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rever these rigid strictures placed on women have been prevalent throughout history and are often displayed in the godfather the film tends to categorize women into two main types the madonna and the whore nowhere is the madonna more evident than in the character apollonia whereas her counterpart the whore is seen in the number of women that sonny corleone sleeps with throughout the film these stereotypical caricatures of women show them as either beautiful pleasurable accessories or as helping advance the machinations of the men because these women are given precious little screen time it s important to pay attention when they do appear in her academic article hemmed in kay adams and her changing fashions author emma hager explains the significant role that women s fashion played in the godfather emma states given that women speak all too rarely in the film it s especially important that we dwell on how their clothes speak for them we need to pay attention when we can to the pouf of a sleeve or the hem of a dress they offer a lexicon cut from a different cloth whose words are quite revealing hager this shows that hager is interested in how the clothing reflects or speaks for the personalities of each woman in the film even if these women have no voice of their own there are four main women from the godfather whose power dynamics or lack thereof are worth paying attention to mama connie kay and apollonia mama corleone s first name is never mentioned in the film she is merely vito s wife an extension of her husband and the vessel through which vito s heirs are conceived most of her scenes feature her bouncing a grandchild on her hip mama s dialogue in the film is spoken in italian with no subtitles in other words she literally has no name and no voice mama corleone has one daughter connie who proves to be just as impulsive and temperamental as her brothers sonny and fredo connie chooses for herself a spouse who repeatedly verbally and physically abuses her when sonny decides to become involved in her marital problems to disastrous effect connie defends her husband s violent actions by claiming responsibility for them the submissive victimization that connie demonstrates throughout the film is the very thing that second wave feminists of the 1970s were trying to distance themselves from however mama corleone and connie are not the most interesting women in the film instead the audience is drawn to the two love interests of michael kay and apollonia as an outsider to the corleone family kay adams is the audience s entrée into the mysterious world of the godfather kay is the typical girl next door a cute skinny blond haired wasp as american as homemade apple pie and a striking contrast to all the dark haired intimidating italians her physical distinctions and progressive views are a clear indication that in choosing her michael is breaking with tradition and pursuing a more americanized life despite kay s tendency towards naiveté she is a modern woman with modern sensibilities as demonstrated in one of the film s deleted scenes kay and michael are shown in bed together outside the conventional boundaries of marriage that s not to say that kay is a whore but it indicates her forward thinking attitudes of sexual liberation the importance of reproductive rights and the nonconformity that were all hallmarks of the women s movement kay s unconventional sensibilities are a stark contrast to the traditionally patriarchal corleone family it would have been easy for the character of kay to be completely lost in the background of the godfather if she hadn t been played by actress diane keaton keaton brings just enough personality to the surface to make kay likeable if somewhat forgettable at times keaton s performance feels rigid and halting especially considering that a mere five years later she would go on to portray one of the most iconic feminist characters of all time annie hall in her 2011 memoir then again actress diane keaton talks about her iconic look for annie hall where she was given unprecedented license to create her wardrobe and to wear what you want to wear keaton 125 126 annie hall s clothes imitate traditional masculine apparel loose fitting pants dress shirts a bowler hat and neckties but reworked in a new and unique way her uncomplicated unfussy appearance is a reflection of the shifting attitudes surrounding gender roles and the growing women s movement the character of annie hall is so full of personality and opinions it s often hard to reconcile her to kay adams yet despite kay s lack of personality there are subtle expressions where it s clear that keaton is utterly in command of the character her embarrassment at being kissed by fredo and her reaction to michael s goodbye all show that keaton brought subtle emotion to the stiff kay adams the other woman in michael s life is apollonia vitelli simonetta stefanelli apollonia is the perfect foil to kay and likely the perfect woman for a man like michael like something out of a dream michael now in exile comes across apollonia while walking through the italian countryside and is seemingly struck by the thunderbolt godfather apollonia is everything that kay is not italian dark haired and olive skinned striking demure earthy voluptuous and a virgin apollonia is the film s quintessential madonna and the beautiful setting of their first meeting has undertones of adam and eve in the garden of eden apollonia is pure and untouched and represents the uncomplicated kind of woman that michael s family likely always intended for him to marry she is a woman who will bear his children and never question his patriarchal authority in his pursuit of apollonia michael conforms to the rigid rules of italian courtship the couple rarely speak to one another and are certainly never alone together michael courts the entire vitelli family by bringing gifts for everyone ultimately winning their admiration and trust with kay seemingly forgotten and thousands of miles away in america michael s determined courtship of apollonia eventually leads to marriage on their wedding night the couple both dressed in virginal white exchange a hesitant embrace they are after all virtual strangers to one another but love like happiness is fleeting and despite michael s newfound pleasure with apollonia the world he inhabits is a dangerous one when apollonia is killed in an explosion that was intended for michael he returns to america determined to