ve messages. However, the narrative message never identifies woman as the possible instrument of castration. In fact, the symbolic instrument of castration, i.e. creation of total impotence, is the very patriarchal society of La Cosa Nostra, and not the ladies at all.
             Kurt Hoffman's direction reminds one of Sternberg in his treatment of light, shadow and spaces. Light and shadow are used to create suggestive patterns. Camera angles, distance, depth and framing all enhance the message of the scenes. While this does draw the audience into the scene and virtually eliminates the interference of the camera, it is just as much to involve the audience in the jokes as it is to help them identify with the characters in any perverse manner. In viewing this film without sound or subtitles, the sexually suggestive images carry their own messages and are enhanced by the talent of the actors and actresses in body language and facial expression. Marylyn Monroe could say volumes with her body language and facial expression and Wilder capitalized on this in
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