a gift for santa

Each life was a lonely tumble down a cold, dark chimney, falling, falling, then blackness. These were Santa’s thoughts as he prepared snickerdoodles in the kitchen. In the other room, the elves performed Christmas tunes and do-si-doed.

Carefully, he carried the tray of sweets into the living room. His wife, Martha, had been dead five years now, and he was alone, alone in a house full of elves. Jesus had dignity, apostles. All Santa had was high blood pressure and a communal toilet the size of a cereal bowl.

He sat down on the couch and watched the elves dance to “Feliz Navidad.” Jingles broke from the group of dancing elves and approached him. “You’re killing yourself with the doodles,” Jingle said. And lately, he’d been on Santa’s case to stop overeating, to get out of the house, and to get himself a girlfriend.

Glenda, the good witch of the north, lived only a few miles away and had just been left by her boyfriend, a walrus hunter who looked somewhat like a walrus himself. “Glenda’s into the Wilford Brimley type,” said Jingles, “so you’ve totally got a chance.” “Glenda?,” said Santa, “but she’s so sparkly. I miss Martha,” Santa said quietly.

He knew this was true, though not the entire truth. There was missing, of course, but there was also fear. “Look, I miss Martha too,” said Jingles. “But it’s time to move on now.”

“She was the only gal for me,” said Santa. Jingles put his tiny hand on Santa’s knee. “To be frank,” Jingles said, “I always thought your relationship a little narcissistic. Mrs. Claus was like your twin but with bosoms. Did you plan your outfits together?”

“We just had the same taste,” Santa sobbed. “Jingle Bell Rock” started up on the squeeze box, and Santa took that as his cue to head to bed. He never could stand rock and roll Christmas songs.

He liked Christmas songs, and he liked rock and roll. He just didn’t like them together. Martha had felt the exact same way. On their first year anniversary, Martha presented him with a pen, the fancy kind that came in a box.

“Oh, for the love of Saint Nicholas,” Santa had said, “what good is a pen? I’ll just end up losing it. Save your money and buy yourself something nice, or let me buy for you. That would make me most happy of all.”

For a man famous for his giving, Santa was terrible at receiving. Martha took the pen back and apologized. And that was the end of the gifts.

After she had died and Santa was cleaning out her stuff, in a jewelry box filled with the old love letters he’d sent during their courtship, he found the pen. He clutched it on the edge of the bed and wept. Jingles took it upon himself to just go ahead and arrange a date for Santa unbidden.

“Glenda’s expecting you at eight,” said Jingles, sidling up to him in the reindeer stable one morning. “And do me a favor. Trim your whiskers.” As instructed, Santa appeared at Glenda’s doorstep that evening, a paper bag of roasted chestnuts in his hand.

“Come on in, Mr. Claus,” said Glenda with a sweep of her arm. She was dressed all in white, and the house smelled of fresh gingerbread. Santa observed with a smile that there were several magic wands, gold and sparkly, in the umbrella rack.

For most of the evening they sat by the hearth and made clumsy conversation about the loneliness of living at the North Pole, mostly. “Unless I absolutely have to, I don’t even bother going outside,” said Glenda. “And when the cable goes out, it is out,” said Santa.

After a beat of silence, Glenda looked at him, a smile across her face. “Is this a good conversation?” she asked. Santa laughed and assured her it was.

They played cribbage, drank eggnog, and watched the snow outside the window fall. And in the vestibule, before leaving, Glenda placed her hand on Santa’s shoulder and kissed him right beneath his eye. As she did, Santa felt as though his chest were a chimney, and inside a sleeping dove was stirring awake.

They made a date for the following weekend. And just before he left, Glenda gave him a container of cranberry mini muffins she’d baked. Santa told her he could not accept such a gift, at which point she thrust it into this chest with surprising force. “Take it,” she said. On the sleigh ride home, Santa realized with mixed feelings that he’d hardly thought of Martha the whole night.

When he showed up the following Saturday, Glenda was all apologies. “Change of plans,” she said, stopping him in the vestibule. “Sheila’s here, flew in this afternoon from Tampa.”

“Sheila?” asked Santa. “AKA, the wicked witch of the east,” she said quickly, “My old college roommate.” “College?” asked Santa. “For witches?”

“She’s always showing up like this,” Glenda went on. “Every time there’s trouble in Tampa, I get a knock at the door.” In the den, Sheila was lying on the couch in a kittenish tangle, all in black and smoking what smelled like European cigarettes.

She studied Santa while playing with her hair. “Hey, chubs,” she said. “I told you to smoke outside,” said Glenda with exasperation. She went into the kitchen to get some fruitcake as Santa made his way over to the couch.

Sheila didn’t move. So he squeezed into the corner, her black stocking toes touching his thigh. “So what do you do, fatso?” Santa began to stammer. “Oh, I–”

“Relax, I know who you are. You’re famous,” she said, taking the last cookie from the tray. “So how do you know Glenda?”

“Oh, we’re neighbors,” said Santa. “And you buy this good witch crap?” she asked in a whisper. “A downward turn in the black arts, and all of a sudden she’s moved to the North Pole and rebranded herself a good witch. Whoever heard of a good witch, am I right? It’s an oxymoron, like baby grand or jolly fat man. Everyone knows fat men are sad. Look at you, totally depressed. Am I right?”

“I mean, maybe a little,” Santa said. “My wife recently died.” “And what’s with this Glenda nonsense?” interrupted Sheila. “Her name’s Linda.”

