Você acreditaria que um delegado chamado Protógenes Queiroz conseguiria prender o Poderoso Chefão? A literatura dá tantas dicas para você se tornar, ao menos, um criminoso cuidadoso. As versões brasileiras são mais de comédia (uma bem ruim), com nome de personagens do José de Alencar. Falta apenas aparecer uma Moreninha. Ao menos naquela história do Marcos Valéria tivemos um colírio para os olhos. Melhor do que delegado que não troca cuecas. 

Aliás, só as matérias que tratam do caso demonstram a pequenez das letras nacionais. Um Bob Fernandes deveria é estar estudando estilo, ditado, sei lá. Eu fico é irado, porque de vergonha o Brasil já teria me matado se eu deixasse.

Aí que saudades do Mario Puzo...

Yep, my dad told me that Hong Kong was up to 99% humidity. I asked him, "What does that even mean?" He didn't reply, or at least I don't remember what the reply was. "What's 100% humidity then?" I asked him. Still no keen response. I concluded for my own sake that 99% humidity meant that we were basically walking around in a steam room, and 100% humidity would mean that that steam room was a bit steamier. It is not too bad though, and while this mugginess does impede my general satisfaction of breathing a bit, I can tolerate heat a lot better than I can the cold, most definitely.

The Club Life

For all three meals, we went to some kind of club (this is what I meant by clubhoppping; I am far from a party animal). We started breakfast at the Recreational Club, had lunch at the Jockey Club (which is also hosting the equestrian events of the Summer Olympics!), and finished with dinner at the Cricket Club. Society is very stratified in this way; the club life is so different than the Hong Kong street life - the more "squalid" sides of society, as my dad puts it. Within these clubs, there's an entirely different conglomerate of people, propriety, and lifestyles. I wouldn't say one kind of life is entirely better than another; they just both have their own charms. The food at these clubs was very good though.

Family Meals

At these big Asian family gatherings, being surrounded by older relatives means being bombarded by a constant urging on all sides to eat more, to finish up this plate, to try some of that plate. My grandpa especially, sitting on my right side, basically synched his urging with the arrival of food; with every plate, my grandpa would say to me again, "eat some of that! Why aren't you eating that?!" even when it had a lot of meat in it (he doesn't understand what it means to be vegetarian); he would say "Come on, that's barely any meat!" Relatives are the flagrant cause of my fattening up.

Grocery-Shopping

Anyone who knows me knows that one of my utmost hobbies is grocery-shopping. I know this sounds relatively Stepford Wives-esque but for some reason I have the tendency of fawning over and delighting in new, wondrous food products. It's a very gratifying undertaking - surveying the colorful racks of cereals, jams, cheeses - and even while not buying most all of it, it's so satisfying seeing how many different types of things there are in the world and how much potential lies in cooking and eating. I may be ahead on this "housewife" thing, but I don't mind - which leads to my point, which is that I went to an amazing grocery store called CitySuper that stocks international foods from all over the world. Grocery shopping and international delicacies definitely make for a great combination, and just as an understatement, I was in absolute awe. If I lived around here, I would definitely frequent CitySuper. This week at CitySuper is German Food Week. There are all kinds of "wursts."

Curly-Qs

My little cousin Steffi, whom I am seeing for the first time (she is a little over 1.5 years; last time I visited was 2 years ago), has the curliest hair I have ever seen on a little Asian girl. It's just about the cutest thing I have laid eyes on, like a little Shirley Temple China doll. I love it and spend my time staring at it with utter marvel and fixation. I am often tempted to twirl her hair with my fingers. She also likes to eat very much.

Favoritism

My other cousin Sheryl (Steffi's older sister) likes my dad a lot more than me. My dad is her favorite. She holds his hand and wants him to sit next to her in the car. Maybe it is because he plays a jazzified version of that Barney theme song for her, as well as several renditions of different Disney Princess songs... I cannot do that; therefore I am shunned.

On a side note, I hope you all take Epicurean pleasures in the multitudes of food photos I post.

This is breakfast at CRC (Chinese Recreational Club). A typical Cantonese breakfast consists of porridge (usually with duck or fish or some poultry of that sort) and a side dish.

I don't even know what this is called in English, but it sure is yummy.

My grandma and her carrot juice.

This was the yummiest thing on the table (my grandma ordered it for herself while I got stuck with the Chinese breakfast, though I would have much rather had this) - the thickest whole wheat toast I have ever seen toasted to perfection, slathered with a layer of peanut butter.

My grandma took us to the fruit market and my dad told me to take a picture of the sign. I said, "okay."

A very colorful scene. I like those types.

We ended buying some lychee, dragon eye fruit, and star fruit - all fruits native to Asia (and so good when in season, which is right now!).

This is CitySuper, which is in Times Square - a shopping complex. This is me sneaking a picture of the wonderful place.

After spending an hour at CitySuper and some random stationary store, my dad and I walked over the Jockey Club where my uncle works to eat lunch with the rest of the family.

This is the view from where we sat in the restaurant - one of the best and clearest views of Hong Kong I have seen (Hong Kong is exceptionally clear right now (normally it is layered under a cloud of smog) because of the rain spells). Below the cityscape are the football / cricket / rugby fields of the jockey club, surrounded by the racehorse track.

Introducing my cute little cousin Steffi!

She loves to eat and she can eat by herself already!

Steffi with my uncle's family's maid/helper, Tata.

Oh yum. I love her bright orange tableware.

Sheryl hogging it up for the camera (she's good at it; been good ever since she was a wee one).

My uncle (her dad) bought her some new toy horses to play with ... this is a unicorn (she also lost these horses as soon as we finished eating).

Dim sum - so good. Pineapple buns with BBQ pork inside.

At front, some deep fried tofu wrap with a meat/veg filling, and at back, turnip cakes fried in XO sauce (really good stuff).

BBQ pork - Mom, this one's for you - Dad said you would like it.

Fish, shrimp, and veggie dumplings topped with fish eggs.

Some kind of fish paste /veggie dumpling.

Cantonese style fried rice with chicken, shrimp, mushrooms, veggies, and carrots.

So much food! A feast, in fact.

Steffi.

Do you see her curly-q's? Don't you just want to pull one?!

Sheryl and her pink flower balloon. I realize that this picture is very pink.

Sheryl noticed that the length of my dad's hair was appropriate as grass for her horse; thus began her act of using my dad's head as a grazing pasture for an animal.

The infamous horse.

Sheryl hiding behind my dad.

Mother and daughter.

This was one of the desserts - some kind of green bean jelly with water chestnuts.

Egg tarts.

This was my favorite dessert dish - almost like a fluffy, light Asian version of a beignet. Deep fried dough made from egg whites, dusted with sugar.

See the favoritism? Sheryl even wants my dad to hold her hand.

And sit with her in the backseat ... here they are watching Mr. Bean, which I think I enjoyed when I was about six year old, but which now makes me stare in disapproval and wretch a little in my mouth even...

You are so cute!

We then went to my uncle's flat.

Another great view. You can see most of Hong Kong.

A fantastic collection of books, on subjects running the gamut from history to photography to historical photography to biographies and politics to the gangs of New York (my uncle has a thing for the Mafia and Mario Puzo) to cooking and wine ...

Not even half of his DVD collection. Can you see at the top he has every single season of the Sopranos and every single season of West Wing? Very reflective of his interests. He also has just about every Godfather, Italian-mafia-related, Al Pacino, Mario Puzo movie / documentary ever made.

