The Incomparable

355: What Would Pop Do?


00:00:00   [Music] [TS]

00:00:05   the incomparable number 355 May 2017 [TS]

00:00:13   welcome back everybody to the [TS]

00:00:15   incomparable in this episode we're [TS]

00:00:16   talking about a classic film following [TS]

00:00:18   up on our conversation a while ago about [TS]

00:00:21   the Godfather we're going to talk about [TS]

00:00:23   guess what the Godfather Part 2 from [TS]

00:00:26   1974 directed again Francis Ford Coppola [TS]

00:00:30   written by Francis Ford Coppola and [TS]

00:00:32   Mario Puzo from Mario Puzo's novel [TS]

00:00:35   joining me to talk about the Godfather [TS]

00:00:37   Part 2 are these fine gentlemen John [TS]

00:00:41   siracusa hello Jason if you do a podcast [TS]

00:00:44   about the Godfather Part 3 you'll [TS]

00:00:47   disappoint me I think making that [TS]

00:00:48   already made that joke no not on the [TS]

00:00:51   podcast voice sq yawn hello [TS]

00:00:53   coming to you live in my home in my [TS]

00:00:56   bedroom where my wife sleeps and the [TS]

00:00:59   children I don't have play with their [TS]

00:01:00   toys Merlin Mann is also here hi Marilyn [TS]

00:01:05   I'm a retired investor that's good and [TS]

00:01:13   John Gruber is back to talk about the [TS]

00:01:16   Godfather once more hi John hey I like [TS]

00:01:18   The Godfather Part three so do i whew [TS]

00:01:20   interesting interesting so are there any [TS]

00:01:23   opening statements that anyone would [TS]

00:01:24   like to make about the Godfather Part 2 [TS]

00:01:26   now would be a good time [TS]

00:01:27   John siracusa do you have an opening [TS]

00:01:30   statement no surprisingly I don't you [TS]

00:01:33   just hide I might I might have an [TS]

00:01:35   abbreviated opening statement and now [TS]

00:01:37   I'm getting stage fright doing such a [TS]

00:01:39   thing in front of John siracusa I I [TS]

00:01:42   think that one of the things that gets [TS]

00:01:43   profoundly lost about these movies is [TS]

00:01:46   that is they are really deeply [TS]

00:01:48   inherently political and and very much [TS]

00:01:52   about the cycle of capitalism and that's [TS]

00:01:55   something that becomes a major theme [TS]

00:01:59   that some lanterns get hung on in this [TS]

00:02:01   one in particular where we you know we [TS]

00:02:04   we bounce back and forth in time and we [TS]

00:02:07   see I think the the building of what we [TS]

00:02:12   what we consider a I guess I guess a [TS]

00:02:15   more shameful part of the modern [TS]

00:02:16   economic model but something that is [TS]

00:02:19   that is a big part of it which is [TS]

00:02:21   graphed at a very of different levels [TS]

00:02:24   and I you know I you know I I political [TS]

00:02:27   opinions this may not necessarily be the [TS]

00:02:28   best place for them you know in a [TS]

00:02:30   partisan fashion but generically they're [TS]

00:02:33   probably a few a few opinions that I [TS]

00:02:36   have on that front one of the things [TS]

00:02:37   that struck me I was thinking about the [TS]

00:02:39   opening to the Godfather you know I [TS]

00:02:41   believe in America and I was thinking [TS]

00:02:44   about that thought and the imagery in [TS]

00:02:47   Godfather two which opens differently [TS]

00:02:51   but very quickly you see a whole bunch [TS]

00:02:56   of interesting I just it put me in the [TS]

00:02:58   frame of mind of the immigrant story and [TS]

00:03:00   of being a new immigrant to America when [TS]

00:03:05   we see him when we when we see young [TS]

00:03:07   Vito looking over the one ship to see [TS]

00:03:11   the top of the of the the Statue of [TS]

00:03:13   Liberty and I also thought about it [TS]

00:03:16   throughout Michael's performance in that [TS]

00:03:17   context it started getting me to [TS]

00:03:19   thinking about Michael and about the [TS]

00:03:21   burden of sort of first-generation [TS]

00:03:24   Americans children of immigrants and how [TS]

00:03:27   that that is I feel like you know that's [TS]

00:03:29   a key part of the Godfather story too is [TS]

00:03:32   this isn't just a story about some some [TS]

00:03:34   mobsters this is a story about [TS]

00:03:36   immigrants who are who are in America [TS]

00:03:39   but still like kind of kind of have [TS]

00:03:41   their countrymen around them and then [TS]