Often, when Santa didn’t know what else to say, he’d break into a jolly sounding chuckle. He tried it just then, but the chuckle got caught in his throat and came out sounding sweaty and choked. Sheila stared at him.

“You have this weird crap in your beard,” she said. She reached in to pull it out, and as she did, she brought her face in close enough for Santa to smell her. Whereas Glenda smelled like baby powder and cinnamon, Sheila smelled of something he couldn’t quite put his finger on. Cigarettes, of course, but something else, too. It set the chimney in his chest ablaze, ashy black doves trying to flap out their flaming wings.

As Sheila rummaged through his beard, the look on her face was all little girl concentration. “You have nice bone structure,” she said. “You should try wearing black. It would have a slimming effect.”

Withdrawing a tiny shriveled raisin from Santa’s beard, Sheila crinkled up her face and flicked it on the carpet. “Eww, gross,” she said. Glenda walked back into the room with drinks. And when Santa reached for one, he realized his hand was shaking.

He excused himself to use the bathroom, where he thought he might hum a few carols to calm himself down. Everything inside the bathroom was glittery and white, white glittery soaps, shampoos, curtains. But there, hanging from the white shower curtain rod, was something black.

Strung there for all the world to see were a pair of silky black stockings, Sheila’s black stockings. For years, Santa had dealt intimately with stockings, stuffing them with coal or presents, and never thought about it twice. But just then, seeing those black stockings of hers, being alone with them, something came over him. And suddenly, he was on his toes biting the tips like a playful pup, like a fat old playful pup.

Returning to the living room, Santa sat back down on the couch and listened, enraptured, as Sheila encouraged him to revise his policy on naughtiness. Santa nodded his head as though giving her suggestion some thought. In bed that night, Santa replayed each of Sheila’s words and gestures.

Sheila said whatever she felt like, touching and smelling everything like an animal. She was not afraid to take, avail herself of the world, drinks, cigarettes, hospitality. Without so much as asking, she’d even plunged her hand into Santa’s Shirley Temple, plucking the maraschino cherry right out and using his hat to wipe her hands.

For Santa, one so in love with giving, he could not help but see before him a kind of black hole, a sexy and sublime black hole into which he could deliver forth his greatest gift. In Sheila, he saw an insatiable hunger for life. With such a woman to give to, to give himself to, it would feel as though every day was Christmas.

When they had made plans for the following weekend, Glenda had asked if Santa could bring along a friend for Sheila. And so he showed up with Jingles. Anything to help a brother out, Jingles had said. Strolling into Glenda’s living room, Jingles did that thing where he jumped onto the couch while crossing his legs in midair. He landed right beside Sheila.

“You are just too cute for words,” exclaimed Sheila. “Try anyway,” said Jingles, snipping the tip of his cigar. It was the length of his forearm.

“I’d prefer to keep the house smoke free,” said Glenda. “More like fun free,” said Sheila. “Say, what do you call people who live around here anyway? North Pollack’s?”

Sheila and Jingles had a million things to talk about. All the while, Glenda and Santa just sort of sat there smiling awkwardly and watching the snowfall. “It’s an uninhabitable wasteland,” Santa heard Sheila say. “Tampa sounds awesome,” said Jingles. “If only I could convince El Jefe over there to move the operation south.”

Jingles looked over at Santa, and seeing his bro struggling with his date decided to kick things into gear. “Come on y’all,” said the elf, addressing the group. “Gather around for a little spin o’ the bottle.”

“I’ve got just the one,” said Sheila, downing the last of the red wine straight from the bottle. “Spin the what?” asked Glenda. Sheila rolled her eyes, placed the bottle down on the carpet, and spun.

Santa watched the bottle spin with an anxiety that bordered on mania. What if the bottle dictated that he was to kiss Sheila? He would almost certainly die.

But he did not have to ponder such a kiss for very long, for soon the bottle slowed to a halt, pointing directly at Jingles. And when Sheila licked her lips and leaned her face downward, Jingles grabbed her head in his small hands and planted his tiny mouth on hers. Santa felt the chimney fire in his chest snuff out.

He and Glenda watched them kiss. Then after a while they watched the snowfall. Then they went back to watching them kiss. Eventually Jingles led Sheila into the vestibule where he said he wanted to show her the secret to getting the tips of his shoes so curly.

Left alone, and at somewhat of a loss, Glenda got up and fished around in a cabinet drawer beside the couch. Santa thought she might be looking for a game of some sort. But then she said,” “I have something for you.”

She held out a glistening package. “No way, Jose,” Santa said. “I’m the gift giver around here. And it’s not even Christmas yet.”

Santa was about to really kick up a fuss. But then, as a downright witchy look fell across Glenda’ face, he trailed off. “It’s nothing that big,” she insisted, thrusting the present at his chest. “Besides, it was fun trying to find the perfect something for you. And then to actually find it, there’s no greater feeling in the world. But look who I’m telling this to.”

Hearing her words and seeing the look of excitement on her face, Santa had a puzzling thought. Perhaps he’d somehow misjudged things. Perhaps he’d somehow gotten it wrong.

By refusing the gifts people wished to bestow on him, he’d consistently failed to give the experience of giving. He’d hogged that particular pleasure all to himself. And so he took the package. It was flat and square.