Sheryl gave us a mini piano recital.

Steffi wanted to play too.

And then Sheryl asked my dad to play the Barney theme song and some Disney princess songs ... which my dad did, very graciously.

After bumming around at my uncle's for a few hours (which basically comprised my flipping through as many books as I could and surveying very intently his entire DVD collection, wistfully thinking about the movies I want to but have yet to watch), we went to the Hong Kong Cricket Club for dinner. I was elated to discover these juices on the menu - this is the Vitamin Rush, which combines beet, carrot, and celery juices. It's very photogenic as well.

Sheryl's pizza.

When this happens to me in public, sometimes I do not know what to do. Should I break the cheese with my fingers, eat the cheese slowly by sucking it in centimeter by centimeter, or stop eating the pizza altogether? The burdens of stringy mozzarella on pizzas...

This is extremely attractive.

I like half-masticated food as well.

My dad's Indian lentil curry dish. Again, photogenic food.

Grilled salmon fillet with spaghetti noodles and some assorted veggies.

Grilled Barramundi fish (so flaky, soft, and delicious). I also how the dish is accented with a piece of fried tofu that serves as the earth for a stalk of celery.

A close-up of the delicious fish.

At night, I met up with Rachel and her mother to go shopping!

After a quick family portrait, Auntie Catherine left us and Rachel and I went roaming around (Rachel and I attempted to take a few self-portraits but failed miserably).

Many stores were closed but we had fun anyway! Rachel knew her way around well, so we went to some pretty nifty stores; I, on the other hand, completely incompetent at navigating, followed her around blindly. Bought a couple of things. Then returned to my hotel. Good seeing friends in foreign countries!

On another side note, I am re-listening to Balmorhea's River Arms album, and it just strikes (I guess for a second time, but this time in much deeper resonance) me how vivid and interesting the interplay of sounds are ... I would like to use this album as the soundtrack to a film.

For Justice we must go on our knees to Don Corleone.

- Amerigo Bosanera, 1945

All hail the Don.

]]> http://quemovida.wordpress.com/?p=1076 Tue, 24 Jun 2008 12:24:13 +0000 Redhill2008 http://quemovida.wordpress.com/?p=1076

Hablar de “El Padrino” es hablar posiblemente de una de las mejores películas de toda la historia del cine y una de las obras maestras más importantes del séptimo arte.

Está basada en el libro de Mario Puzo “The Godfather”, que fue su obra cumbre y que permaneció 67 semanas como best seller en Estados Unidos, llegando a vender más de 21 millones de ejemplares desde su salida en 1969.

Sinopsis: Don Vito Corleone es el jefe de una de las cinco familias que ejercen el mando de la Cosa Nostra en Nueva York en los años 40. Don Corleone tiene cuatro hijos; una chica, Connie, y tres varones, Santino, o Sonny, como le gusta que le llamen, Michael y Freddie, al que envían exiliado a Las Vegas, dada su incapacidad para asumir puestos de mando en la ”Familia”. Cuando otro capo, Sollozzo, al rechazar el Padrino intervenir en el negocio de estupefacientes, intenta asesinar a éste, empieza una cruenta lucha de violentos episodios entre los distintos grupos.

La película presenta un retrato preciso y profundo de una época y un ambiente, pero sobre todo es una crítica subrepticia a la sociedad norteamericana, las relaciones intrafamiliares, la práctica política y sus esquemas morales tratados sutilmente como trasfondo del guión mediante asuntos relativos al mundo de la mafia, la inmigración, la relación de pareja, los sistemas de dominación familiares, la violencia criminal y su asociación política.

Parte del atractivo visual y estilístico de la obra consiste en la interpretación de la figura de Michael Corleone (Al Pacino). En la secuencia inicial de la película Michael se nos presenta con rostro angelical, incluso Coppola emplea filtros especiales que reducen sus arrugas y combinados con la iluminación y el maquillaje nos enseñan un Michael mucho más joven, recién abandonada la adolescencia. El brutal cambio que se opera en su alma cuando asume la herencia de sangre de los Corleone se refleja también en su rostro, que en la última escena es ya el de un hombre maduro, complejo, que mira directamente a los ojos y miente con todo su corazón.

Trailer

Título Original: The Godfather

Duración: 175 minutos

Director: Francis Ford Coppola

Argumento: Mario Puzo

Guión: Francis Ford Coppola & Mario Puzo

Música: Nino Rota

Reparto: Marlon Brando, Al Pacino, Robert Duvall, Diane Keaton, James Caan, John Cazale, Talia Shire, Richard Castellano, Sterling Hayden, Gianni Russo, Rudy Bond, John Marley, Richard Conte, Al Lettieri, Abe Vigoda

Presupuesto: 6.200.000$

Recaudación: 150.000.000$

Premios: 3 Oscars de la Academia de Hollywood (Mejor Película, Mejor Actor – Marlon Brando, Mejor Guion Adaptado), 5 Globos de Oro.

Fue escogida como la tercera mejor película de todos los tiempos por detrás de “Ciudadano Kane” (1941) y “Casablanca” (1942), aunque más tarde se situaría en segundo lugar por detrás ya solo de “Ciudadano Kane”.

Fascinante compendio de cine de Coppola. La compleja historia de una familia mafiosa liderada por un implacable padre de familia y hombre de honor (inmenso Marlon Brando) y cuyo poder hereda su hijo más pacífico (asombroso un primerizo Al Pacino de mirada gélida) es, ante todo, un ejercicio narrativo de insuperable nivel: la brillante disección de todos los personajes, el ritmo magistral que alterna largas secuencias familiares con creíbles escenas de acción, y una ambientación perfecta consiguen un film que entró "violentamente" entre los mejores clásicos de todos los tiempos... para alzarse con el título de obra cumbre del cine moderno. (Pablo Kurt: FILMAFFINITY)

"El padrino son palabras mayores. Las dos primeras partes están entre las 10 mejores películas de la historia del cine." (Carlos Boyero: Diario El Mundo)
"Coppola inventa una nueva mirada para el cine y amplía los horizontes de una industria que pedía a gritos savia nueva" (Luis Martínez: Diario El País)
"Una obra maestra" (Fernando Morales: Diario El País)

<<... déjame insistir una vez más en que no quiero que lo hagas para vengar el puñetazo en la mandíbula. McCluskey es un estúpido, ya lo sé, pero en su golpe no hubo nada personal.

Por segunda vez, Tom Hagen vio en Michael la encarnación del Don.

—Mira, Tom, no te equivoques. Todo es personal, incluso el más simple y menos importante de los negocios. En la vida de un hombre todo es personal. Hasta eso que llaman negocios es personal. ¿Sabes quién me enseñó eso? El Don. Mi padre. El Padrino. Si alguien perjudica a un amigo suyo, el Don lo toma como ofensa personal. Mi alistamiento en la Marina lo tomó como una cuestión personal. Es ahí donde reside su grandeza. El Gran Don. Para él todo es personal. Lo mismo que hace Dios. Sabe cuanto sucede, es dueño de las circunstancias. ¿No es así? ¿Y tú? ¿Sabes algo? A las personas que consideran los accidentes como insultos personales, no les ocurren accidentes. Me he dado cuenta tarde, pero al final lo he comprendido. Por eso, el puñetazo en la mandíbula es un asunto personal, tanto como los disparos que Sollozzo efectuó contra mi padre.>>

Por lo que he podido ver en mi vida, lo personal y lo profesional SIEMPRE se mezclan, la cuestión es cuanto.

