Heirs Apparent in Juxtaposition: David in Samuel-Kings and Michael Corleone in The Godfather
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Abstract
We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The Godfather. They both begin outside the main power structure, the kingdom of Saul and the crime family, and then rise, often through the use of violence, to the top: King and Don. David’s decisive slaying of Goliath is matched by Michael’s assassination of Sollozzo and McCluskey. After the killings both are now recognized as serious “players” in their respective structures. As they move up the power chain David and Michael, as characters in biblical narrative and modern film, are haunted by the possibility that their stories could have been different: the innocent young shepherd and the decorated Marine. Both could be separate from the violence and corruption of Israelite monarchy and of the Corleone family.
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Works Cited
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Alter, R. 1980. The Art of Biblical Narrative (New York: Basic).
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Bailey, R.C. 2010. “Reading Backwards: A Narrative Technique for the Queering of David, Saul, and Samuel” in Linafelt, Camp, and Beal (eds.) 2010: 66-81.
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Coppola, F.F. (director). 1972. The Godfather (Hollywood: Paramount Pictures).
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Coppola, F.F. (director). 1974. The Godfather: Part II (Hollywood: Paramount Pictures).
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Farber, S. 1972. “Coppola and The Godfather,” Sight and Sound 41: 217-223.
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Hertzberg, H.W. 1964. I & II Samuel: A Commentary (Philadelphia: Westminster).
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Kael, P. 2000. “Alchemy,” Deeper into Movies: The Essential Kael Collection: From ‘69-’72 (London: Marion Boyars): 420-426.
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Levenson, J.D. 1978. “1 Samuel 25 as Literature and History,” CBQ 40: 11-28.
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Linafelt, T., C.V. Camp, and T. Beal (eds.). 2010. The Story of King David. The Past and Present of a Biblical Icon (New York: T&T Clark).
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Lyden, J.C. 2003. Film as Religion: Myths, Morals, and Rituals (New York: New York University).
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McCarter, P.K. 1980. 1 Samuel (AB, 8; Garden City: Doubleday).
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Miscall, P.D. 1983. The Workings of Old Testament Narrative (Semeia Studies; Philadelphia: Fortress).
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Moore, S.D. and Y. Sherwood. 2011. The Invention of the Biblical Scholar: A Critical Manifesto (Minneapolis: Fortress).
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Murray, W. 1974. “Playboy Interview: Francis Ford Coppola,” Playboy 22: 53-185 (passim).
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Puzo, M. 2002. The Godfather (New York: New American Library).
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Seesengood, R. and J.L. Koosed. 2013. Jesse’s Lineage: The Legendary Lives of David, Jesus, and Jesse James (Library of NT Studies; London: Bloomsbury T&T Clark).
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| All Time | Past 365 days | Past 30 Days | |
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Heirs Apparent in Juxtaposition: David in Samuel-Kings and Michael Corleone in The Godfather
In: Biblical InterpretationSearch for other papers by George Aichele in
Current site
Google Scholar
PubMed
Search for other papers by Peter D. Miscall in
Current site
Google Scholar
PubMed
Search for other papers by Richard Walsh in
Current site
Google Scholar
PubMed
Abstract
We read together the story of David in 1 Samuel 16-2 Kings 2 and that of Michael Corleone in The Godfather. They both begin outside the main power structure, the kingdom of Saul and the crime family, and then rise, often through the use of violence, to the top: King and Don. David’s decisive slaying of Goliath is matched by Michael’s assassination of Sollozzo and McCluskey. After the killings both are now recognized as serious “players” in their respective structures. As they move up the power chain David and Michael, as characters in biblical narrative and modern film, are haunted by the possibility that their stories could have been different: the innocent young shepherd and the decorated Marine. Both could be separate from the violence and corruption of Israelite monarchy and of the Corleone family.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 848 | 117 | 6 |
| Full Text Views | 129 | 8 | 0 |
| PDF Views & Downloads | 180 | 22 | 0 |