00:03:43   about the children of the immigrants [TS]

00:03:44   that are not living the same lives as [TS]

00:03:46   their parents and that it's just in this [TS]

00:03:48   movie hits home about that even more [TS]

00:03:50   than the first one does there's a [TS]

00:03:51   there's a big link within Al Pacino's [TS]

00:03:54   career to his work in Scarface where [TS]

00:03:57   there there is this very heavy image of [TS]

00:04:00   immigrants having to make good with what [TS]

00:04:02   they can and struggling and scraping and [TS]

00:04:05   resorting to vice and crime and so on [TS]

00:04:08   and it's something that that I think is [TS]

00:04:10   contributed to a very unfortunate [TS]

00:04:12   assumption about immigrants in general [TS]

00:04:15   based on people paying much more [TS]

00:04:17   attention to popular media than the [TS]

00:04:19   actual facts and history of things the [TS]

00:04:21   the majority of what people see in these [TS]

00:04:24   struggling scraping immigrants and [TS]

00:04:26   refugees stories is people like video [TS]

00:04:28   Corleone coming over to the States and [TS]

00:04:29   otherwise being an upstanding guy but [TS]

00:04:31   then turning into a crime boss or in the [TS]

00:04:34   case of Scarface you know you've got [TS]

00:04:36   ALPA chinos character who [TS]

00:04:37   comes over on the on the Mariel boatlift [TS]

00:04:40   and and you know he he shows he shows [TS]

00:04:44   America who's boss and and the the thing [TS]

00:04:48   that the thing that bugs me about it is [TS]

00:04:50   that there is that profound [TS]

00:04:52   misunderstanding that people have about [TS]

00:04:55   what that life is and the struggle that [TS]

00:04:58   that life is and the vast majority of [TS]

00:05:00   people who are in that situation we're [TS]

00:05:02   looking for a better life and don't [TS]

00:05:04   build a gigantic crime family seems like [TS]

00:05:07   wait money on the table doesn't it yeah [TS]

00:05:09   I mean that's the thing is we're just [TS]

00:05:10   we're stupid we're the missed [TS]

00:05:11   opportunity to clearly I think same [TS]

00:05:14   actors same director I would argue [TS]

00:05:16   Carlito's Way is actually about I like [TS]

00:05:18   Carlita's Way better than Scarface I I [TS]

00:05:20   agree completely [TS]

00:05:21   oh I like Carlito's Way better than [TS]

00:05:23   Scarface for many many reasons [TS]

00:05:25   not just going to the fact that I'm [TS]

00:05:26   cuban-american right but it hits with [TS]

00:05:28   those themes those same themes you know [TS]

00:05:30   Puerto Rican immigrant instead of [TS]

00:05:32   instead of Cuban yeah usually what I do [TS]

00:05:34   is kind of walk through the the story [TS]

00:05:36   and you guys can stop me I'm going to [TS]

00:05:37   kind of go in the blocks now because [TS]

00:05:39   this is a movie that is told in two [TS]

00:05:40   timeframes and in the early 20th century [TS]

00:05:42   with young Vito Corleone who as an adult [TS]

00:05:46   is played by Robert De Niro and then in [TS]

00:05:48   the late 50s we are focused on on [TS]

00:05:52   Michael and that's the the story picking [TS]

00:05:54   up where the Godfather left off and so [TS]

00:05:57   they go back and forth so I feel like [TS]

00:05:58   that might be a good way for us to cover [TS]

00:06:00   this kind of in blocks on that on that [TS]

00:06:02   topic of you know the two timeframes I [TS]

00:06:05   was racking my brain trying to think if [TS]

00:06:08   any other movie has done this to this [TS]

00:06:10   degree this is the only movie I can [TS]

00:06:12   think of that is both a prequel and a [TS]

00:06:14   sequel to a successful film all in one [TS]

00:06:16   and not in like a lot of movies do it [TS]

00:06:19   where it's it's a sequel you know it's [TS]

00:06:21   the movie that comes after the first one [TS]

00:06:22   that was very popular and it continues a [TS]

00:06:24   story but with flashbacks this movie as [TS]

00:06:27   evidenced by the weird recutting where [TS]

00:06:28   they make chronological it's basically [TS]

00:06:30   two movies in one that they cut back and [TS]

00:06:33   forth it's not like a sequel with a [TS]

00:06:35   couple flashbacks to give you some [TS]

00:06:36   backstory it is two movies and the way [TS]

00:06:38   that you know who has managed it who has [TS]

00:06:40   the guts and the gall to say I'm gonna [TS]

00:06:42   make a prequel and a sequel in one [TS]