The sea of protesting laborers cleaved like butter under a hot knife as Kamathmaam’s chauffeur-driven A/C ambassador car entered the factory premises. The sloganeering stopped and the crude posters denigrating Kamathmaam were lowered. Today was an important day in the life of all the 75 laborers who had gone on a strike for the sake of better wages.

They were led by Munna Bihari, a paan-chewing bhaiyya who never missed a chance to start a fire. He wasn’t quite concerned about the state of the rest of the laborers but he enjoyed being the eye of the storm. Now, as Kamathmaam stepped out to address the gathering, Munna Bihari smiled sardonically and inadvertently rubbed his hands in anticipatory glee.

Kamathmaam’s enormous belly preceded him to the stage and his bald head glinted with sweat in the afternoon sun. He looked at the gatherers with scorn and cursed them for fixing an afternoon for this announcement because he always preferred a siesta after his favorite dal and fish meal. He had to end this crisis today and he had planned drastic measures.

“So what have you decided, Kamathji?” giggled Munna Bihari.

“I’ll be brief. Whatever I declare now will be final. I am not yielding to your demands. All pay hikes will be based solely on performance and this untimely demand can’t be met with. People in the workforce who are not in agreement may leave and their dues will be settled immediately”, declared Kamathmaam solemly.

A lull fell over the assembled workforce. Till now they had relied on Bihari but now they realized they were wrong. Bihari, seeing that his plan had gone terribly wrong stepped on the stage in a fit of rage. He was surprised when he saw 5 muscular guys materialize from nowhere. Soon he was thrashed like a villain in the final scenes of a masala Bollywood film and the rest of the workforce resumed work like nothing had ever happened.

Kamathmaam was happy to see the result. He had finally resolved the matter.

*****

Anjali is worried sick from the past one week. Never before had her dog, an Italian greyhound, acted so strangely. She was worried if it might be terminally sick but the vet, despite charging handsome fees, kept iterating that there was nothing wrong with him.

She had a woman’s instinct – an instinct that could know when things went wrong. Her dog was a very jovial creature and always enjoyed her company. From the past few days, he kept to himself, ate very less and declined all invitations to play with her. Things were going very wrong.

Suddenly, the door bell rang, disturbing Anjali’s thoughts. Her woman’s instinct again told her that it must be her worthless husband back from work. She knew he would be dead against any idea of going out for dinner.

“How about having dinner outside today?” she asked, knowing full well the answer.

“No. I am tired”, came the response. This was all she needed to throw her tantrums.

“I am tired of your moods. You never have any time for me. It’s not my fault if your darned factory is having a strike”, she yelled.

“Now stop it. It is not in my hands.”

“I don’t know, I don’t care. You better end it tomorrow”, came the ultimatum.

********

The moon is shining over the streets and there is not a sound to be heard. Alberto silently walks by the pavement, headed towards the rendezvous. The Don is waiting for him and he better not be late.

He reaches the spot and waits by the dump yard for the Don to arrive. In fact, he can see the Don walking towards him.

“I am glad you came, Don”, admits Alberto.

“What is it? How can I help you, Alberto?” asks the Don in his slurry accent.

“I want you to teach my boss the lesson of his life. I want justice”, pleads Alberto.

“What has he done to you?”

“He ill-treats me. Kicks me about in front of everyone like a rag doll. I am tired of it. You are the only one who can help me”.

The Don thought for a while and said, “OK. It shall be done. Leave it to me. Meet me here in 5 days. Same time.”

********

Kamathmaam is on his way back. He is elated that he could end the protest so easily. He is sure his wife too will be equally happy to hear this.

“Anjali! I have done it! The workers are back at work and my bodyguards sent Munna Bihari straight to the hospital. The way they bashed him, he should be in for a good one month. And I have even lodged a police complaint against him. So that should take good care of him”, he beamed.

“Woof! Woof!” barked the dog and Anjali was pleasantly surprised.

“That’s great! Finally things are getting back to normal. The strike is resolved and it is the first time in the past 5 days Vito has been so excited. See, he is no more his gloomy self. Look at the way he is wagging his tail!! Thank god for everything!!” she replied.

**********

Alberto is back at the dump yard waiting for the Don. He knows the Don never fails.

“He is taken care of Alberto. Beaten so badly that they had to take him to the hospital. A police complaint has also been registered. Hope you feel Justice is served”, slurred the Don.

“I am so greatful to you Don Vito. I don’t know how to repay your kindness”, replied Alberto.

“Don Vito only asks for friendship. Don’t forget me in my time of need.”

“I will forever remember your favor and will be ready to help you in your time of need”, replied Alberto.

The moon shined down on the two dogs as they headed back to their respective homes.

--------------

Note: You didn't get the story? Click here. It is a spoiler, so i suggest you read it again. Your choice.

PS: No offence to Mario Puzo or any of the millions of Godfather’s fans. Though I don’t appreciate the story and the way of living advocated by Don Vito Corleone, I am very much an admirer of Mario Puzo’s terrific portrayal of the character of Godfather and needless to mention Marlon Brando’s fantastic enactment. All other disclaimers mentioned here apply.

]]> http://cinemagia.wordpress.com/?p=715 Sun, 22 Jun 2008 04:01:09 +0000 Tommy Beresford http://cinemagia.wordpress.com/?p=715 Do CineClick, no portal UOL:

A Paramount Pictures vai ter que responder o processo que Anthony Puzo, filho de Mario Puzo [foto], autor de O Poderoso Chefão, abriu nesta quarta-feira (18/6). Ele afirma que a produtora errou ao entregar qualquer material para a produção do videogame inspirado no filme.

Nos documentos encaminhados para um tribunal em Los Angeles, Anthony Puzo pede US$ 1 milhão por danos decorrentes de violação de contrato. A Paramount oficializou um contrato em 1992 concordando em dar a Puzo uma parcela da receita de qualquer produto áudio-visual vendido ou alugado que fizesse alguma menção aos filmes de O Poderoso Chefão.

No processo, Puzo alega que "numa violação do acordo de produtos áudio-visuais, a Paramount falhou e se recusou a pagar a Puzo Estate a soma devida no que diz respeito ao jogo O Poderoso Chefão".

Leia mais clicando aqui.

Mario Puzo's son Anthony Puzo has filed a lawsuit against Paramount Pictures, claiming the company failed to pay a share for Puzo's estate from the game's Royaltie's. A "Godfather: The Game" was made in 2006 by EA, the game pictured above, it was based on the same story and same characters from the film. Anthony Puzo is not suing the company that made the game EA, he is suing Paramount.

7 years earlier before Mario Puzo died in 1999, Puzo and Paramount agreed to come to a deal that Puzo would receive a share from any audio or visual products made by the "Godfather" series. Anthony is sticking by his father's wishes because this is what Mario Puzo would have wanted.

Variety Reports:

http://www.variety.com/article/VR1117987721.html?categoryid=13&cs=1

I expect Paramount to speak out about this soon, they'll probably defend themselves so this lawsuit will get dismissed.

Kev

O filme "The Godfather", conhecido como "O Poderoso Chefão" no Brasil é um dos melhores filmes já feitos em todo o planeta terra! Pra quem viveu no Acre nos últimos 40 anos e não conhece o filme, ele conta a história da família de Don Vito Corleone, um pobre imigrante italiano, que chega sozinho aos Estados Unidos e constrói um poderoso império.