Tearing the wrapping paper open, he saw it was a record, Rocking Christmas Party Songs, Volume One. He absolutely hated it. Not just because the thought of listening to it made him feel like one of those old white haired hippies who had to make everything, from getting their prostate checked to celebrating Christmas, not just a good time but a rocking good time. But it was also one of those gifts that said something about the recipient, something that was hard to swallow, like the gift of a back scratcher that says you’re alone in this world and must fend for yourself or the gift of a warm house coat that says your days of party dresses are over.

The gift of a perfectly awful Christmas album being handed to you by a woman who liked you said loud and clear, you must learn to compromise. For after all his years of giving, Santa knew better than anyone that we don’t always receive what we want nor even what we deserve. We receive what life brings us. And when it comes to life, we haven’t a choice but to open our arms.

“I love it,” said Santa with a half smile. Unpeeling the plastic, they placed the album on the record player. Santa held out his arms, and Glenda entered his embrace. And together, they danced about the room as Chuck Berry belted out “Run Rudolph Run.” And it was almost enough to drown out the sounds in the vestibule.

Thankfulness

One day I’ll truly understand what being thankful means. As I grow older and dare I say, more mature, I’m beginning to question more and more what I honestly think about things and the place they have in my life. We all have that time in our lives where things are just accepted. Usually at a young age, shaped by our parents. So obviously what we are thankful for ties hand in hand with the values which we are taught. I speak for myself when I say. Just recently, those values have shifted from another’s to my own.

I guess being thankful starts with comfort. You are naturally thankful for things you “like” or “enjoy.” But as I have grown older, I begin to realize being thankful is tied directly to what you truly hold dear. For some it may be possessions, others achievements. Nothing wrong with those. Both are reputable in the world and mostly cherished.

In my life to this point, the most honest answer I can give, would be relationships. Past and present. Big and small. Relationships are unique. They are not given but earned. They take time develop and mature. Occurrences and past experiences shape the final result. No 2 could be alike. No 2 should be alike. They are tailor made for the participants and fill emotions in the gaps of those peoples lives. Very special are they and treasuring them is simple yet steadied art to achieve.

Firstly my wife Lindsey, She is an unselfish, honest woman who is pure at heart. Those traits are all too often looked upon lightly (mostly by myself.) And in my opinion, qualities that aren’t easy to abide by, she effortlessly performs them daily. I’m thankful for her and her presence in my life and by zero means do I deserve what she brings to it. I still haven’t figured out a way to demonstrate the emotion of thankfulness to her in a acceptable way in my opinion, yet she stays. That means everything to me.

Another relationship I am immensely thankful for is my cousin Mike. We live in different states now. But in my younger years he took time to show me I mattered. He spent real time with me talking about my interest and helping me with my problems. Things I now hold very highly for my wish list on how to treat others. He told me without telling me that he cared about me. Even though we are miles away, the bond we made remains strong. Something to cherish and not something easily obtained.

My best friend Jeremy also is someone to cherish. I look up to him in many areas, professionally and personally. He has done many things for me in the past and recently. Things that some family members wouldn’t do for each other. He is someone who is truly a friend with no motive behind his actions. In my opinion that is a rarity. I only wish I could return what he is to me unto him. To this date, I’ve never met a more selfless person in my travels.

My Nonni is someone who I daily gain more respect and appreciation for. The longer she is gone the more I look back upon her and what she held important. I miss her a bunch. I miss the way she would tell a story. She would make you feel special and she wouldn’t shy away from true feelings. She loved telling you how she felt. Sometimes it was harsh, but it taught me a lot. Being a true friend and loving a person doesn’t mean you yes them to death or tell them what they wish to hear. To Nonni, loving you meant to give it to you straight, a noble trait in that is seemingly lost in most people nowadays.

Last (in this post) but certainly not least would be my mom and Dad. Maybe we always didn’t see eye to eye and still probably don’t on topics and life decisions. But that fact alone has only makes me appreciated them more. They still care for me regardless of decisions I have made in my life. There is a bond there that can never be broken, for better or worse and I appreciate that. They truly care for me and I’m not so naive to take that for granted anymore. A constant love is what they offer, to me thats the best gift parent can display.

Those are just examples and Lord knows if I mentioned everyone this post would be intolerable even by my standards. But I guess what I am trying to get across is that being thankful changes in one’s life over a period of time. Right now for me, I’m most thankful for people and the connection I make with them. I’m one of those “I don’t expect anything” people. It’s one of my few traits I actually very much appreciate. So when someone takes in interest in me, I really, truly appreciate it.

I dare you to take time to search what you are truly thankful for. Not some monotone, prefabricated answer that is expected of you. Something that truly matters. It doesn’t matter if people don’t agree. That’s the beauty of opinion. Take careful notes of what you choose. Save them. And after a couple of years put them together and see how you’ve grown. I promise you’ll learn something about yourself. If for no other reason, you’ll understand that you are not as important as you think, and the objects of your thankfulness are the things that are.

And that is something truly to be thankful for.

3 years old

LIAM AGE 2 VIDEO:
https://vimeo.com/75968967

I understand you are not old enough to read this. But I hope my actions and affections towards you reflect these words. Three years ago today, your mom and I welcomed you into the world. In an instant, I was exhausted, jubilant, scared, proud, and hopeful. In the intervening years, not too much has changed to my shame, aside from the fact that you have changed us both in ways I couldn’t have anticipated. On a daily basis you make me doubt my ability to be a great dad and then reinforces it immediately thereafter. Seeing you when I come home is the highlight of my day, and as soon as I walk through the door, whatever I had hanging over me is diminished. 

