen Barclay-friends of Segal’s and also the registered owners of a Vegas casino that really belonged to Vincent Forlenza. Fredo had wrangled gorgeous young starlets as dates for the two married lawyers. Segal’s date was Lucy Mancini, who used to be Sonny Corleone’s goumada. The ladies all went to powder their noses.

Figaro and Capra were at the next table with dates of their own, watching Fredo’s back.

“All right, Doc,” Fredo said, sitting down. “I got this theory.”

“I know what you’re going to say,” Segal said. “J.J.’s better when he’s solo and not kissing Johnny Fontane’s ass with all the Uncle Tomming.”

“My theory,” Lawrence said, “is that Jews are the best entertainers. It’s in our blood.”

This cracked Barclay and Segal up. White, a Negro, had married a Jew and converted. Lawrence, Barclay, and Segal were all born Jewish, though the lawyers had changed their names.

Fredo frowned. “J.J.’s great, but I’m not talking about nothin’ like that,” he said. “I’m talking about our possible business arrangement in New Jersey. My theory is, the trick to getting anybody to do anything is that you gotta get ’em to think it was their own idea in the first place.”

“You’re just figuring that out?” Segal said. “How old are you?” A few years ago, his hair had been gray. Now it was brown as milk chocolate. His suntanned face was only a shade lighter.

Fredo forced a smile. “Point is, I could twist things around and make you think you were the ones who thought of this cemetery thing, but that’s not how I do business. I’m not trying to sell you on nothin’. You don’t want to get in on the ground floor here? Believe me, I know a hundred guys who will. But Jules, you’ve helped me out of a lot of tight spots with the ladies; the least I could do was give you this chance. You fellas, too. Friends of Jules are friends of mine. I’m friends with your Cleveland friends, too. Me and Nick Geraci, probably you know him, we’re like this. Tight. When the time comes, he’ll be in on this, too, believe me. And the Jew?” he said, meaning Forlenza. “Personal friend.” Fredo had actually never laid eyes on the guy. “Long story short, this was my idea, all right? But put your pride aside, and you’ll see that if you go in on this, we’ll all make a mint.”

Capra buried his head in his date’s hair. His English was too shaky for him to pick up on what was going on at the next table. Figaro, on the other hand, was stunned that Fredo would go to civilians for money-even though Geraci had said that this was probably what would happen. Figaro used to cut Geraci’s hair; his original connection to the Family had been Tessio (another customer). The longer Figaro was out in Nevada and California, the more he was convinced that Vito’s sons were wrecking everything. The base of the Family’s power was New York-where Figaro was born, and where his loyalties remained. He was Nick Geraci’s guy, all the way.

Gussie Cicero and Figaro made eye contact from across the room. Figaro nodded. Gussie went to tell Mortie Whiteshoes and Johnny Ola they had the opening they’d need to get Fredo to help them get their boss and Michael to wrap up some sort of mutually beneficial negotiations. As far as Gussie knew, he himself was doing a harmless favor, and Figaro was just confirming that Fredo was talking about whatever it was that he’d supposedly come there to talk about. As far as Gussie Cicero knew, the idea for putting Ola and Whiteshoes together with Fredo Corleone-for whatever reason-had come from Jackie Ping-Pong. As far as Ping-Pong knew, the idea was Louie Russo’s. As far as Russo knew, it was Vincent the Jew’s idea.

“It may well be a good idea, Fredo,” Segal said. “But good ideas are for suckers.”

Fredo cocked his head.

“What makes an idea valuable,” Segal said, “is knowing what to do with it.”

This was a lot of disrespect to swallow from a self-important, cunt-happy Jew who’d have never even gotten his medical license back if the Corleones hadn’t made the head of the review board an offer he couldn’t refuse. “I know,” Fredo said in a near-whisper, consciously aping the quiet menace his father and brother came by so naturally, “what to do with it.”

The men at his table showed no sign of being intimidated.

“Maybe so,” Lawrence said, “but we’ve looked into the details. The ordinances will be next to impossible to pass. Even if you do, the existing cemeteries and related businesses are sure to file suit to get any new laws overturned. I don’t know how things were done in San Francisco or why, but it doesn’t matter. Different state, different century. Today, you have to worry about the likes of Allen and me. The lawyers. If you want to go ahead with this, trust me, there’ll be plenty of… what’s the term you people use? Plenty of beaks to wet.”

“ ‘You people’?” Fredo said.

Lawrence shrugged. The women were making their way back to the table.

“There’s other problems,” Segal said. “Tell him, Allen.”

“Cemeteries,” Barclay said, “have to able to be maintained until the end of time with only the interest from a trust. In other words, you’re tying up a fortune up front, which from what I know about your business, I can’t imagine you’d want to do. Also, don’t take this the wrong way, Mr. Corleone, but the money would need to be so clean you could eat off it.”

“Don’t worry about that,” Fredo said. He couldn’t believe they were going to keep talking about this in front of their dates. “I got all that covered.” Though he didn’t.

The women took their seats and kissed their dates.

“I won’t even get into all the problems you’d face,” Lawrence said, “trying to transport millions of dead bodies across state lines. Or the impossibility of sewing up any kind of monopoly on all this out in New Jersey.”

“Dead bodies!” said Lucy Mancini.

Fredo shot a look at the other men, who at least had enough sense not to explain things. The other women averted their eyes. Lucy flushed, redder than her fresh Singapore Sling. She’d been around long enough not to say a thing like that, and she obviously knew it.

Segal put an arm around Fredo and patted him on the shoulder. “As get-rich-quick schemes go,” Segal said, “this is the worst I’ve ever heard.”

Segal extended an arm toward his friends, and they told Fredo that Segal was right.

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