00:06:43   gigantic ridiculously long movie and [TS]

00:06:45   you're going to like it and they pull it [TS]

00:06:47   off and it's like a miracle [TS]

00:06:48   that plays into my opening statement oh [TS]

00:06:51   we [TS]

00:06:51   now the thing that struck me right we [TS]

00:06:53   watched it this week I you know took me [TS]

00:06:54   a couple of sittings because it's seven [TS]

00:06:56   hours long fraud it's two movies really [TS]

00:06:59   so there you go in length it's three [TS]

00:07:00   hours and 22 minutes but ya round up to [TS]

00:07:02   seven what really struck me and I don't [TS]

00:07:04   know I ever really had this thought [TS]

00:07:05   before was that of that group of 70s [TS]

00:07:09   filmmakers who a lot of you know they [TS]

00:07:11   were largely pals with each other store [TS]

00:07:14   let's just see Spielberg Lucas Coppola [TS]

00:07:18   De Palma who might leave it yeah those [TS]

00:07:21   are the four I was thinking of yeah when [TS]

00:07:22   we when we talked about American [TS]

00:07:24   Graffiti we talked about those four it [TS]

00:07:25   the same context yeah uh so let's just [TS]

00:07:27   say those four Oh Scorsese sure again [TS]

00:07:30   can't leave out Scorsese Scorsese who [TS]

00:07:32   Coppola actually recommended to the [TS]

00:07:34   studio when he didn't think that he [TS]

00:07:36   wanted to write the sequel and they said [TS]

00:07:38   no hell no not Martin Scorsese what does [TS]

00:07:39   he know about directing movies yeah the [TS]

00:07:42   thing that struck me is that Coppola [TS]

00:07:44   clearly peaked before any of the other [TS]

00:07:47   ones and you know it you could argue [TS]

00:07:49   that maybe he peaked with Godfather to I [TS]

00:07:51   think the conversation is a masterpiece [TS]

00:07:53   Apocalypse Now is a weird movie but I [TS]

00:07:56   think super compelling but then after [TS]

00:07:58   apocalypse now what's the best movie [TS]

00:08:00   Coppola made I mean it almost gets a bad [TS]

00:08:02   rap because there are some interesting [TS]

00:08:03   stuff in here I think Peggy Sue gets [TS]

00:08:05   married is maybe the best time travel [TS]

00:08:07   movie ever made but it's it's a little [TS]

00:08:11   sad to me because it just seems like [TS]

00:08:14   some of those other guys went on to keep [TS]

00:08:16   making masterpieces and her best work [TS]

00:08:18   was so far ahead of them um but at 1972 [TS]

00:08:22   out of that group Coppola was clearly [TS]

00:08:24   the one it was the the master of the [TS]

00:08:26   medium and this the whole sequel in a [TS]

00:08:29   prequel in one where I really I'd love [TS]

00:08:31   to know like with a stopwatch which [TS]

00:08:33   which of those gets the most screen time [TS]

00:08:35   and how close to 50/50 it is because [TS]

00:08:37   it's clearly not just a movie about [TS]

00:08:39   Michael Corleone with flashbacks to his [TS]

00:08:42   father it's it's 50/50 at least at least [TS]

00:08:45   emotionally it's 50/50 watching it this [TS]

00:08:47   time I was struck by how I felt like it [TS]

00:08:50   was really more Michael heavy than than [TS]

00:08:54   the past timeframe heavy that I they [TS]

00:08:56   would that I feel like we would get a [TS]

00:08:57   little taste of the past and then we [TS]

00:08:59   would have a long segment in the [TS]

00:09:01   president at least that's how I [TS]

00:09:01   perceived it I didn't do the stopwatch [TS]

00:09:03   thing either but it [TS]

00:09:05   little surprise because in my mental [TS]

00:09:06   space of having the last time I watched [TS]

00:09:08   this film they're absolutely [TS]

00:09:10   you know emotionally weighed fifty fifty [TS]

00:09:12   and they're they're intended to be [TS]

00:09:14   viewed that way but in in terms of the [TS]

00:09:15   runtime that was one of the things I was [TS]

00:09:17   going to say is one of the the choice to [TS]

00:09:18   make this movie in this in this format I [TS]

00:09:21   think going into it I with just my [TS]

00:09:25   memory of it and looking at the runtime [TS]

00:09:27   my thought was Coppola basically made [TS]

00:09:29   two movies and decided to interleave [TS]

00:09:31   them for production reasons for story [TS]

00:09:33   reasons I understand the that he wanted [TS]