I know you can’t understand these words and sentences. But maybe one day you will read this. Maybe not. Either way, 2nd to meeting your mom, you are the single best thing that has ever happened to me. I love you and thank you for being such a sweet boy. Happy Birthday.

your daddy

 

says the moose

A moose is standing in the forest when he suddenly hears a noise. He looks up and sees a plane flying overhead. As he watches, a man jumps out. A parachute bursts open, and the man floats safely down.

The moose goes over and looks at him. “Hello,” says the man, gathering in his parachute. “Hello,” says the moose. “What are you doing?” “Oh, nothing,” says the man, “nothing much. I just jump out of planes every now and then.”

The moose looks up at the sky. “Is it fun?” he says. “Oh, yes,” says the man. “Have you never done it?” “Me?” says the moose. “Oh, no.” “Well, come along with me,” says the man. “We’ll go back to town and get you all suited up, and then off we’ll go. What do you say?”

“I don’t know,” says the moose. “Isn’t it dangerous?” “Dangerous?” says the man. “No, not at all. Well, a little, but hey, isn’t everything?” “I guess,” says the moose, “when you put it that way.”

And after a while, he starts to nod. “All right,” he says, “OK.” “Great,” says the man. “You’re going to love it.” And he claps the moose on the back, and the two of them start off.

When they get to the edge of the city, the moose suddenly stops. “What about the people?” he says. “What about them?” says the man. “Well,” says the moose, “I’m not saying that I’m afraid of them, understand. But they’re always out in the woods looking at me. It makes me nervous. I don’t know what they want.”

“Hm,” says the man. “I doubt they want anything. But OK, here’s what we’ll do.” He takes an extra t-shirt and hat out of his bag. “Put these on. Nobody will recognize you,” he says. The moose looks at the offered disguise for a moment. “All right,” he says, and puts it on.

The man and the moose wander into town. The moose is very, very nervous. “Hey, Tom,” someone says, and a group of people come over. “How’d your jump go today, and who’s that?”

The man turns and looks at the moose. “This is my friend, Lawrence,” he says. “He just came in from the coast.” “Quite a grip you’ve got there, Lawrence,” says one of the men. “Are you bringing Lawrence to the party?” says another.

“Shoot,” says the man, looking at the moose. “I completely forgot about that. You mind coming along to this thing tonight? It’s sort of a shindig for my most recent jump.” “Sure,” says the moose, feeling self-conscious, “Sure. That’ll be fine.”

That night the man and the moose go to the party. It is at the Explorers Club. There are a number of long tables arranged in a square. The man and the moose are in the place of honor.

The moose is having a wonderful time. The food is really very good. Different people make different speeches, and the moose finds the waitress quite fascinating.

But then, suddenly, something draws his attention– heads, animal heads. They’re lining the walls all around the top– lion, zebra, deer, elk, and moose. Fear grips the moose’s heart.

“What is it?” says the man, sensing trouble. The moose turns and looks at him in horror. “You’re trying to kill me,” he says, his voice a whisper. “You brought me here to kill me.” “What?” says the man. “Why would I do that? I don’t understand.”

But the moose is too scared to explain. He stumbles backward to his feet. He points a hoof at the abomination on the wall.

The man sees it, then his eyes go wide. “oh my,” he says, “I just didn’t think.” He reaches out to reassure the moose, but his hand grabs the t-shirt, and it rips and falls off. And then, to make matters worse, the moose’s hat tumbles to the floor.

Everybody turns. “A moose,” they cry. “Get him. Get him. Get the guns.” The moose takes off. He galumphs out of the ballroom, knocking people over left and right. He barrels through the doors and off down the hall. The members of the Explorers Club are striking the glass on the gun cases. “Hurry,” they are yelling.

The moose careens out into the street. He’s weaving in and out of cars. There’s honking and screaming. The moose has never been so terrified.

“Wait, wait,” cries a voice. The moose looks back. It’s the man running after him. “I’m sorry,” yells the man. “I didn’t think. I’m so stupid. I’ll make it up to you. I’ll get you out of this, I swear.”

“Are you kidding?” yells the moose. “Why should I trust you?” Just then, gunfire erupts. It’s the Explorers Club hot on their trail. Bullets whiz past, close, closer. “I can take you to the plane,” says the man. “It’s your only chance.”

The moose thinks. Another bullet whizzes by. “All right,” the moose yells. “Climb on.” The man jumps on, and the two of them charge through the streets. “Turn left,” yells the man, and the moose turns. Up ahead is the airfield, behind, the men with guns, getting closer with every passing second.

“There’s the plane,” the man hollers, and the two dive on board. The man guns it, and the plane taxis toward the runway. Behind them, the Explorers Club lines up in a row. “Fire,” says the leader. “Fire more.”

The plane is hit in 10,000 places, but still, it manages to lift off. Behind it trails a cloud of smoke and fire that is terrifying to behold. “We’re not going to make it!” the man yells to the moose. “We’re going to have to jump.” He turns and looks for the parachutes, but there is only one.

“You take it,” says the man, pushing it to the moose. But the moose just stares at it in silence. “No, you,” says the moose. “I don’t even know how to use it. Besides, I wouldn’t have gotten this far without you.”

The man thinks for a moment. “We go together,” he finally says. “It might work. It might not. Who knows?”

