ICONS OF AMERICAN FILM AS A CRIME FAMILY

Iconic films illuminate history by presenting characters free from the restraints of morality and mortality, able to explore bad decisions without real life consequences. Through movies, viewers can sympathize with despicable characters, see real life reflected in the outrageous, and make comparisons across space and time from the comfort of their couches. One such iconic film, The Godfather, focuses on violent familial ties, not necessarily by blood relation, but through complete devotion to a powerful crime family. Reflecting on films from the latter half of class, history can be assessed through the formation of a so-called ‘crime family’ using the full cast of characters across many films.

The oldest movie from this semester in terms of both production and setting is Little Big Man, and the character most suited for a fictional crime family is the fickle Jack Crabb. Fitting the orphan archetype, Jack has a difficult time deciding where his loyalties lie, reflecting modern contrasting opinions on victim retribution and military worship that plague America now as they did in 1970 in the wake of the My Lai Massacre. Though Jack is chronically unsure of his allegiance, he is unafraid of committing fully to each cause he encounters. He is not a heroic protagonist on whom viewers should base their lives, but he likes to be on the right side of history. Jack would thrive in organized crime because, despite his unpredictable nature, Jack is brave and obedient. He could easily be groomed to take over the family one day. Recognizing the ‘Jack Crabb’s in history is important as submissive personalities are dangerously malleable to evil.

Another passive character, but with a bolder personality is Frank Hackett from Network. More broadly, this applies to every character played by Robert Duvall this semester. Just as history can be viewed from the perspective of movies, characters can be explored through an actor’s career. From the reclusive yet heroic Boo Radley in To Kill a Mockingbird, to an essential part of the Corleone crime family as Tom Hagen in The Godfather, the cautious and diplomatic yet spontaneous Frank Hackett in Network, to the confidently ridiculous LTC Kilgore in Apocalypse Now, each Duvall character can be seen as a progression in agency from the last. Duvall could easily be made an offer he could not refuse to serve as a diplomatic right-hand man in yet another fictional crime family. His career can be tracked with the rise of conservatism, from standing in the corners of rooms like Boo Radley during the liberalization of the country under Johnson, to slowly working into the agendas of the Clinton administration Tom Hagen style, handling global catastrophes like Frank Hackett in G. W. Bush’s direct leadership role, and finally, embracing LTC Kilgore’s mania to push extreme conservatism under Trump. While Duvall’s collective character growth across these four films threatens to go too far, it also shows commitment to character building, an undeniable force regardless of viewers’ opinions of his actions.

 

In the spirit of secondary characters, Thelma from Thelma and Louise is another great addition to a crime family. She, like Jack, gives a gullible, ditzy, and unintelligent impression, despite being quite capable. Her image is contrasted with and often overpowered by Louise’s tough persona which, like Diana Christensen in Network, displays a more “masculine temperament.” This temperament has its own advantages, but Louise and Christensen are undeniable leaders, which makes them unfit for serving the cause of a family business controlled by a singular Godfather. Thelma embraces her femininity and uses it to both her advantage and detriment. Frustrated by being constantly underestimated and blamed for mistakes that are more a consequence of society than any fault of her own, Thelma is imbued with what Betty Friedan refers to as ‘housewife syndrome.’ She has so much potential for greatness, alas her story ends tragically as the world is not prepared to see her win. For the purposes of joining the fictional crime family, Louise’s T-bird would fly off the cliff in a less morbid, Grease-style ending, and Thelma would be given the respect she deserves in another space and time.

Do the Right Thing and The Godfather are also films concerned with respect. Mookie and Sonny Corleone would be the best picks for a crime family, foremost because both men proved their capabilities in garbage can combat and any good crime organization needs a few loyal goons. On a deeper level, these characters exemplify the violent side of justice. Like Howard Beale in Network encouraging Americans to scream out their anger, in the context of movies, violence can be extremely cathartic. Viewers understand the frustration that drives Mookie to throw the garbage can into Sal’s Pizzeria. He is “mad as hell” at the way he and other black people in the neighborhood have been treated. Likewise, it is satisfying for viewers to watch Sonny hit the man abusing his sister, over the head with a garbage can. While not necessarily good examples to follow in reality, these scenes make perfect sense in movies. Frustration, rage, and the violent pursuit of justice are uncomfortable matters to see play out in the real world, but the obsession with violence in movies allows viewers to safely explore both the physical release and its consequences. As the situation at Sal’s escalates in the wake of Mookie’s violence, the pizzeria is destroyed and Radio Raheem is left dead. Sonny’s fight with Carlo leads directly to his assassination at the toll booth. While violence may be a necessary part of assembling a crime family, it is important to note the lesson that violence breeds further violence as a warning for actions in the real world.

 

All the President’s Men differs slightly from other films in that it is based on the real world. Taking a step back and viewing the story without its historical connotations, the movie reveals that Richard Nixon is the most suited to be part of a crime family. Though his treachery caught up with him, his attitude of, “If I intended the coverup, believe me, I would have done it,” is a blind confidence coveted in organized crime. Nixon’s lack of morals, disregard for the law, and hunger for personal success suit him well for the crime family. His dedication to his story, even years after the exposure of his crime, shows extreme loyalty. By contrast, Mark Felt, aka informant ‘Deep Throat,’ would be a crime family’s worst nightmare. Felt kept his cover until 2005, a level of commitment that shows a persons’ morals and allegiance to the truth can negate organizational loyalty. Any renowned crime family is due to have some inside informant spreading rumors and starting drama, so while Mark Felt is perhaps a fated member of the family, he would be an unwelcome addition. Movies allow for the more objective analysis of real life figures such as these, disconnected from their historical context, in terms of motivation and action.

 

Viewing history through the lens of film allows a range of historical topics and a diverse cast of characters to exist simultaneously and be compared and contrasted with one another. With the formation of this fictional crime family, the characters were broken down into their essential traits. Their personalities and actions impact fictional worlds without consequences and audiences revel in their impossible and unreasonable means of expressing emotion, but that is not to say movies do not have implications for the real world. Iconic films shape popular culture and reflect attitudes of the time. Films like Network have become even more poignant over time as sensationalized news has only become more pervasive in society. Movies teach viewers to assess characters and situations critically and creatively, and call on viewers to assemble their own dream team of crime family accomplices.