00:09:36   to get some extra weight from the [TS]

00:09:37   juxtaposition of the of the father and [TS]

00:09:39   the son and and he said that that's the [TS]

00:09:41   reason this idea for this film even [TS]

00:09:43   happened as he wanted to make a movie [TS]

00:09:44   about a father and a son at the same age [TS]

00:09:46   and how they live their lives similarly [TS]

00:09:48   and differently so I get all of that in [TS]

00:09:50   watching it I realized that I don't [TS]

00:09:53   think I'm don't going to John's [TS]

00:09:54   referencing that complete epic cut where [TS]

00:09:56   they take all the early stuff and then [TS]

00:09:57   run the first Godfather movie and then [TS]

00:09:59   run all the later stuff in time sequence [TS]

00:10:02   instead of the way this is done I don't [TS]

00:10:04   think it come would come off as well [TS]

00:10:05   because I think I think neither of them [TS]

00:10:08   certainly the the early stuff doesn't [TS]

00:10:11   feel like it would be a complete movie [TS]

00:10:13   if you watched in an isolation it is it [TS]

00:10:16   is there it's interesting but it's also [TS]

00:10:18   really there to add a contrast or or [TS]

00:10:21   find the connections to what Michael is [TS]

00:10:23   doing yeah you have to have watched the [TS]

00:10:25   first Godfather otherwise hey why do you [TS]

00:10:28   even care about Vito and be none of the [TS]

00:10:30   things they do they'd like echo forward [TS]

00:10:32   and to you know like it it is made [TS]

00:10:35   consciously as a prequel so when they do [TS]

00:10:37   it chronological I mean it's fine if you [TS]

00:10:39   have already seen all the movies it's [TS]

00:10:41   just an interesting recutting but if [TS]

00:10:42   they just hold it that way like who is [TS]

00:10:44   this Vito guy and why do I care and [TS]

00:10:46   what's the deal with the oranges like I [TS]

00:10:47   mean you wouldn't you wouldn't put the [TS]

00:10:49   pieces I guess what I'm saying though is [TS]

00:10:50   if they had released the Godfather Part [TS]

00:10:51   two as two separate films as sort of [TS]

00:10:54   like the young Vito Corleone film and [TS]

00:10:56   the what happens after the Godfather [TS]

00:10:58   film I'm not sure the young Vito film is [TS]

00:11:00   a film I'm not there's some great stuff [TS]

00:11:01   in it but I'm not sure it tells a [TS]

00:11:03   complete story in the way that I thought [TS]

00:11:06   going in my memory told me it did [TS]

00:11:08   instead I found that that what it really [TS]

00:11:10   had was this added this incredible depth [TS]

00:11:12   to the other story I have some strong [TS]

00:11:14   feelings about the the interleaving [TS]

00:11:15   a bit and for me they're not so much to [TS]

00:11:18   movies as to narratives and the the [TS]

00:11:21   flashback to Vito stuff feels [TS]

00:11:23   emotionally you know we open on Michael [TS]

00:11:25   and then we we jump back in time it [TS]

00:11:28   feels to me like a simultaneous like [TS]

00:11:30   what he is what he is subconsciously [TS]

00:11:33   thinking about as the story is [TS]

00:11:36   progressing he is he is comparing [TS]

00:11:38   himself to his father he's trying to [TS]

00:11:39   live up to his father and he is seeing [TS]

00:11:41   his father's rise to power and you know [TS]

00:11:45   rise up from from childhood through [TS]

00:11:47   rose-colored glasses almost in a way of [TS]

00:11:51   justifying him doing everything he's [TS]

00:11:53   doing this movie he is feeling the [TS]

00:11:55   weight of his father's legacy on his [TS]

00:11:57   shoulders these many years after the the [TS]

00:11:59   narrative of the first movie and and for [TS]

00:12:01   me referring to the Godfather saga The [TS]

00:12:04   Godfather the complete epic 1901 to [TS]

00:12:06   whatever whatever those two things that [TS]

00:12:09   there was there was a TV cut that was [TS]

00:12:11   like four hundred some-odd minutes long [TS]

00:12:12   and then it was re-edited down in run [TS]

00:12:15   time but with violent scenes added that [TS]

00:12:19   weren't in the TV cut at something like [TS]

00:12:21   300 and something minutes for video so [TS]

00:12:24   there are two completely separate like [TS]

00:12:26   six seven hour versions of this thing [TS]

00:12:28   both of them the fundamental flaw is [TS]

00:12:31   exactly what you're pointing to is that [TS]

00:12:33   there isn't a distinct separate [TS]