Toda a história é contada em três filmes, a primeira parte, intitulada "The Godfather" foi lançada em 1972, teve o papel principal, de Don Vito Corleone interpretada pelo lendário Marlon Brando e o papel de Michael Corleone, filho de Don Corleone interpretada pelo ainda jovem e desconhecido Al Pacino.

Este filme foi ganhador de três Oscars, o de melhor papel a Marlon Brando, melhor fotografia a Albert S. Ruddy e melhor roteiro a Mario Puzo e Francis Ford Coppola. Além de ter ganhado vários outros premios e nomeações.

A segunda parte da história, nomeada "The Godfather: Part II" foi lançada em 1974 e teve como ator principal Al Pacino, que interpreta de forma magnífica o agora Don Michael Corleone, que assume o controle da família Corleone, o filme também tem flashbacks mostrando como foi a infância de Don Vito Corleone e como foram os primeiros negócios que deram poder e dinheiro a família.

Este filme foi ganhador de 6 Oscars, entre eles o de melhor ator, que foi dado a Robert De Niro, por sua excelente atuação de Don Vito Corleone, em sua juventude, e o de melhor roteiro.

A terceira parte da história "The Godfather: Part III", lançada em 1990, mostra Don Michael Corleone, ainda interpretado por Al Pacino, tentando legalizar os negócios da família.

Todo os três filmes são muito bonitos e interessantes, mostrando alguns aspectos da cultura italiana, e também belas imagens da Sicília.

A trilogia é internacionalmente respeitada, tanto pela crítica quando pelo público em geral e influenciou praticamente todos os filmes de gangsters lançados posteriormente.

Para quem ficou com curiosidade, vale a pena conferir a cena de abertura do primeiro filme no youtube.

Amei o primeiro, que se baseia no livro do Mario Puzo que li ano passado. O Malon Brando está perfeito, irreconhecível e a voz faz, sim, toda a diferença. Al Pacino também está bem, mesmo que no livro, o queixo e o rosto de Michael Corleone nunca voltem a ser o que era antes do soco de McCluskey. O filme é bem fiel ao livro, portanto, só podia ter virado um clássico.

O segundo não me agradou tanto. É um bom filme? Sim, é. Porém, acho que ficou uma coisa meio novela quando começa a ter barriga demais, sabe? Uma história que cabia perfeitamente em duas horas leva quase três e meia para ser contada. Claro que o enredo é bem amarrado, mas o que se espera de Francis Ford Copola além disso?

Agora, só falta ver o terceiro. Assim que tiver outro final de semana sossegado, verei.

Puede sonar controversial, pero sin duda esto es lo que México y Ciudad Juárez necesitan. La razón principal es la de no terminar siendo un intelectual más, de estos que Zizek acusa con el “seamos realistas, pidamos lo imposible”, en donde sólo se pide lo que no se puede alcanzar para mantener una forma de vida. Es verdad que por mucho tiempo hemos padecido esto, incluso en la actualidad persiste, por eso necesitamos que los líderes del narcotráfico intervengan de manera más inteligente entre ellos.

Las figuras recreadas por Mario Puzo, autor de las novelas que luego se convertirían en la trilogía hollywoodense, son personajes tomados, si se quiere, de la realidad nacional. Esto nos lleva a pensar en una pregunta que surge con la analogía: ¿realmente necesitamos policías o gobiernos que detengan el narcotráfico o un Vito Corleone generalizado capaz de organizar las mafias?

Recordemos otra escena: cuando Sonny, el hijo de Vito Corleone, es asesinado salvajemente por una familia contraria, la reacción es simple y dramática: llamar a todas las familias para detener la guerra. O, en otros términos, “Deja el arma, toma el cannoli”, es decir, corta el problema y hablemos. Talvez estoy siendo víctima del miedo. Es lo que menos me importa en este momento, porque todos en esta ciudad, en ciudad Juárez, están sumidos en el miedo.

Así que vayamos al grano: el problema del narcotráfico en México no es la droga (lo es, en un sentido figurativo, pero no es lo que nos preocupa tanto en este momento, porque la droga existe y, probablemente, existirá por siempre), sino las consecuencias perversas: asesinatos, extorsiones, corrupción, impotencia. La medida normal que los gobiernos toman es una lucha frontal, la guerra declarada. Lo cual no está mal, al contrario, está obligado a tomar este tipo de medidas, sólo que terminan siendo batallas ridículas que no concluyen nunca.

Vamos, ahora sí seamos realistas: lo que necesitamos es un Vito Corelone, o una mejor organización de las cabezas de los grupos de narcotraficantes. Y es que los que estamos en la ciudad sitiada, esta de la que habla el sociólogo Bauman, sabemos que la batalla se está perdiendo y nosotros, los ciudadanos desperados, no sabemos qué hacer. ¿Apostar por una seguridad pública más exigente, cediendo en mayor medida nuestra libertad? Algunos dirán que sí, y está bien, pero habrá un límite. Nos podemos esconder, podemos huir, pero nunca estaremos totalmente fuera de la línea de fuego.

Yo ya me di cuenta. Me di cuenta que el sueño de Mario Puzo se está convirtiendo en la única esperanza de Juárez.

By Mark Winegardner

Published November 2005

Random House

448 pp.

ISBN 1-400-06101-6

Date Reviewed: December 1, 2005

Originally reviewed in : The Daily Cardinal

It’s impossible to overexaggerate the effect “The Godfather” has had on popular culture. Mario Puzo’s tale of Vito Corleone and his son Michael perfectly balanced the Mafia’s violence with the virtues of family, inspired two Oscar-winning films and made phrases such as “An offer he can’t refuse” part of the American dictionary.

When Puzo’s estate announced they were contracting Mark Winegardner to write a sequel, fans were understandably nervous. The original was considered so innovative that any sequel could, by comparison be as bad as the infamous “Godfather III”. Those fears prove only half true: while Winegardner’s “The Godfather Returns” does not equal its predecessor’s greatness, it is a well-written and suspenseful tale of mob intrigue.

The book fills in the gaps between the three movies, following Michael’s efforts to bring the Corleone family into the legitimate businesses of Las Vegas. To do so, he needs to maneuver his enemies into destroying themselves, but creates a more dangerous enemy in Nick Geraci, an ambitious Corleone capo with reasons to resent Michael. The unspoken battle between the two triggers a series of events that will reach all the way to Cuba and the presidential office.

Winegardner displays these events seamlessly, evolving each character with an attention to detail and dialogue strikingly similar to Puzo’s. Geraci’s introduction in the first chapter – culminating with the never before seen execution of the traitor Tessio – shows that a dangerous new character equaling Michael’s strength is on the rise. Well-known characters are given room to expand as well: Michael’s adopted brother and consigliere Tom Hagen moves into a Senate career, while the weak-willed Fredo Corleone has his treason in “Godfather II” fully explained by Geraci’s manipulations.

The book revolves around Michael however, and every inch of his ruthless brilliance is pushed to the forefront. None of his plans are made without harming at least three of his enemies, and any threats to his power – such as Geraci being related to the Cleveland boss – are handled with remarkable foresight. Michael’s early childhood and war career are examined for the first time, his conflicts with Vito are dramatic, chronicling his futile attempt to escape the family business.

The problem in the book is that between Michael’s professional and personal families, there are so many subplots that before the halfway point it all meshes together. Winegardner has a challenge keeping all the marriages and alliances straight, making a cast of characters at the beginning of the book invaluable. A plot where Michael’s niece Francesca deals with a cheating husband isn’t developed fully, while Chicago don Louie Russo is pushed off to the side despite being mentioned as the biggest professional threat to Michael.