He straps the parachute around them both and edges the moose toward the door. “On the count of three,” the man says. And the moose jumps.

The man and the moose plummet through the air. “Is that the forest,” the moose calls, “down there?” “Yes,” says the man. “Isn’t it pretty?” “It is,” says the moose. “I can see why you like doing this.”

At this point, the ground is coming up pretty fast. “All right,” says the man, “moment of truth.” The two grip the pull cord tightly together. “I hope we can be friends,” says the moose.

My Brother Mike

Why do I love my brother? He is genuine, smart and soft hearted. His dynamic has effected my whole life in a positive manner. More so than anyone else, he has emulsive control of his actions. Something I feel I fail at. He is there when you wouldn’t think he would be. He is a true friend.

When I was young, my brother Mike and I were not very close. We have 10 years in between us, so naturally we led 2 separate lifestyles. I would see his life as vignettes. Him getting ready to go. Him coming home. Him having friends over, etc. I very much took the role as a younger sibling who watched, sometimes in awe, sometimes in confusion but always with intrigue. He was a charismatic, fun person to be around.

He moved out at a young age and “real” life engulfed him. There he was, one day living as my older brother, the next gone into the working world, living with friends and being a grown up. It’s funny how people come in and out of your life. But the beauty of family is, he was gone but not far. His visits would range from getting laundry done to coming to dinner and of course family parties. The old ball and chain for some. For me, I cherished these times. Call them bookmarks if you will. But each return of his marked a new chapter, a new development. A story being written. I was so interested in as a young boy.

As I grew older, it seemed our relationship starting becoming more relevant. Our conversations began spawning hours of talk. Talk that mattered. We even started hanging out. More so then just him baby sitting. But going to movies, playing video games. Going back and forth to countless Mets games. We graduated from brothers and enrolled in friends.

Many times I put myself in his shoes. Would I be a “good” older brother? Would I have the effect on someone my brother had on me? My personally opinion would be no. I hardly am good at anything I do. But yes, someone could be named a brother just by having a younger sibling. In my opinion though, the “brother” tag needs to earned. It isn’t something someone just is because. The merits for that badge includes: Faithfulness, strong, caring, trusting, reliable, role model. Mike DiLeo has all these plus more.

Today, I love my brother very much. He is very important to me for selfish reasons and unselfish alike, but nonetheless important. I appreciate all he has done for me in my life whether I know it all or not. And I’m sure I don’t. We now live across the country from each other and I could earnestly say we have never been closer. Thanks Mike, for being the best big brother anyone could have.

#6 The Godfather

Top 10’s – FAVORITE FILMS

#6 – The Godfather – FRANCIS FORD COPPOLA, 1972

What’s to state about The Godfather that hasn’t been clearly pitched from one mouth to one’s ears? But here I go jumping into a crowded sea of opinions…

The single most shocking aspect to me is how people take The Godfather for face value. I imagine because The Godfather’s face value is so boldly printed. But even if you cant decipher Coppola’s epic metaphor for the corrupting effects of capitalism and the falsehood of the American Dream, you will still come away with one of the most memorable cinematic experiences of your life. The Godfather is an enthralling film with its rich and deliberately paced screenplay that boasts line after line of memorable dialogue, deep and engaging performances and characters studies, contrasting cinematography by the great Gordon Willis of dark and menacing interiors and bright and beautiful exteriors, realistic art direction that brings the 40’s and 50’s to life and a haunting score by Nino Rota, with Carmine Coppola leading the band in the wedding sequence and playing the lovely piano tune during the mattresses montage. This grand fresco of America is a spectacular meld of blockbuster entertainment and masterful artistry, making it accessible to both film buffs and casual viewers.

While watching the film as a I grow older in my movie watching life, I began to noticed many deep similarities with Luchino Visconti’s celebrated adaptation of The Leopard (an acknowledged influence on the film). Not only do they share some of the same themes, were both shot in Sicily, have large scale party sequences (the opening wedding and ballroom finale) and had the same composer, but many characters in The Godfather seem to be directly inspired by the earlier film, including:

The Corleone Family = The Salina Family.

Both are patriarchal families fighting to keep their power, values and influence alive as the newer and younger generation threatens to replace them, against an epic and period backdrop (the Risorgimento and post war America).

Don Vito Corleone = Don Fabrizio Corbera.

They are both powerful and influential heads of their respective families, and the two see their power and influence going down the drain as their older and more traditional ways of doing things are being replaced. In Vito’s case, it is the emergence of drugs, which goes against his every philosophy, and his refusal to aid Sollozzo very nearly costs him his life. In Fabrizio’s case, it is the rise of the middle class and the fall of the aristocracy.

Michael Corleone = Tancredi Falconeri.

Both see that the Dons’ way of doing things are finished and adapt to the changing times. Tancredi sides with the middle class to maintain his influence, while Michael sees the uglier side of America and becomes a ruthless and coldhearted monster to maintain his power.

