Diskusiona stranica: Udahni, pauza, izdahni

#### By Mea han Allen

Cigarete ne mogu da se vide često u Kumu, iako tada nisu zabranjene da se pojavljuju na ekranu, jednostavno zbog kontinuiteta scena snimatelji su tada izbegavali te...kratkogoruće kancer-štapiće, jer....u jednom trenutku si je tek zapalio, pa režiser kaže rez, pa treba da nastaviš sa snimanjem a ona otišla skoro do filtera. Pa su ih koristiti SAMO kad je to bilo ključno za scenu. Deo karaktera.

Tompusi, to jest cigare, su sporije gorele, pa ih je industrija rađe koristila, ali, osim Kaponea, pravog a i filmskog, koji je od malena voleo da se razmeće, odelima, kolima i cigarama,

jedan od retkih mafijaša koji je rođen bogat, niko ne zna kako, jer mu je otac bio brica, a majka šnajderka, slabo su ih koristili ovi stariji "gospodini" Donovi uopšte nisu bili takvog "kroja". Mnogi od njih su bili jako velike hipohondre "Kad me metak nije ubio 70 godina, zašto cigarete da mi probiju pluća", neki su jednostavno prezirali duvan, kao i droge, Sicilijanci više vole da piju, duvan nekako vezuju za Arape, oni su pušili, nargile, a nisu pili, Sicilijanci obrnuto, ali i inače, većina tih starih "Mustaći Pit" Mafijaša je držala javne kuće ali bila verna ženama i nikad nije koristila svoje usluge, a kamoli droge koje nisu ni voleli, ili kockarnice.

Luka Brazi je znao da zapali nekad cigaru, ali onu tanku, nerazmetljivu, samo razmetljivog imena El Rej del mundo, i to samo posebnim prilikama kada bi slavio, na primer kada mu se jedinom čoveku koga je ikad voleo/strahopoštovao udavala ćerka, a inače je pušio normalne cigarete. Ali i to veoma retko, zbog neupadljivosti, prikrivenosti, i neostavljanja materijalni tragova. Zapalio je jednu da odobrovolji neprijatelje Porodice, koji su već pripalili, da vide da je opušten i spreman na saradnju i pregovore. To opuštanje ga je i koštalo života.

Iako su cigarete masovna proizvodnja, za brzu i bezličnu konsumpciju, prostih masa, potrošača savremenog brzog bezličnog društva, a cigare, ručno i sporo motane i pravljene da se isto tako sporo puše znak prošlosti i laganog života, onako kako Italijani vole da spremaju i hranu, natenane, polako, složeno....upravo je tu i razlika. Sicilijanci nisu raskalašni kao severnjaci, dangube. Gospoda. Tedeski. Nemačka škola (videti razlike između severnjaka i Sikula u Ujedinjenje Italije i u Teranova). Oni su bili izžuljavele ruke radnika seljaka. Koje su mogle eventualno da uberu taj duhan, osuše da i izdrobe sebi u lulu (indijanci su ga drobili da bi ga mogli pomešati sa još koječim, dangube), a i bez toga se moglo. Kapone je bio Napolitanac. I to je Sicilija. Ali su ih malo razmazili.

Stari Donovi više preferiraju da među prstima drže tanku cigaretu, em da ih podseća na njihovo namučeno seljačko poreklo, em da imaju elegantnije pokrete i mnogo kažu malim pokretima, a ne razmetanjem.