Part of the excess comes from Winegardner’s attempt to weave the Corleone family into American history by having them associate with mob-connected figures from the fifties. Caricatures of the Kennedys and Frank Sinatra manifest themselves as ex-bootlegger Mickey Shea and Vegas singer Johnny Fontane. Their insertion seems awkward when placed against the likes of Michael and Geraci.

Despite these missteps however, the sheer mythos of the Godfather saga manages to permeate the novel and instill it with the story’s famous tension. In the book’s most dynamic chapter, at an induction ceremony for new members of the Family, Michael walks down the line expressing the principles that have governed the Corleone family since its inception: loyalty, family, and honor. As Michael inherited the ideals from his father, Winegardner inherits them from Puzo to create a surprisingly impressive addition to the Godfather saga.

Filme: The Godfather

Direção: Francis Ford Coppola

Roteiro: Mario Puzo / Francis Ford Coppola

Ator(es)/Atriz(es): Al Pacino / Diane Keaton / Talia Shire

Ano: 1972

Esta novela representa un complemento para la saga de "El Padrino", exactamente en el período de tiempo que se desarrolla luego de que Michael Corleone asesina a Sollozo y a McCluskey y debe huir a Sicilia. Justo antes de regresar a Norteamérica, su padre le asigna una última misión, regresar con Turi Giuliano sano y salvo. Turi Guiliano es un hombre que se ha convertido en un mito popular, pero el acoso del Gobierno y la Mafia han hecho de él un fugitivo solitario. Es un campesino sensible e inquieto, forzado a vivir en el monte tras haber matado a un policía, tan amante de su tierra y sus gentes como opuesto a la confabulación con sus opresores.

El Siciliano es una historia sobre los valores familiares y sociales predominantes en Sicilia, una tierra que se rige por sus propias leyes, muy a pesar de los cambios existentes a su alrededor. Una novela que narra la vida de un hombre que se convirtió en leyenda. Un libro agradable y no muy difícil de leer, absolutamente recomendado para cualquier persona, y de lectura obligatoria para aquellos que ya hayan disfrutado alguna obra de Mario Puzo.

Reparto principal:
Marlon Brando ... Don Vito Corleone
Al Pacino ... Michael Corleone
James Caan ... Santino 'Sonny' Corleone
Robert Duvall ... Tom Hagen
Diane Keaton ... Kay Adams
Talia Shire ... Connie Corleone Rizzi
Richard S. Castellano ... Peter Clemenza
Richard Conte ... Don Emilio Barzini
Al Lettieri ... Virgil 'El Turco' Sollozzo
Sterling Hayden ... capitán McCluskey
Gianni Russo ... Carlo Rizzi
John Cazale ... Fredo Corleone
Morgana King ... Mama Corleone
Abe Vigoda ... Sal Tessio
Lenny Montana ... Luca Brasi
Alex Rocco ... Moe Greene
Tony Giorgio ... Bruno Tattaglia
John Martino ... Paulie Gatto
Simonetta Stefanelli ... Apollonia Vitelli Corleone
Angelo Infanti ... Fabrizio
Corrado Gaipa ... Don Tommasino

Fotografía:
Gordon Willis

Música original:
Nino Rota

Montaje:
William Reynolds
Peter Zinner

Palabras clave:
1940s, 1950s, Adopted Son, Ambush, Assassin, Assassination, Assassination Attempt, Attorney, Baptism, Based On Novel, Bathroom, Bathroom Scene, Betrayal, Blockbuster, Blood, Blood Splatter, Bloody Violence, Breasts, Brief Nudity, Bronx New York, Brother Brother Relationship, Brother Sister Relationship, Car Bomb, Catholic, Catholic Church, Cemetery, Christmas, Convicted Felon, Cop, Cop Killer, cop-killer, Corleone Italy, Corrupt Lawyer, Cosa Nostra, Courtship, Crime, Crime Boss, Crime Drama, Crime Epic, Criminal, Crooked Cop, Dartmouth College, Death, Domestic Violence, Drama, Drug Dealing, Drugs, Dysfunctional Family, El Train, Epic, Ethnic Slur, Ex Convict, Extramarital Affair, Fall Down Stairs, Fall From Power, Family, Family Drama, Famous Line, Famous Score, Father Daughter Relationship, Father Son Relationship, Fathers and Sons, Female Nudity, First Of Series, Fish, Fugitive, Funeral, Gang Warfare, Gangster, Gangster Film, Garrote, Gore, Greed, Heart Attack, Heroin, Hitman, Honor, Horse, Horse Killed, Hospital, Hotel, Imagery, Invalid, Italian American, Italian American Cop, Italian Food, Italian-American, Italy, Knife In Hand, Las Vegas Nevada, Lavish, Lawyer, Los Angeles California, Loss Of Father, Loss Of Husband, Loss Of Son, Loss Of Wife, Love At First Sight, Machine Gun, Mafia, Mafia Don, Mafia Life, Mafia Melodrama, Mansion, Marital Abuse, Marriage, Massage, Melancholy, Menacing, Mob Boss, Mob Hit, Mob Summit, Mob Violence, mob-boss, Motion Picture Executive, Movie Studio, Murder, New York City, No Opening Credits, Not For Children, Nudity, Nurse, Obesity, Open Hydrant, Organized Crime, organized-crime, Paparazzi, Paraplegic, Part Of Trilogy, Police, Police Brutality, Police Corruption, Police Officer Killed, Power, Pregnancy, Profanity, Professional Hit, Protection Racket, Racial Slur, Radio City Music Hall, Restaurant, Revenge, Revolving Door, Rise To Power, Severed Horse's Head, Sex, Shooting, Shot In The Arm, Shot In The Back, Shot In The Chest, Shot In The Eye, Shot In The Forehead, Shot In The Throat, Shot Repeatedly, Shot To Death, Sibling Rivalry, Sicily, Sicily Italy, Singer, Somber, Son, Stabbed In The Hand, Stable, Statue Of Liberty, Strangulation, Stylized, Surprise Ending, Sweeping, Teacher, Teenager Nudity, Telephone Box, Thriller, Title Spoken By Character, Toll Booth, Tommy Gun, Topless, Tough Guy, Tough Guys, Traitor, Undertaker, Undressing Scene, Urination, Urination Scene, Vegetable Garden, Vengeance, Village, Violence, Violent Movie, Visceral, Vulgarity, War Veteran, Wedding, Wedding Reception, Wheelchair, Widower, WWII Veteran

O Padrinho (1972)- Francis Ford Coppola, realizador, mostra-nos um frio retrato da ascensão e queda do clã Siciliano,  e do seu poder na América, equilibrando majestosamente a história entre a vida da família Corleone e os negócios criminosos em que estão envolvidos.

O Padrinho - Parte II (1974) - Esta sequela continua a saga de duas gerações de poder sucessivo dentro da família Corleone, detalhando as raízes e o crescimento dum jovem Don Vito (Robert DeNiro) e a ascenção do novo Don Michael (Al Pacino).

O Padrinho - Parte III (1990) - Michael Corleone (Al Pacino), agora na casa dos 60 anos, é dominado pelo amor à família. Ambiciona, na recta final da sua vida: libertar a sua família do crime e encontrar um digno sucessor da família Corleone.