rekindle his relationship with kay one of the most interesting exchanges between michael and kay happens near the end of the film after years of silence our fallen angel michael is attempting to lure persephone to his kingdom he justifies my father is no different than any other powerful man any man who s responsible for other people like a senator or a president do you know how naïve you sound michael senators and presidents don t have men killed oh who s being naïve kay godfather this scene is important in reestablishing both michael and kay s positions and beliefs and perhaps kay s willingness to overlook the darker aspects of michael s family in the end kay ultimately succumbs to her emotions and returns with michael to his patriarchal world despite the abundant toxic masculinity in the godfather the final scene of coppola s film is a surprisingly feminist one the scene closes on the lone image of kay standing just outside of michael s office as the door shuts on her face we see a myriad of emotions cross her features understanding vulnerability sadness fear and exclusion as the camera pans out the dawning realization of kay s circumstances show just how dismissed and separate she is from michael and the patriarchal world of men he inhabits kay s final moment in the godfather subtly acknowledges feminists and their century s long struggle for equality against the mechanisms of patriarchy just as the literal door is being shut on kay the proverbial door has been continuously shut on women that coppola even acknowledges kay s perspective demonstrates that he recognizes the unfairness of a woman s position even if he offers up no solution to it works cited godfather the directed by francis ford coppola paramount pictures 1972 hager emma hemmed in kay adams and her changing fashions the godfather anatomy of a film uc berkeley spring 2018 https theseventies berkeley edu godfather 2018 06 30 hemmed in accessed 11 nov 2019 haskell molly world of the godfather no place for women the new york times section 2 pp 17 23 mar 1997 https www nytimes com 1997 03 23 movies world of the godfather no place for women html accessed 11 nov 2019 keaton diane then again new york random house 2011 at november 22 2019 no comments email this blogthis share to x share to facebook share to pinterest labels brando coppola crime feminism film gangster godfather keaton mob new historicism pacino storytelling theory thursday april 11 2019 game of thrones history origins with the final chapter of game of thrones airing this sunday i ve thought a lot about what makes a show like got so successful and unique certainly there are the groundbreaking elements of the show coupled with a diverse cast of three dimensional characters consider the massive visual scale and scope of the series that transports viewers to the fantastical world of westeros each episode costs around 15 million to make there is also the surprise element of going against viewer expectation by killing off many of the main characters in sudden and terrifying ways yet despite its detractors many of whom cite the immense violence sexual content and adult themes as a reason for staying away got is still one of the most watched television shows of all time in 2017 the website pornhub released data stating that during the season seven premiere of got traffic to their website was down an astonishing 4 5 about 13 million viewers proving that got is apparently more popular than america s other favorite pastime our class discussion of the past few days about the mythology and origins of storytelling suggest one of the reasons game of thrones is so successful author and producer george r r martin has taken timeless themes of family loyalty love and betrayal and combined them with huge portions of british history and inspiration from writers like tolkien and shakespeare martin states i m interested in all of history it s all endlessly fascinating i m interested in the people of history there are so many wonderful stories among wars and battles and seductions and betrayals and the choices that people make so many things that you would be hard pressed to make up and of course i don t make it up but i take it and i file off the serial numbers and turn it up to eleven and change the color from red to purple and i have a great incident for the books it is these remixed echoes of historical events that help give some credibility to a fantasy show filled with zombies witches and dragons as to that history game of thrones bears more than a passing resemblance to england s famed war of the roses the starks and the lannisters are reflections of the yorks and the lancasters rival families who constantly outmaneuvered each other for a seat on the iron throne the character of cersei lannister seems to be a mash up of margaret of anjou anne boleyn and lady macbeth there is cersei s brother tyrion lannister a dwarf with similarities to the deformed yet brilliant richard iii the character peter baelish a deviously clever man is evocative of the villain iago from othello and it s not just the characters the storylines of the show are pulled from pieces of history and theater like the episode winds of winter in season six which bears a striking resemblance to titus andronicus here we see a man named walder frey who is unknowingly fed a piece of pie that has been cooked with the body parts of his sons one of the most famously bloody and heart wrenching episodes of got takes place near the end of season three during what has now been dubbed the red wedding the red wedding has its roots in scottish history and macbeth when members of the stark family break bread with the frey s in a show of hospitality and good faith and are brutally betrayed and murdered love it or hate it got has forever changed the landscape of television and popular culture as we know it i believe much of the success of game of thrones can be attributed to its elements of the fantastical grounded in pieces of history and traditional storytelling got is a mythology we are familiar with but reworked in a way that feels new and fresh with a few surprising twists and turns and dragons along the way at april 11 2019 no comments email this blogthis share to x share to facebook share to pinterest labels british history dragons fantasy game of thrones george r r martin hbo mythology origins shakespeare storytelling tolkien tv war of the roses older posts home subscribe to posts atom miss megan view my 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