Sve to u kombinaciji je imalo jaku pojavnu moć ovde. Nije to samo latentno uzimanje cigarete iz pakle, odsutno, štaviše nekontrolisano zavisnički, Vito ne voli Sonija zato što se kompulzivno izleće, tako je i njegov brat Paolo završio. Kada Majkl zapali cigaretu, to je u značajnom trenutku, odsudnim životnim odlukama, kao neka upaljena lampica da obeleži ključni događaj. Iako su Korleoneovi učestvovali u nebrojenim istorijskim događajima, još od njegovog pradede i Garibaldinaca, revolucija, fašizma i komunizma, Papa i predsednika, njima kao porodici su mnogo bitniji porodični ključni događaji (Majkla briga za Kastra i Fulhensia, iako to znači da će izgubiti milione, njemu je bitna samo izdaja brata). Zato je cigareta bitna. Ona je intimna, poljubac smrti, uvlači se ustima, intimna kao njegov poljubac Fredu uz "Znam da si to bio ti", koji je trebao da bude novogodišnja čestitka, a presekao je Fredu život, nagli prekid porodičnog zagrljaja, odbačenost, pretnja smrti. Među prstima ti je, kao ruka drage osobe, a znaš da te ubija. Majkl ne drži samo cigarete među prstima. Često vrti i upaljač. Nimalo nervozno. Baš naprotiv. Koristi ga sasvim smireno, metalno, hladno i dominantno, dok pokušava da dominira nad Moom Grinom, to jest Bagzijem. Čak i prvi put kada ga vidimo da pali cigaretu na filmu (to nije prvi put da ga vidimo da puši, ako računate kasnije puštenu scenu Vitovog rođendana pre rata. A i tamo. Ne bi baš prvi put pripalio u očevoj kući, i to na rođendan. Ko zna otkad puši?), ispred bolnice gde čeka očeve ubice, u najključnijem trenutku i za porodicu i za njega samog, dok se Enco, pekar trese od straha, iako želi da pomogne, ruka ruku mije, Majkl je staložen i hladan kao zmija. Iako je mnogo uplašeniji. Za svoga oca više nego za sebe. Ali, smiruje Enca, i obojica pale cigarete, da izgledaju opasnije, opuštenije i primećeno. Za razliku od Luke. Mračnog ubice.

The symbolic power of this cigarette carries over and is heightened in the next significant cigarette scene, which occurs between Enzo, the baker, and Michael outside the hospital later that night. Enzo’s hands are shaking uncontrollably as he reaches into his coat pocket for his pack of smokes. He and Michael have just successfully deferred an attack on Don Corleone, who has been shot and is recovering in the hospital, by standing out by the front gate of the hospital posing as armed body guards. The close-up shot pans from Enzo’s hands retrieving a cigarette up towards his face, the camera gracefully following the movement of his hands. The further towards his mouth his hand moves, the more violently he begins to shake in intense spasms. He turns his face away to scan his surroundings in an attempt to collect his bearings; the clicking of the lighter as he struggles to strike it can be heard

We cut to a close-up of Enzo’s hand unsuccessfully igniting the lighter; he fumbles repeatedly, unable to control his hand muscles enough to turn the flint wheel and strike the flame. Michael’s hands then reach into the frame. The camera subtly follows Michael’s hands as they successfully turn the flint wheel on the first attempt and a strong flame flares. The frame holds, and Enzo leans down into Michael’s hands to light his cigarette. As Enzo pulls out of the frame, the camera angle cuts towards a medium close-up of Enzo and Michael, the focus of the shot now on Michael: he is looking down at his hands with intense concentration, his face enveloped in the smoke exhaled by Enzo’s cigarette. We then cut to a close up of Michael’s hands still holding the lighter, the lid still up; he pauses, briefly, before snapping the lid shut as police sirens enter the soundscape.

There is a lot going on in this particular encounter, one that lasts only twenty seconds of an almost three-hour film. What is revealed about Michael’s character is crucial. This scene outside the hospital occurs immediately after Michael pledges his allegiance to his father and by implication the family, declaring at Vito’s bedside that he is finally ‘with’ them. Michael has now officially entered the criminal underworld, posing as an armed mafioso, and he has done so with grace and courage. Despite the high risk and tension of a difficult situation he maintains his composure

The juxtaposition of Enzo’s shaking hands with Michael’s steady hands underlines that Michael is capable of staying rational, calm, collected, and cool in this monstrous syndicate. He is in full control of his emotions, thoughts, and actions—embodying a composure that is absolutely necessary if he wishes to follow in his father’s footsteps and become Don. Also noteworthy is the choreography of power expressed by the gestures: Enzo bends down to light his cigarette, but Michael does not move his hands towards Enzo’s face. Michael is the provider of light, sustenance, and protection; Enzo merely receives these gifts

Od tada se cigareta koristi kao znak njegovog preuzimanja sudbine u iste te ruke. Preuzeo je i kada se prijavio za vojsku, ali vidimo da ga svi ostavljaju u trpezariji, što znači da je još pod kontrolom svoje porodice. Igra sa smrću ali svojom sopstvenom odlukom, kao što su mogli da ga izbuše pred bolnicom, tako su mogli i na ratištu. Igra se životom kao cigaretom među prstima. Taj Encov upaljač je pomalo čudan. Izgleda isto kao onaj kod Bruna Tatalje pre nego što je zadavio Luku. Možda ima tu nečega, možda je Enco izvidnica, lokator. Simbol je smirenosti, samokontrole, autoriteta kod njega. Otprilike sve suprotno od pušača u pravom životu.