In true Coppola fashion, The Godfather shows how honor, respect and morals were replaced with large scale corruption and violence throughout America. Hollywood, the justice system, the government and religion, among others, are not spared and are shown to be corrupt from the inside out. The irony here is that while Vito is a mob boss, he has a soul and stands by his beliefs and his family, while the “legitimate” organizations have sold their souls and will do whatever it takes to satisfy their greed. One of the most brilliant scenes in the film is when Clemenza and Rocco murder Paulie. The Statue of Liberty is faintly visible in the background, a symbol of the two faces of America. Even in Sicily, symbolic of a world untouched by the greed and corruption, where Michael attempts to start a new life with Apollonia, who is innocent and pure, they are destroyed by capitalism’s reach. With nothing left to live for, a changed Michael begins working for his father and becomes the don. I still think that Part II has more of an impact, but Coppola gives us a true and unforgettable portrait of the 20th century that is even more relevant today than it was upon release.

The Godfather, and the same goes for Part II, has the best cast ever. Marlon Brando‘s central performance is justly imitated, and he has that huge presence that only a few actors have achieved. This proves to be the film’s biggest downfall, as the film takes a huge nosedive when he is shot down in the street and has no speaking lines for the next 75 minutes. But Al Pacino, James Caan, Robert Duvall, Richard S. Castellano and Abe Vigoda fill the big hole left by Brando and give outstanding performances. Caan, playing the role of Sonny Corleone, taps into the beast that De Niro found in Raging Bull, and his performance is a masterpiece of kinetic energy. There are also moments of tenderness, such as when he comforts his wife and sister, that allow us to sympathize with him more easily, as well as adding more depth to his character. Robert Duvall is the exact opposite of Sonny as Tom Hagen, the calm and calculating consigliere and unofficially adopted son of Vito. He is very likeable and charming, while very deserving of respect. Castellano and Abe Vigoda play Vito’s two capos, Peter Clemenza and Salvatore Tessio. Castellano is loyal, humorous and very deadly, while Vigoda is more strategic and level headed. Most people say that Pacino’s performance in Part II is his greatest, but I think he gives an equally mesmerizing performance in Part I. Considering that this was only his third performance for the screen and that he has to subtly transform from a loving and caring man who is an outsider to the cold blooded killer that he becomes, I’d say he does a remarkable job. Talia Shire and Diane Keaton don’t get a lot of screen time, nor do they make a significant impression until Part II, but they do a fine job with what they are given.

The final conversation between Michael and Vito and Vito’s subsequent death scene never fail to make my jaw drop every time I watch the film. Their acting is so amazing that you don’t even think that they are acting at all. They have literally become the characters, and I have a feeling that even Robert Bresson would have been proud. Brando gives the impression of a man who is content with his life and family and has found peace with himself. Also, notice how the lighting is exceptionally similar to the Sicily sequences, as if the don has returned to his roots. Vito finds happiness, while Michael is the opposite.

Much of the film’s power comes from the cinematography by Gordon Willis. The gloomy darkness of the Corleone compound hints at the dark business that goes on underneath. These interiors are often framed through doors and windows to illustrate how the men live in two worlds. Willis also uses the entire depth of field to strengthen the narrative, themes and characters, such as when Sonny’s wife spots him leaving with the maid of honor in the background while she is in the foreground. As with the Leopard, the Sicilian scenes are shot and lit to appear as a romantic and mystical, almost fantastical place that heavily contrasts to the cold, bleak and somber look of New York. When coupled with Rota’s gentle love theme the sound and images unite like peanut butter and jelly.

The studio wanted a low budget B movie gangster picture, and Coppola wanted The Leopard. Despite the low budget, Coppola still found room for his artistic expression and managed to give the film an epic feel to it. The metaphorical capitalism content is hidden between all the action and drama. I’ve read the annotated script and his notes for every single scene, and it shows how he used all the departments to his advantage. Plus, he also learned to use every opportunity to externalize the character’s emotions and take advantage of problems with the production and lucky accidents and work them into the narrative. His and Mario Puzo’s screenplay is just about perfect, balancing action with character, but there are scenes from the shooting script that were never shot but should have been, and scenes that were deleted that should not have been. They would have slowed the pace down, but from what I read they would have added so much to the film.

The Godfather is among the best films ever if only for the fact that it is able to suck you in completely to this world. It is long but never plods and always builds with every scene. Indeed, each early scene is somewhat of a set-up for something later. The actors all play it so straight and smooth, everything is completely convincing. And Gordon Willis’ dark, moody photography adds to the drama, evoking hidden agendas and secrets. Nino Rota composed one of the most famous of all movie themes, and here it seems to tell us that life is going to get bad and we should have listened to Don Vito. This film put Coppola on the map and made him a director to reckon with. Just like alike the Corleone’s. The one aspect of The Godfather that hit me so hard on my first viewing was all the similarities between my life and the film. I certainly am not drawing a parallel to the murders and the bold lifestyle, but the little nuances. The little girl dancing on the feet of the older man at Connie’s wedding. The family eating pasta with an overloaded dinner table. The unconditional love that family members show. Similarities are what makes movies work on a personal level for me. As for this film, most scenes are like holding up a mirror to my childhood.  Enough cant be said regarding The Godfather. From performances to editing it is pure cinema and all heart.

5 – 1 coming in 2014.

INTERMISSION

#7 The Shining

Top 10’s – FAVORITE FILMS

#7 – The Shining – STANLEY KUBRICK, 1980

Despite its massive popularity, The Shining is one of the most challenging cinematic works of all time. Kubrick masterfully controls and manipulates space and time to create an endless maze of possible meanings that defies interpretation, and yet most people think that there is nothing to interpret. Kubrick’s masterpiece completely transcends the horror genre in a bloody collision of past and present that is rife with immense psychological, historical and architectural complexity. It is impossible for me to comprehend someone watching the entire film and coming out of the experience thinking that it is just a “perfectly straightforward horror movie”. That truly depresses me. James Healey stated in his review that you “could write a whole essay on the subtext and symbolism on The Shining”, but I’m certain that not even a hundred essays would do the complexity of Kubrick’s film justice.

