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Point of view of the 2 main characters is very prominent and profound in the book. The names of the  2 main characters are Dante and Croccifixio aka Cross. The two have very different views on what the Don wants them to do. The Don has assigned them the role to kill one of cross's friends, Dante is more than happy to do so, but Cross wants to warn him and Run. Cross has to run away to Las Vegas and hope the Don will not find out but Dante wants to obey his father. They both have to very different point of views.

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Point Of View

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"Except Don Clericuzio Lia said. He is the only one to fear" (Puzo 443).

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Fire and water is an excellent symbol in the book. The plot is about two brothers who have to very different views about what the don told them. This is a picture of two opposite Things in a shape of a heart. This represents the 2 main character perfectly because they are brothers by heart but have opposite views .

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This review Is book review does not do justice to what really happened in the book. By any means is not bad, but it does not talk about in depth about the book. This review by the New York Times mainly comares this book to his other works such as the "Godfather". Christopher Lehmann-Haupt from The New York Times does however talk about some ways one of the main characters acts, and that is described very well. So all in all it was written quite well but Christopher Lehmann-Haupt could have added more detail about the story.

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Back on Familiar Turf: Noisy Flows the Don
By CHRISTOPHER LEHMANN-HAUPT
THE LAST DON
By Mario Puzo
oes this sound familiar? In the opening scene of Mario Puzo's seventh and latest novel, ''The Last Don,'' the friends, associates and relatives of ''the most powerful Mafia Family head in America,'' Don Domenico Clericuzio, have gathered on Palm Sunday, 1965, at the Don's large estate in Quogue, L.I. The ostensible occasion is the christening of two infants of the Don's ''own blood,'' his grandchild Dante Clericuzio and his grandnephew Croccifixio (Cross) De Lena.

But the real point of the get-together is business. The Don dreams of becoming legitimate through the nation's legalization of gambling. ''Twenty, 30 years from now, we will all disappear into the lawful world and enjoy our wealth without fear,'' he tells his followers at a meeting up in his den. ''Those two infants we are baptizing today will never have to commit our sins and take our risks.'' But, as the narrator of the opening section concludes, ''What the Don could not foresee were the seeds of evil in as yet unformed human minds.''

Of course, a resemblance to his earlier famous book, ''The Godfather,'' is nothing new in Mr. Puzo's fiction. All three of his subsequent novels -- ''Fools Die,'' ''The Sicilian'' and ''The Fourth K'' -- recalled their predecessor in one way or another. In fact, what was both best and worst about these books was their resemblance to ''The Godfather,'' the best being the extent to which they transported us back to the brutal world of the Corleones, and the worst being how pale by comparison the flickers of resemblance made them seem.

What is different, even surprising, about ''The Last Don'' is that it sustains its resemblance almost to the end. Similar plot elements appear throughout. Like Michael Corleone in ''The Godfather,'' the protagonist of ''The Last Don,'' Cross De Lena, tries to escape the criminal workings of his family but ends being drawn into the vortex of its malignity.

Like ''The Godfather,'' ''The Last Don'' is filled with bloody warfare and shockingly sadistic acts of vengeance. Like the Corleones, the Clericuzios prefer gambling to drugs because drugs are ''too dangerous.'' In both books a key plot device involves assassinating a police officer. In both stories one of the Don's sons-in-law has to be rubbed out. Best of all, you can picture the characters in ''The Last Don'' being played by the actors in the ''Godfather'' movies. And the transposition does not diminish them greatly, although a sense of novelty is missing, to say the very least.

What is more, Mr. Puzo's ham-handed prose -- with its run-on sentences and grammatical howlers -- seems somehow reinvigorated by its return to Mafia family drama. Perhaps its raucous music is simply better tuned to the crude morality that his criminals cherish. In any case, a certain mordant wit lies in many of the Don's pronouncements: for instance, in his story of a sick old man murdered on his deathbed, which he tells to illustrate ''that ferocity without selection was mere braggadocio.''

Some of the incidents set in Las Vegas mischievously mock the excesses of that immoderate place. For instance, an influential Nevada politician who has been carefully cultivated by the mob finally delivers on a promise to have gambling legalized in America, but only if the Clericuzios assassinate the President, who is threatening to veto the legislation.

And Mr. Puzo's portrait of a powerful Hollywood movie studio achieves a certain satiric bitterness. For example, Cross De Lena saves a seemingly doomed movie project by murdering the person who's standing in the way of its completion, after De Lena has bought the film from the studio for $50 million. In response, the studio's executives are outraged. One of them points out that they'll still ''make a fortune on distribution.''

''But De Lena makes more money than we do,'' another of them howls. ''That's not right.'' They then set about to steal the film back from him.

One source of this bitterness may be Mr. Puzo's own experience as a writer. He has remarked that his first two novels, ''The Dark Arena'' and ''The Fortunate Pilgrim,'' were written and acclaimed as literary works but failed to sell, while the crudities of ''The Godfather'' made him rich and famous.

The implications of this remark are developed by a character in ''The Last Don'' who seems to be Mr. Puzo's mouthpiece. He is Ernest Vail, a novelist enraged by the studio's having acquired for a onetime fee the perpetual rights to the characters of his only commercial success. Vail has learned that these rights will revert to his family upon his death, and is seriously threatening to commit suicide for this purpose.

Vail, full of amusingly cynical opinions, insists that films have defeated the novel as a form. ''What's the point of writing a lyrical passage about nature, painting the world in red heat, a beautiful sunset, a mountain range coated with snow, the awe-inspiring waves of great oceans,'' he declaims. ''And how can we write about the amazing deeds of heroes who slay their enemies by the hundred, when you can get it all in gouts of blood before your eyes, tortured agonized faces on the screen. Actors and cameras doing all the work without processing through the brain.''

Vail is actually quite wrong. Just as good live theater offers an immediacy that movies can't match, the best novels surpass all films in the subtlety with which their language can work on one's sensibilities. Yet clearly the power of film has intimidated Mr. Puzo into thinking of his books as movies. And by screening in his mind's eye the story he tells in ''The Last Don,'' he may in this case have created a decent sequel to ''The Godfather.''

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Back on Familiar Turf: Noisy Flows the Don

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Back on Familiar Turf: Noisy Flows the Don By CHRISTOPHER LEHMANN-HAUPT THE LAST DON By Mario Puzo oes this sound familiar? In the opening scene of Mario Puzo's seventh and latest novel, ''The Last Don,'' the friends, associates and relatives of ''the most powerful Mafia Family head in America,'' Don Domenico Clericuzio, have gathered on Palm Sunday, 1965, at the Don's large estate in Quogue, L.I.