Cigarete jesu masovna roba, ali upaljači nisu, oni plastični za jednokratnu upotrebu. Ovo su kast'm mejd, napravljeni po porudžbini, lični upaljači, koje potrošiš, pa opet napuniš, kao što se vatra mržnje u tebi nikada ne ugasi, i kao što nikada ne možeš stvarno izaći iz Mafije, kao što Majkl pokušava, lažno obećavajući svojoj porodici da će uspeti za kooooju godinu, "Svaki put kada isplivam...oni me povuku nazad!", što ga na kraju košta života. Više nastradaju sek'nd hend smokeri nego pravi pušač. Vatra upaljača može da gori dugo, sve dok ga ne zaklopiš sam. Vatra, kojom zapališ cigaretu, je izgara. Deo po deo. I deo po deo tebe. Intenzivira se, kao kad je raspaljuješ, samo što ne duvaš, nego uvlačiš. U sebe. I sa pauzom, ostaviš zlo u sebi, a izbaciš samo dim. Raspaljuješ mržnju, koja će tebe i samo tebe da uništi.

Ali kao što kažu, vatra je zao gospodar ali dobar sluga kad se kontroliše, samo malo ko ovde može da je kontroliše. Zato je bolje preneti je na cigaretu. Upaljač ako ti ispadne iz ruku, na tepih, ode cela kuća, čak i ako snage reda ugase vatru, oštećenja su trajna, a cigareta samo tinja i tinja dok je ti ne rasplamsaš kad poželiš. Zato ona predstavlja najsiroviju vatru. Kontrolu i pripravnost. Zna se da su mnogi državnici, kao Staljin, Čerčil i Fidel Kastro pušili samo kako bi imali dovoljno vremena da razmisle šta će da kažu između dva dima.

Zato, kada zamalo ubiju Vita...snimak njegove "radne sobe" u porodičnoj kući je vrlo vrlooo pažljivo usniman. U centru kadra, i ansambla, je Soni Korleone, osvetljen i centralno postavljen. Zapravo je Vitova kožna stolica, prazna naravno, jer se niko ne usuđuje da sedne u nju barem ne dok je živ, i nemoćan u krevetu i dalje drži moć, i lamentira nad njima, iako bi mnogi hteli, Tesio na primer, znao je da Vito neće ostaviti imperiju svom prvorođenom, jer je razjareni bik, i uništiće je za dva dana, a i sebe manje više, ali kome će? Fredu, slabunjavom od rođenja? Kome je ispao pištolj. Nije hteo ni Džoa koledža, kako su zezali Majka, da meša. Teške su to odluke, ako ih ostaviš bez moći, suparnici će ih poubijati, ako im daš presto, sami će se poubijati. Trebao si da razmišljaš pre nego što si ušao u sve to. Nisi baš TOLIKO bio gladan. Mogao si da nađeš drugi posao. Zato se Tesio za koga kažu da je pametniji (i podmukliji) od takođe nezadovoljnog ali dovoljno pasivnog da išta proba da uradi Klemence, takođe vidi u centru, ALI okrenut leđima. Podmuklo. A Klemenci samo 3/4 lica (što znači da se premišlja, ali da ipak voli Dona i da neće, toliko neće da kad su mu napisali da u Kumu II izda Vita, glumac odbija ulogu, pa lik prelazi na Frenka PentAnđelija). Tako, na 3/4 lica je i Tom Hagen (ista scenarijska sudbina), koga čak i razrešava konsiljerske savetodavne uloge, iako ga voli kao svoje prirodne sinove, možda čak i više. Niko u sobi ne zapaža Majka. On ne samo da je u senkama zamračene sobe, nego se i stalno kreće. Opet, ne zbog nervoze, prilično je smiren, na Vita, ne na strica, ali stalno ide do telefona i nazad, poziva Luku. Plaše se, mora da je čuo za pokušaj ubistva, došao bi odmah, što ga nema, kod devojke nikad ne prespava, uvek je Vitu na raspolaganju, ako je prešao na drugu stranu...ako im on dođe, niko neće ostati. Ni deca. On je i svoju bebu živu bacio u pećnicu, zato Hagen zaustavlja decu kad trče oko njega na svadbi. A šta je na Donovom radnom stolu, iza kog je kamera? Na njemu "ćuti", što bi rekli Moravci, nekoliko predmeta. Ljudi bi pomislili scenograf stavio bezveze - šolju, računovodstvenu svesku, neke džidža-midže i otvorenu paklicu cigareta.