Based on Stephen King’s 1977 “ best selling masterpiece of modern horror”, The Shining follows the adventures of the Torrance family as the father, Jack Torrance agrees to be the winter caretaker of the Overlook Hotel. But, as America’s bloody history reigns down upon them, Jack who is under the influence of the ghostly elite, descends into madness and attempts to kill his wife and son in an orgasmic finale of pure terror. Although initially critically panned and nominated for two Razzie awards, The Shining has grown in stature since its release and is now regarded as one of the greatest horror movies ever made. Going even further, I’d say that it is unquestionably one of the great pinnacles of cinema. Filled with extreme attention to detail and heavy symbolism in every frame, and demanding the utmost patience and concentration from the viewer, The Shining is Kubrick at his all time greatest and most intricate and complex. His complete command of every single aspect of the production is supreme, making this film highly important for aspiring filmmakers such as myself, and it boasts tremendous performances from its cast and what is arguably the greatest and most overwhelming soundtrack ever assembled for a movie. It has been criticized for severely departing from King’s novel, but books and films are two different mediums, and each have their own unique ways of telling a story, so they cannot be compared. Kubrick only used the basic foundations of the books he adapted into films, and this movie is no different.

I’m not sure if there has ever been a film in the history of cinema more endlessly analyzed and debated than The Shining. Theories range from the film being a commentary on the genocide of the Native Americans (as Bill Blakemore theorized in his essay “The Family of Man”), which I believe is the truth, to an exposure of the supposedly fake Apollo 11 Moon Landings, which is something I cannot wrap my head around, but knowing of Kubrick I can’t rule it out completely. The deceptively simple plot of madness and isolation has startling undercurrents of sexual abuse, racism, and male aggression, plus there are numerous ambiguities such as whether or not the ghosts are real and the final photograph of Jack at a 1921 ball. Ultimately, I think The Shining, at it’s most basic level, is a tale of how humanity is doomed to it’s primitive nature, with the photograph representing the cyclical nature of history and the unstoppable evil unleashed by man upon one another. But, there are even sinister meanings under the surface.

The film’s most important line, which was removed in the two hour European cut, is spoken by Philip Ullman, the manager of the Overlook, as he and the Torrances tour the Colorado Lounge. He says, “This place has had an illustrious past. In it’s heyday it was one of the stopping places for the jet sets, even before anyone knew what a jet set was. We had four presidents who stayed here. Lots of movie stars.” Wendy asks, “Royalty?”, and Ullman replies, “All the best people.” According to wikipedia, the jet sets were “an international social group of wealthy people who traveled the world to participate in social activities unavailable to ordinary people.” Sound familiar? You could argue that The Shining, Full Metal Jacket and Eyes Wide Shut constitute a trilogy of films that reveal Kubrick’s disdain for the elite and their corruptive effects on and brainwashing of the individual, which Jack’s plunge into madness and murder illustrates. He once said to his wife, “Never, ever go near power. Don’t become friends with anyone who has real power. It’s dangerous.” I could go on and on about the pyramid and eye symbolism that appear throughout the film, and most of Kubrick’s work in general, but then this review would be even more overlong than it already is. Whether or not you agree that Kubrick was in fact exposing and condemning the Illuminati or the Freemasons or whoever the he conceptualized had power, you would do yourself a major disservice to think this film didn’t have underlining meanings and intentions.

What I am sure of is that The Shining is arguably the best directed movie of all time. Everything, from the symmetry, color, tone, framing, pacing and more are absolutely perfect, and I love the way Kubrick disorients us with Garret Brown’s revolutionary Steadicam work, a strong use of mirrors and reflections, beautiful and impossible set design and subtle moving furniture. He also manages to get career best performances out of Jack Nicholson and Shelley Duvall. Nicholson is simultaneously drop dead funny and ferociously mad, and Duvall conveys real fear and weakness, probably because Kubrick made life on the set a living nightmare for her. I also think it is the best photographed film of all time. Barry Lyndon looks prettier, but The Shining is much more technically impressive, and watching the Blu-ray for the first time is a revelation. The Overlook Hotel is a labyrinth of evil, and the terrifying, almost psychedelic, imagery really brings the horror and malevolence of Kubrick’s vision to life. The Room 237 and maze chase sequences in particular are jaw dropping.

The Shining has a slow measured pace, but always stays interesting and entertaining. It’s a consistent slow burn. I really don’t know how Kubrick does it. He creates a movie that is relatively slow by today’s standards, yet the movie doesn’t feel like an old film with a plodding pace. It’s constantly interesting and continuously revealing tidbits of info, and so compelling in the performances, that we are sitting on the edge of our seat the entire time, wanting to know what’s going to happen next. Personally, The Shining had me at a young age. I wish I couldn’t type that, but it’s true. Ever since that first viewing I was hooked, and possibly a little messed up. But mostly hooked. I’ve gone through stages of being scared senseless, to just enjoying the perfect camera work to trying to decipher the hidden meanings. But in all those stages, one thing remains. The mark of true horror. I’m merely not talking about horror like in films, but horror in our daily lives. Kubrick has a way of really making me not feel safe when watch this movie, weather I am young, a teen or now in my later 20’s. But in the end, what is horror? Horror is facing the illogical nature of madness and being trapped in it. Our dreams are the most illogical experiences that we encounter on a regular basis, so it makes sense that Kubrick would tap into that collective experience for this film. I can’t think of a film that better expresses what it feels like to be in a nightmare.