Baseado no romance homónimo de Mario Puzo e interpretações de Marlon Brando, Al Pacino, Diane Keaton, Robert DeNiro, Andy Garcia, entre outros.

Os filmes acabam por ser reconhecidos e amplamente lisongiados, porque tocam as pessoas, ainda que sob formas diferentes, mas apelam a algo na pessoa, quer em termos emocionais, sociais ou culturais.

É esta espécie de apelo, que sinto, quando me deixo envolver por um filme, apelo à reflexão, à comparação de situações vividas no curso da vida, numa constante aprendizagem de valores, de comportamentos e atitudes, que me ajudam a melhorar ou a, pelo menos, pensar acerca do que se deve ou não mudar.

Tive a oportunidade de ver a trilogia seguida, um em cada dia, para o poder digerir convenientemente. E ainda hoje sinto orgulho em ter visto e ter conhecido esta obra. Desconheço critérios para avaliar o realizador, director, ou quem quer que seja que participou no filme. Sei que para mim, me tocou de forma inigualável, a forma como se ambiciona e se consegue manter vivo o valor de pessoas afectivamente próximas, manter a honra familiar, acima do valor da vida dos outros. É indiscutivelmente discutível, como tudo na vida, mas emocionou-me ver, acima de tudo, o agir cegamente pela honra, e depois, forma como a consciência em luto, se manifesta, e as consequências sofridas e vividas em função do passado. Disperso-me talvez, mas quase um mês após ter assistido, continuo a ter vontade de explorar o universo do Padrinho, em termos comportamentais. Achei os três filmes, uma verdadeira obra-prima do cinema.

Here's a confession -

I never watched any of the Godfather films, or read this book, until approximately 9 years ago. In the perverse way I sometimes have about these things, I figured that if the films were so popular then they must by definition be tripe. I didn't go to the cinema to see them and I switched off or over if they ever came on the TV. By extension, I though that the book that inspired the films must be pulp as well.

I have to say that my wife, who is right on so many occasions (it says here), was particularly on the money in relation to the films, she being a devotee from the outset. She constantly urged me to watch them, telling me that I did not know what I was missing.

But I knew better and avoided them like the plague. Of course I had seen wee clips here and there over the years. Brando scowlingly 'making him an offah that he couldn't refuse', Sonny's murder at the tollbooth; the horse's head in the bed; Pacino's acceptance of the capos kissing his hand in acknowledgement of his suzerainty etc etc - but none of it ever made me want to watch the whole film (s) in context.

About 9 or 10 years ago, Ann got the boxed set of the videos as a Christmas present and positively insisted that the pair of us would watch them together in the romantic post-Xmas afterglow.

OK, OK, grumble, grumble, if you insist, dear.

The opening set-piece scene featuring the wedding of the Mafia chieftain's daughter was amongst the most visually and aurally pleasurable fifteen minutes of cellulloid that I had ever seen. To say that I was utterly gobsmacked is a significant understatement. I've watched it many times since, and I still get a tremendous kick out of the whole scene, the music and dancing, the hurly-burly of a huge outdoor family wedding, the food, the drink, the skullduggery in the background, the characters who are going to dominate the film being paraded in front of you, Clemenza, Sonny, Michael, Don Barzini, Tom Hagen, Fredo, Carlo, Luca Brasi, Tessio, Johnny Fontane, the Godfather himself, the old uncle singing the lewd song with appropriate libidinous gestures, the women laughing, the heat, the colour, the smell, the Feds in fedoras at the gates, Sonny smashing the camera and throwing some dollar bills on the floor to pay for it, more music and dancing, flagons of wine, carnations, beautiful Italian women, dirty deeds being plotted inside the house, Brando like a Roman emperor hearing pleas and petitions - it is just a fantastic tableau - and I was instantly converted and I instantly knew that I had wasted 20-odd years avoiding this film.

I was pinned to my chair watching this utterly beguiling spectacle. The film moved on through scene after scene of equal power and glory. Equal power and fury. I could just go through all the scenes raving about each of them in turn, but I won't bore you with that. In short, though, the films (particularly I and II) are masterpieces. The period detail is fantastic. When the consigliere, Tom Hagen, arrives by aeroplane in immediate post-war Hollywood the technicolour scenes of street-life in Movietown are simply ravishing.

The murder of Luca Brasi, the shooting of the Godfather, Sonny battering Carlo, Michael at the Hospital, murder of Sonny, Michael in the restaurant, the settling of all scores, don't ask me about business, Kay.....it just goes on and on from one climactic and utterly compelling scene to another.

The Godfather is the greatest film ever made, and I say that having had a Paul on the road to Damascus conversion. I will never tire of watching it. It is simply superb.

And here's a piece of advice - have some pasta just becoming al dente by the time of the scene featuring Clemenza teaching Michael to make bolognese sauce - you are gonna be hungry right there and you will smell the spaghetti, and you are going to want to eat.

OK, having become a righteous convert and evangelist for the films, I eventually tackled the book. I had no great expectations. I anticipated that it would very likely be the reverse of the usual situation (eg Bonfire of the Vanities, War and Peace etc) where a great book is ill-served by its filmed representation. Such great films couldn't possibly be matched by the source.

But...but..but... the book is surprisingly true to the films, which may seem odd to say considering that the book was published in 1969 and the first Godfather movie was filmed in 1972 - of course, what I mean is that in retrospect the films are surprisingly faithful to the book. There are some significant differences between the novel and the films, but these are painstakingly detailed elsewhere on the internet (eg on Wikipedia).

The fact of the matter is, however, that I was so well-disposed towards this book by the time I read it that I cannot really be objective about it.

OK objectivity out the window - this is a great book and I love everything about it, just as I love everything about the films.

BONUS PS - Bugger all to do with the Godfather - but I can date almost exactly when I read this book, because, when I fished it out tonight to do this review, I found, wonder of wonders, this ticket acting as a bookmark. I was reading this book when I travelled to Aberdeen to see Bob Dylan on 16 September 2000.

When i became of legal age to partake in The National Lottery, although I dabbled, i was largely of the opinion that lotteries were a means of covertly taxing the masses and avoided them unless the jackpot was of such magnitude that it seemed inhumane to resist.  Now I play every week.  Am i desperately seeking salvation by means of some quasi religious gambling act?  I don't think so.  I would agree with the extract i've taken from Puzo, in that for many this is indeed the case.  However for me, and only accounting for myself, I can simply say it is a matter of self deception.  I have convinced myself that for a minimal £1, I have the potential to generate several million.  I think it is the greed in me that drives me to participate, as opposed to the desperation. Ultimately, I am not, and do not anticipate being at a point where I am seeking salvation, "clutching at straws".   Thus, by consistently purchasing my lottery tickets each week, I am considering it a high risk, low cost investment, that is unlikely to ever pay off, but will not change my circumstances through succumbing to the urge to participate.

Therefore, I think it is fair to say that there possibly are two majorities who invest and gamble in lotteries, those who see them as some kind of last resort in an act of desperation.  And those like me, who just think, fuck it, it's only a pound, and I might get a shit load of money, but probably not.

La novela "El Padrino" de Mario Puzo trata sobre la mafia. El autor procuró evitar nombrarla. Una razón para esto era brindarle al lector la satisfacción de la deducción. La otra era que los miembros de un sistema no se refieren al sistema en que se encuentran.

En "La era..." la palabra ausente es interés. Por supuesto que aparece tasa de interés, pero yo me refiero al interés personal o  sectorial.

