Nightman: I apologize for not delineating my antecedents. When I wrote, "Why humiliate mido505 for some of the best imaginative ideas presented around here in some time?" I was being careless. The question was really directed elsewhere, and only toward Toddy in regard to the Uriah Heap-ish quality in his "me-tooing" of Harvey Chartrand's judgment.
Tony, I agree with you to quite a far point. I believe the criteria should be: Do we have facts to back up our opinions? Or are we simply being insulting? Do we attack on faulty evidence? Do we claim never to have read material in evidence, when previously we claimed we had? Do we form conclusions about books or material we haven't read or experienced? A moderator, or someone like Toddy or like myself, like any of us, should attempt to prevent a discussion from degenerating into guttersnipe. Within those parameters, I say let it rip, for we should all be informed ladies and gentlemen. That is why we are here.
You are right, mido505, I am close to Todd Baesen, and we do have a laugh sometimes about these dustups, but that does not mean he should not be given a deserved public ducking on occasion [as should I or any of us, if we deserve it], when he talks through his cap or fails to do justice to his friend and mentor, Lawrence French, whom some have said has always acted like a father toward him. Toddy just should be polite, correct, and remember where he came from -- again as should we all, as it applies.
BTW, mido505, I also like GODFATHER III, consider the film the most satisfying of the Godfather Trilogy, a perfect denouement. It occurs to me that our discussion of the controversy over Betsy Blair's selection and "firing" as Welles' Desdemona bears some resemblance to Coppola's second or third (emergency) choice of his daughter, Sophia Coppola, for the part of Michael Corleone's daughter, the ultimate lost prize of the Corleone familly. In the eyes of certain critics, that performance singlehandedly ruined GODFATHER III. I've never understood the judgment. What Sophia Coppola lacked in experience, she made up for in innocence, and the obvious transference of her loving, frustrated father-daughter relationship from her father to the character of Michael Corleone.
To strengthen your potential thesis, mido505, consider Sophia's Mary Corleone (The Maiden), Diane Keaton's Kay Adams Corleone Michelson (The Goddess) and Talia Shire's Connie Corleone Rizzi (The Crone). Looks like a pretty snug fit for a Robert Graves' interpretation to me.
Just as many critics have traced APOCOLYPSE NOW back to Joseph Conrad's "Heart of Darkness" -- Coppola's wife connected the film with Welles' radio and screen adaptation Conrad's novella -- the latter part of the film has been linked to The Golden Bough by Sir James Frazer, and it's a hop, skip, jump, from there to Robert Graves. Obviously, though Graves and his White Goddess theory of artistic scholarship have now been forgotten in the popular mind, evidently an easy subject for derision these days, any ambitious student of Western Culture coming of age in the 1950's or 60's, like a Francis Ford Coppola, would have been familiar with Graves and his works.
[In Berkeley, sometime in the early 1960's, I sat in on a "Sensory Reporting" poetry writing group, conducted by a distinguished writing coach of the time, Lawrence Hart. He invoked Robert Graves, and claimed that "the moon as metaphor" was THE primary influence on the finest of Western Literature, poetry, and drama.]
Betsy Blair, even more than Sophia Coppola, would have had her work cut out for her -- like a potentially delicious slice of green cheese -- had she kept her job as the Moon Maiden of Orson Welles' OTHELLO.
Should you wish to read my interpretation of GODFATHER III, mido505, and the other segments of the Corleone Trilogy, look here: http://www.epinions.com/review/mvie_mu- ... 5796-prod5