#8 Signs

Top 10’s – FAVORITE FILMS

#8 – SIGNS – M. Night Shyamalan, 2002

There’s nothing new about alien invasion. Our society fairly obsessed with the extra-solar, the paranormal, and all things out of this world. But, just as he did in his two previous efforts, The Sixth Sense and Unbreakable, director/writer M. Night Shyamalan takes this usual Hollywood subject matter and finds a way to once again make it extraordinary.

M. Night’s Signs, stars Mel Gibson as Graham, a former Reverend questioning his faith and beliefs after the recent death of his wife in a fatal accident. With him, is his brother Merrill (Joaquin Phoenix) who has come to stay while Graham learns to cope with the realities of raising two small children on his own. But Signs doesn’t waste a moment on setup, jumping right into the meat of the thing, preferring instead to interweave character development into the fabric of the story itself, rather than taking some artificial “get to know the preacher” break. Graham’s crops have been damaged, trampled down to construct perfect geometric shapes which only take form when seen from the sky. Crop signs, which as everyone knows are a hoax. Dismissing them as such, Graham moves on, but things only get worse, leaving him questioning his beliefs still further and eventually fighting for his family’s life.

Signs is a deeply personal and intentionally “small” film. Which is why it is near and dear to my heart. There is something about small film “feel.” Call it intimacy if you like. Set in a small town, in a small farmhouse, wherein lives a small, slightly damaged family, Director M. Night clears out distractions of momentous world events; choosing instead to focus on how those gigantic events outside effect this tiny, faith challenged family within this movie’s small world. We’ve seen massive alien invasions before, M. Night doesn’t go there. We’re watching how one family, alone in the universe, copes when the entire world is falling apart. When danger is on their doorstep, when Armageddon is just around the corner, what will one small family do? How did they cope, the night the aliens came and all the world outside was going mad?

Questions of faith, belief, and hope are all raised and explored in Signs. The beauty of Signs, and indeed everything M. Night does, is his abject determination to make his stories about MORE than just some cliche Hollywood plot device. Yes, Signs is about aliens, and yes it’s intense, scary, and all the other great things you’d expect to get only from a true master director like Alfred Hitchcock. But it’s also about faith. It’s about family. It’s about personal connections with people and how those ties allow us to cope with loss. It’s about finding meaning and hope in life whatever we might face. Because of that ability to entwine deep rooted meaning right in along with the action, terror, and excitement of his films. In my opinion with Signs, M. Night Shyamalan has created one of the great masterpieces of modern suspense-thrillers… again.

Signs is War of the Worlds for real. It’s your world if the unthinkable, unbelievable, Hollywood stories you’ve watched on TV for so many years actually happened. What would you do? Where would you go? What what it take for you to believe and how would it ultimately affect the way you personally see the world? Reality is M. Night’s gift, and he brings it tied up with a mind blowing, sci-fi/thriller bow.

This is a film to simply let yourself get caught up in. Go in knowing nothing and let M. Night, Gibson, Pheonix, and the rest take you into their world right along with them. Nothing is wasted. Just look at the way each moment, each device is used. The way he uses the TV, the baby monitor, all of it to develop these organically real moments for this family, these PEOPLE. The sharp nervous laughter, the emotional edge this film is constructed on… all of it pulling you deeper to make you really identify with the the reality of an unreality. Just look at the way he directs this family, the way M. Night lets them interact… the way he gets so much out of child actors time and time again.

The magic behind this film is present and intact. The idea feels familiar, even the music is intentionally crafted to hearken back to memories of late nights at home watching “The Twighlight Zone.” But Night and crew use all of that to twist you and pull you and take you places you’ve never really been before.

When this film ended, and the credits rolled for the first time, I just sat. Sat and stared. Watched the names roll by and the audience file out. I just knew I witnessed something special and  I needed to see it again. More than any other filmmaker at that time, M. Night Shyamalan connected with his audience and his characters in a totally unique way to transport us so effortlessly into the world of “what ifs. ” See it and believe. See it and question: What if you were there?

My life changed when I first watched Signs. I have no problem making that statement. It was and still is everything I could ever want in a film. Trailers and commercials expose this crop circled movie as a supernatural thriller, but M. Night Shyamalan himself is careful to note that the center of the movie is really on one’s faith rather than crop circles, aliens, or anything related to such. ‘Signs’ is a mixture of things: humor, emotion, frightening elements, and a factor found in some of the scariest of movies–silence. With pure intelligence, It is no way a stretch to call this movie Shyamalan’s Hitchcock film. The isolated location, the small cast, the tight script. This all points to where Shyamalan works best. I mentioned the word faith earlier and make no mistake about it, Signs is a film about faith, not aliens and not crops.

We all are aware of faith. Whether we acknowledge it or not has no regards on it’s existence. Mel Gibson’s character is dropped exactly in the thick of that situation. We are meant to ride the journey with him. We grow with him, we root for him and at some points, we despise him. But most importantly, we never lose him. Signs effectively evokes you to laugh, cry and be frightened. As does an exercise in faith, ask Graham Hess.