Petoro muškaraca priča šta i kako dalje, po prvi put svi mirni, svi oni koji se busaju kao mali petlovi, sada su tihi, uplašeni, razmišljaju. Jedino Majkl, neočekivano naglo ustaje "Oćete da ubijete sve te tipove", prekinuvši ozbiljnost. Ali i on je ozbiljan. Iako Soni pokušava da mu zapuši usta "Ej, Majki, molim te ne mešaj se u ovo", omalovažavajući ga. Ovaj nagli pokušaj dominacije, lažan, glup, prostački i smešan, bi možda upalio na nekom drugom. Ovde je samo pôkušaj. Majklova ćutnja se može seći nožem, ali nije se uplašio siledžije (koji je krenuo i da ga udari kada je rekao da ide u rat, zna da je to samo bratski, "berba ušiju", lažno prsenje lažnog žestokog momka). Svi su se ućutali. Jer predlog jeste najbolje do sad predloženo, samo što se niko nije osmelio da ga predloži. Majkl je kada je to izgovorio, ušao u kadar, i to glavom (tamo gde niko nije smeo nogom što se kaže),prvo malo profil, a onda i celo lice. Ono, izudarano. Oplavelo. Ne stidi se ničega. On je tu tamnu masnicu dobio dok je branio oca, dok su se oni tu zevzečili. Gleda u praznu fotelju, traži očevu pomoć u teškim vremenima, oca nema. Vidi cigarete na stolu, ne znamo da li su Vitove, izgleda kao neko ko je prestao da puši, naročito zato što je umro od kašlja. Ustaje, odlazi na kratko do stola, uzima "stvar u svoje ruke", to jest cigaretu, baca paklu nazad na sto, koliko da preseče tišinu i kadar, vizualnu kompoziciju i učmalost, ne da bi uvredio oca, baš naprotiv, pokazuje da ne želi njegov sto, želi da mu on poživi, nakratko se opet utapa u mrak, simbolizirajući njegovo potpuno morfiranje iz Koledž Džoa u pravog, odlučnog Dona, pravo dominirajući situacijom. Ne poput ovog detinjastog Sonija, koji skače na najmanju glupost. Ostaje da stoji, kako bi svi morali da gledaju u njega dok pričaju, kao u Svetog Roka, pali tu odlučnu cigaretu u mraku, da označi sebe, i trenutak kada je rešio da će krenuti stazom sa koje se ne vraća, udahnuo dim, za "Čerčilovu pauzu",

as an image of his authority—of his emotional and mental strength as Godfather-in-the-making.

The choice of a cigarette to represent Michael’s symbolic power is significant .

The subtle symbolism of cigarettes is developed especially across three scenes in *The Godfather*: the scene where Michael comes home after Vito has been shot; and the scene in which Michael is officially named Don. Whether through Michael’s physical movements. a totem of dominance.

Sonny points to Michael, says something incomprehensible regarding “Do me a favor” (which loosely recalls the opening scene between Vito [Michael] and Bonasera [Sonny] who comes to the Godfather for a ‘favor’)—a comment to which Michael does not respond verbally. Instead he moves back to his chair and sits, the cigarette firmly between his lips. In a few calculated movements

In the composition of the medium ensemble shot, Sonny appears to be the focus, as the man in power, and Michael is presented as occupying a subordinate position, with his back to the camera. But by moving in the frame, coming closer to the camera, and therefore becoming a larger, more dominant presence, Michael has become the center of attention. He is now the man in power. Sonny may still be handling the logistics of business as the perceived head of the family, but Michael is the interesting, active presence. He captures the camera’s gaze, and he does so to light a cigarette

This cigarette is not any mere cigarette. This cigarette, this token of strength and leadership, comes from the reigning head of the family. When it enters Michael’s mouth and he inhales the essence of the cigarette and has it fill his body, it endows him with metaphorical authority

There is a lot going on in this particular encounter, one that lasts only twenty seconds of an almost three-hour film. What is revealed about Michael’s character is crucial. This scene outside the hospital occurs immediately after Michael pledges his allegiance to his father and by implication the family, declaring at Vito’s bedside that he is finally ‘with’ them. Michael has now officially entered the criminal underworld, posing as an armed mafioso, and he has done so with grace and courage. Despite the high risk and tension of a difficult situation he maintains his composure