Solo hay una mención indirecta a que los bancos deseaban participar de los mercados de derivados como operadores directos (y páginas después Greenspan aclara que él contribuyó a la reforma que lo permitió).

Sí hay muchas menciones a políticos, en general congresistas, que velaban por los intereses de sus electores locales, sin tener en cuenta la economía nacional. Pero la eufonía de los congresistas opaca sus propios motivos.

Habla de interés personal cuando cita a Adam Smith. Pero lo que falta, lo que está ausente, es la mención de los pedidos de los sectores económicos por medidas que, entre otras consecuencias, aumentarían su rentabilidad.

Aquí y allá hay breves menciones de reuniones con líderes de cámaras empresariales, banqueros y funcionarios, pero la palabra lobbysta no aparece.

Probablemente peco de desconfiado. Al fin y al cabo, Greenspan era un funcionario bien pagado por realizar una tarea que le complacía. Y, sabido esto, solo los altos políticos se atreverían a intentar influenciarlo.

Otra opción es la de Borges. Éste afirma que en El Corán no figuran los camellos y que esto es prueba de su origen árabe, pues no se señala lo obvio.

Del mismo modo, podrían no aparecer las presiones o sugerencias de lobbystas, pues es obvio que existen.

Pero este sofisma, aunque elegante, parece ser también falso. Un tal Gabriel Zaid se tomó el trabajo de señalar 19 menciones en el texto religioso de 80.000 palabras.

Quizás la palabra "interés" también aparece en las 500 páginas del libro de Greenspan, pero, por resultarme obvias, no las ví.

Espero mucho de estos libros de personas que tuvieron responsabilidades tan importantes.  Comprensión de la economía. Pero también de los motivos por que se toman ciertas medidas económicas y de cómo se forman los consensos para tomarlas.

Tucídides, en su "Historia de la Guerra del Peloponeso", menciona los motivos declarados por los distintos contendientes a lo largo de los años. Pero simpre agrega los "verdaderos motivos", que eran económicos, estratégicos de mediano plazo o individuales de ciertos políticos.

Tucídides fue general en esa guerra. Si su distancia hacia los contendientes nos parece la de un observador neutral, su conocimiento de los mismos son los propios de un participante.

Y de esos hombres uno espera justamente eso: que diferencien, por nosotros, los motivos declarados de los verdaderos, para que, en otras circunstancias y siglos después, tengamos la posibilidad de hacerlo por nuestra cuenta.

En ese sentido Greenspan no ha escrito un libro que pueda convertirse en un clásico. Y es una pena porque parecería que no le faltaba clarividencia para ello sino la capacidad para ser honesto sin herir susceptibilidades.

Puzo nació en Nueva York en 1920. Falleció el 2 de julio de 1999.

Una de las familias más famosas del cine es la de Don Vito Corleone, más conocido como “El Padrino” (The Godfather), el gran capo de la mafia que llegó a EE.UU. desde Sicilia siendo un niño, para luego convertirse en un hombre poderoso y temido. Este personaje ficticio de Mario Puzo tiene grandes semejanzas a famosos mafiosos italianos, como: Willie Moretto o Lucky Luciano.

La novela, publicada en 1969, se convirtió en todo un best-seller traducido a más de veinte lenguas. Luego, fue llevada al cine por el legendario director estadounidense Francis Ford Coppola (el guión fue escrito en colaboración con el propio Puzo). El film se convirtió en una trilogía, con un éxito triunfal.

En un comienzo, la mafia se opuso al rodaje de la película de la Paramount. A través de unos cambios en el guión, como: eliminar referencias explícitas a la “Mafia” o la “Cosa Nostra” utilizando en su lugar la expresión "las Cinco Familias", se llegó a un acuerdo entre Al Ruddy, productor de la película, y Tony Colombo, hijo del importante capo de Nueva York Joe Colombo.

La historia que encierra la trilogía

En 1972 la pantalla grande exhibía El Padrino, considerada una obra maestra del cine. El film se destaca por: puesta en escena e impecable fotografía. Además, cuenta con musicalización a cargo de Nino Rota y Carmine Coppola y una dirección de arte inigualable. En cuanto al reparto, sin palabras -Marlon Brando y Al Pacino dioses del cine.

La primera parte de la trilogía recorre la vida de Don Corleone (jefe de una familia mafiosa). El momento crucial procede cuando rechaza participar en el negocio del narcotráfico, iniciándose de esa manera una guerra entre “las cinco familias”, que casi acaba con su vida. Por lo que Michael, el hijo menor, interviene en esta lucha sangrienta que lo iniciará en su nuevo destino: convertirse en el nuevo Don.

A los dos años del estreno del Padrino continuó la saga. La trama está vinculada con la anterior, transcurre en los años 50 y sigue a la familia Corleone regida por Michael. Sin embargo, también se presenta un flashback que cuenta la historia de Vito, desde su juventud en Sicilia hasta la fundación de la familia criminal Corleone en Nueva York, y de los nacimientos de sus hijos.

Finalmente, en el Padrino III, estrenada en 1990, se relata como después de algunos años Michael ha tomado el control de la familia y trata de limpiar el nombre de ésta hasta hacerla parecer respetable. Sin embargo, deberá pagar un precio y la sangre seguirá siendo la protagonista del film.

Sería interesante realizar esta semana una reflexión humorística sobre la Cumbre de Río y su similitud con la escena de la película El Padrino I en la que las cinco familias –los Corleone, los Tattaglia, los Barzini, los Cuneo y los Stracci– se reúnen para firmar la paz, dejando a un lado todos los crímenes cometidos en el pasado.

Esto ya había sido anunciado cuando alguien señaló que "Uribe sirve para ser jefe de una mafia, ante Uribe, Vitto Corleone se queda corto".

Pero como esos temas le van mejor a la pluma de Mario Puzo y, además, como se acerca el tiempo de mi entrenamiento anual con la Central Intelligence Agency, me permito esta semana una reflexión comparativa entre la moral anglosajona y la nuestra, a propósito de la renuncia del gobernador de Nueva York, Eliot Spitzer.

Para los que no estén al tanto, he aquí un extracto de la noticia: "El gobernador neoyorquino fue grabado en varias conversaciones telefónicas con miembros del `Emperors Club VIP’ mientras arreglaba una reunión con una prostituta `de lujo’ apodada Kristen en la habitación 871 de un hotel de Washington.

Esta información fue confirmada por el propio gobernador el lunes en la tarde luego que el New York Times publicara que el gobernador Spitzer era en efecto el Cliente Nro. 9 que aparecía en una declaración jurada asociada al caso".

Como consecuencia del incidente, el gobernador decidió renunciar ("Al cliente número 9, ya lo van a condenar", podríamos decir parafraseando la canción de Nelson Ned). Pero esto, visto desde el contexto de la moral pública de un país en el cual una amante presidencial pública y notoria puede ser condecorada con la Orden del Libertador, no puede sino producir risa. De que los norteamericanos tienen mucho que aprender de nosotros, no cabe la menor duda.

Ese complejo de tomarse todo en serio y creerse su Constitución, amén del deseo de mantener cierta coherencia entre lo que predican y lo que practican, les ha hecho mucho daño a lo largo de la historia. Vienen aquí, se broncean con nuestro sol, pero nada del alma caribe se les pega.

Qué habría hecho un político Venezolano ante una situación similar. Veamos: Señalar que se trata de una maniobra de la CIA, que envió a una agente encubierta con el propósito de asesinarlo y que casi lo logra.