The juxtaposition of Enzo’s shaking hands with Michael’s steady hands underlines that Michael is capable of staying rational, calm, collected, and cool in this monstrous syndicate. He is in full control of his emotions, thoughts, and actions—embodying a composure that is absolutely necessary if he wishes to follow in his father’s footsteps and become Don. Also noteworthy is the choreography of power expressed by the gestures: Enzo bends down to light his cigarette, but Michael does not move his hands towards Enzo’s face. Michael is the provider of light, sustenance, and protection; Enzo merely receives these gifts

carries a great deal of symbolic resonance. and it furnishes fuel for the totemic cigarettes that Michael smokes. This small, sleek item, unassuming in its power, might be said to find a parallel in the character of Michael—the decorated war veteran, the ‘good kid’ who becomes the meticulous, cold-blooded, murderous Godfather by the end of the film. The lighter and its essential companion the cigarette have begun to function, then, as a cinematic trope expressing Michael’s control as Don, his observant nature, and his ability to destroy and be the hand of death. In short, they suggest his complete patriarchal (possibly phallic) power as Godfather

The final compelling scene of Michael’s smoking occurs at a transitional moment in his rise as Godfather, when Vito first places Michael in charge. In this scene, which again occurs in the family office, the shot switches from a brief ensemble shot of Michael sitting beneath the lamp, the only source of light in the shuttered room, to a medium shot of Michael in his chair. His legs are crossed and he is twirling his lighter in his hand as he talks of moving the family’s business to Nevada. He is in a suit (wearing the same tie he does at the baptism), and his body is active, his fingers lightly tapping the lighter and his crossed leg restlessly bouncing. His authority as Don is not being taken seriously – Clemenza and Tessio keep turning to Vito, not Michael, for instruction. It is not until after the brief dialogue between Vito, Clemenza, and Tessio, where Vito declares “Be a friend to Michael,” that Michael’s dominion as Don takes hold

This absolute reign begins when the shot again becomes a medium ensemble and Michael ascends from his chair beneath the light to stand assertively behind the Don’s desk. As he takes his place, it is clear that he now has a lit cigarette in his hand. His voice is more confident and demanding, and he not only has physical power over Clemenza and Tessio (who are now sitting below him), but he also has his token of authority securely between his two fingers. Michael begins to hand down a series of authoritative decisions

The film cuts to a middle shot of Carlo as it is revealed he will be in charge in Nevada; it cuts to a middle shot of Tom, who will no longer be *consigliere* but instead the family lawyer in Nevada (the shot lingers to gauge Tom’s reaction); then we cut to a medium close-up shot of Michael, who is still standing. The cigarette has moved out of the frame but the smoke can be seen languidly drifting up—a reminder that it is still there, burning away, mixing in the air that Michael inhales to speak. The smoke mimics Michael’s thoughts and actions, curling and twisting like his soul as he adapts to the complex situations presented throughout the film

Michael’s hands do not shake as he holds a thread of death in them, the ability to destroy and conquer evoked by a single image: the cigarette. Its source of power, the lighter, a small compact brass box, has the ability to burn and consume everything that gets in its way; it is a portable inferno of judgment—not so far from Michael during the infamous baptism sequence

While these three scenes suggest the arc of Michael’s development via his handling of cigarettes, cigarettes are Michael’s companion and totem in three other scenes too. In the anticipation of ‘the meet’ with Sollozzo, Michael gently places a cigarette between his lips in the family kitchen to keep his calm while Sonny and Tom get anxious; when Mo Green challenges Michael in Las Vegas, Michael lights a cigarette as he prepares to tell Mo how things should be, simultaneously twirling his lighter as he does so (possibly alluding to Mo’s eventual death); and finally, Michael lights two cigarettes in the last scene of the film after Connie accuses him of murdering Carlo and Kay earnestly presses him on whether he had Carlo killed. He lights up, first, when he is giving her his ‘one-time-only’ answer about the true nature of his business; and he lights up again when he is framed by the door as Kay prepares drinks in the foreground and members of the family filter into his office

For Michael, smoking allows for a form of meditation and deliberation that is also at the heart of his newfound power. Through the methodical rhythm of inhalation and exhalation, he achieves a cool control that becomes the personal signature of his brand of dominance. Held gently but confidently between the two fingers of Michael’s hand, the cigarette claims its place in the hands of the Godfather whose hands do not shake, the man who does not allow the strings of the family business to tangle. Michael is the one who holds the strings taut and with care, all the while enveloped in the drifting smoke of power