Que más bien su vida corrió peligro, que la dama en cuestión estaba provista de un arma secreta, que la silicona insolente del extranjero ha hollado el pudor de la patria.

Decir que la grabación es producto de un montaje de los enemigos políticos, que nada es lo que parece, que todo se puede explicar, que los celulares son bidireccionales.

Afirmar, en último caso, si la evidencia es muy fuerte, que él efectivamente se acostó con ella, pero lo hizo con el propósito de indagar hasta dónde iba a llegar en su maldad esta doble agente y que pudo comprobar que ciertamente estaba dispuesta a llegar hasta las últimas consecuencias. Que él no hizo otra cosa que sacrificarse por la patria y que está dispuesto a hacerlo nuevamente puesto ante una agresión similar.

Lo anterior es si el político criollo conserva algo de pudor, porque lo usual es que el dirigente no lo niegue y lo reconozca con picardía y, además, aproveche los dividendos de macho vernáculo que el incidente le generará, para lanzarse, con notable popularidad, en las próximas elecciones presidenciales y cuidado si la cosa no termina, incluso, en un slogan de campaña que diga algo así como "Fulano es como tú". Y quien dice Fulano, dice Zutano y, obviamente, Perencejo.

Como diría Oscar Yanes: así son las cosas...

Es también conocido por sus guiones de cine, entre los que destacan los de Superman y Superman II. Los guiones de El Padrino y El Padrino II le valieron sendos premios Oscars. No es casual que en El último Don el autor se permita entrar a fondo en las intimidades de la industria hollywoodiense. Más recientemente es conocido por su obra Los Borgia, otra historia de una gran familia mafiosa (pero en otra época), que ha sido llevada a la gran pantalla.

Sinopsis:

Ésta es la historia de la última gran familia de la Mafia, los Clericuzio. Un año después de cometer el acto más salvaje de su vida, Don Domenico, el último Don, decide que la nueva generación, la de sus nietos recién bautizados, viva libre de la carga criminal de la Mafia. Desde su espectacular jardín de Long Island, el Don controla negocios de Las Vegas y de Hollywood con los que puede legitimar su fortuna. Sin embargo, hay dos problemas que el Don no puede ignorar. Primero, sólo hay una cosa que la familia Clericuzio sepa hacer bien: matar. Y segundo, que el mundo ya no es tan sencillo: existe el honor entre ladrones y maldad entre hombres supuestamente honorables.

Gary Kasparov, in a Wall Street Journal article last July, suggested that the West's failure to come up with a model of post-Soviet Russia's political system was due to the fact that it was looking in the wrong place. The best model, he suggests, can be found in books by Mario Puzo.

A chap I met who emigrated from the Soviet Union waxed rather emotional and, with the attendant loss of the definite article, explained to me that the West's view of Putin was bullcrap. I suggested that it was perhaps unwise and heavy handed for Putin to reactivate deterrence patrols on Russia's borders. His response was that Putin had no choice --- NATO has expanded to include countries on Russia's borders, and with the intended deployment of anti-missile defenses, Russia was threatened. He commented that Polish politicians publically stated that the missile defense system was not, as advertised a defense against Iran, but against Russia (of whom they have more immediate history). He stated that even US military experts have stated that the range and capability of the Iranian missiles make a very implausible threat against Europe. [While this may have been true in the past, it is unlikely to remain true in the near future.]

My comrade also pointed out that when the country was the Soviet Union, extended families lived in Ukraine and Russia, and that they traveled back and forth, but that after the democratization of the Ukraine, political considerations led to the curtailing of travel. His analogy was how would you feel if your grandmother lived in Indiana and a few people decided that Indiana should become an independent democratic country, yet because of political differences, your grandma could no longer visit you at Christmas. His contention was that 80% of the country was against the "revolution" and wanted to remain as part of Russia. Also asserted was that a few people were paying back their Western political masters for financial support of their Orange Revolution. Is this another case of Karl Rove's evil?

I have read about Russia's amore propre as being the root cause of Russian woes. A majority of the Russian people admire Putin because they do have bread to eat, and they do have a rising middle class, and there is a nascent rise in nationalism after what could only be called a humiliating surrender to the West. It is, however, reminescent of the same respect that New York Italian immigrants had for their Capo de la Familia. [Let's see: does democracy feed my family? Are the police going to catch the guy who's is ripping me off? Should I pay a little protection money to the KGB to insure that my mom-and-pop store survives (the KGB). Putin: "I just want to wet my beak a little".] From what the average Russian worker endured under the Soviet regime, the current situation must seem infinitely better. And if things go bad, everyone knows that America is out to get Russia, even though no American president ever banged his shoe on the podium at the United Nations and taunted "We will bury you". None the less, it seemed that the person I talked to was more interested in defending the amore propre than Putin. It's always interesting to solicit a view from the other side of the window.

So we have a country with a political system which can at best be described, according to Kasparov, as a oligarchy with some feudalism thrown in and a patina of democracy just thick enough to fool the G8. This allows us another interpretation of the missile defense issue. Think of drug distribution in any major city and the turf fights that occur when a competing family attempts to take over that market. The mafia isn't concerned about "how it looks" to the international community -- this is defense of territory and profits. When you read about some Russian action and say to yourself "How can Putin do this? Doesn't he know how bad it looks?" --- you have to reset your mind into the Mario Puzo novels.

To respond to Putin you have to either respond as family (e.g. assassinate a few close associates) or find some international equivalent to Elliot Ness.

tipo: after dinner
categoria: short drink
gusto: dolce
colore: ambrato
alcol %: 35.7

ingredienti [7 cl]:
7/10  di Scotch Whisky
3/10 di Amaretto diSaronno

preparazione: direttamente nel bicchiere

decorazione: nessuna

bicchiere: tumbler basso (old fashion)

procedimento:
Mettere nel bicchiere alcuni cubetti di ghiaccio (3-4), versare i prodotti [Amaretto, Scotch whisky], mescolare per alcuni secondi e servire.

note:
Nel 1969 nasce il romanzo omonimo di Mario Puzo che in Italia arriverá come "Il padrino" [da cui anche il film], per l'occasione venne creato questo cocktail che in America ebbe un incredibile successo. Cocktail internazionale IBA e AIBES

aneddoti:
Amaretto (liquore dell'amore): Bernardo Luini, allievo di Leonardo da Vinci, usò una bellissima vedova come modello per ultimare l'affresco della Vergine Maria per una chiesa di Saronno [XVI sec.] ... ad opera conclusa la vedova regalò all'artista un liquore dolce realizzato in maniera artigianale, l'amaretto appunto!

Scotch Whisky: consiglio vivamente l'Old Parr ... l'aroma di questo whisky è un qualcosa di inconfondibile, senza contare il sapore, forte ma mai invasivo! E proprio su questo liquore avrei un aneddoto: è il whisky preferito dai politici [non italiani, naturalmente!]... la forma particolare della bottiglia (attualmente credo l'abbiano cambiata) con un piccolo intaglio in basso a destra permette di inclinarla senza che essa si capovolga o si rovesci ... tale posizione è appunto la metafora del politico perennemente in bilico e sull'orlo del baratro o, viceversa, del politico pronto ad aggrapparsi a qualcosa di sicuro sia per salvare la propria immagine di uomo pubblico sia per salvare sè stesso da un qualunque vortice macchiavelliano che lo coinvolge nella vita politica!