00:12:36   narrative going on here and it works as [TS]

00:12:38   vignettes it works in parallel to the to [TS]

00:12:43   the story of Michael effectively having [TS]

00:12:45   the the Dawn's midlife crisis where he [TS]

00:12:48   is having he's resolving his crisis of [TS]

00:12:52   conscience by couching it with well this [TS]

00:12:55   is how my father would have done all of [TS]

00:12:57   this stuff and and I know better because [TS]

00:12:59   I'm doing things dad would have the way [TS]

00:13:02   that dad would have done it because he [TS]

00:13:03   did this in this and I learned from my [TS]

00:13:06   father and my father's son and [TS]

00:13:08   historically for me it I I agree with [TS]

00:13:12   John I really I I racked my brain [TS]

00:13:14   rewatching this this week and I can't [TS]

00:13:16   think of another case where there was a [TS]

00:13:18   sequel that was at once a prequel and [TS]

00:13:20   and and did things this cleanly in in [TS]

00:13:24   either respect individually and on top [TS]

00:13:28   of that [TS]

00:13:29   like as much as the first movie is great [TS]

00:13:31   standout performance for Al Pacino this [TS]

00:13:33   is really the beginning of the Al Pacino [TS]

00:13:37   character that that persona that the way [TS]

00:13:41   that he developed himself as a screen [TS]

00:13:42   persona this is really you know the [TS]

00:13:46   first movie was the was Al Pacino [TS]

00:13:48   origins and this is Al Pacino beginning [TS]

00:13:51   to to jump straight into his prime and [TS]

00:13:53   become that guy who blows up in in anger [TS]

00:13:57   and rage and has those outbursts and [TS]

00:14:00   that that's there there are so many [TS]

00:14:02   different dimensions to to really [TS]

00:14:04   appreciate the movie on but for me it as [TS]

00:14:07   much as he got to do in the first movie [TS]

00:14:09   this really in between the two movies is [TS]

00:14:12   where I feel like he gets to do the most [TS]

00:14:14   work because we're getting to see his [TS]

00:14:16   his Lee Strasberg Actors Studio moment [TS]

00:14:20   before character work literally being [TS]

00:14:22   done as performed by Robert De Niro and [TS]

00:14:24   you know there there are a few things [TS]

00:14:26   better than having your inner monologue [TS]

00:14:28   performed by one of the great actors of [TS]

00:14:30   all time in what I think John Gruber has [TS]

00:14:33   said this on a podcast of his own and I [TS]

00:14:36   agree with it this this really the [TS]

00:14:38   nearest performance here is so [TS]

00:14:40   understated and it wants strong and [TS]

00:14:43   assured it is one of the one of the [TS]

00:14:46   standout among standouts if not the the [TS]

00:14:49   greatest performance in American cinema [TS]

00:14:50   hey Marlon ya got an opening statement [TS]

00:14:53   mmm just to bounce a little bit off what [TS]

00:14:56   bits of what everybody said I think um I [TS]

00:14:59   agree with you Jason that when I think [TS]

00:15:01   about this in my head I think of it as a [TS]

00:15:03   50/50 split but now having watched this [TS]

00:15:05   a couple more times I an again I don't [TS]

00:15:08   have clock on this but I'm gonna come to [TS]

00:15:10   say very clearly 1959 Michael is the a [TS]

00:15:14   story in Vida a 19-7 starting whatever [TS]

00:15:17   back you know starting in the old Vida [TS]

00:15:19   stuff that that's that is the B story [TS]

00:15:21   the thing that makes a poignant though [TS]

00:15:23   and I guess kind of to what Moises said [TS]

00:15:25   I mean you can really think of the Vito [TS]

00:15:29   story being support for the Michael [TS]

00:15:30   story and you could almost imagine sort [TS]

00:15:32   of like you're saying is that like when [TS]

00:15:34   he has these ruminative moments he sit [TS]

00:15:36   in a chair and just staring into the [TS]

00:15:37   middle distance that it's almost like a [TS]

00:15:39   you know I wonder what pop would do [TS]

00:15:40   right now [TS]

00:15:41   and I think so much of the poignancy of [TS]

00:15:43   this comes out of without being too [TS]

00:15:46   on-the-nose and really some of the stuff [TS]

00:15:47   in those extended versions are a little [TS]

00:15:49   bit cute I mean you meet young Hyman [TS]

00:15:51   Roth and all that stuff it's most of its [TS]

00:15:53   that's all disposable I guess the [TS]

00:15:54   poignancy to this come I guess this [TS]

00:15:57   seems really obvious but you know Vito [TS]

00:16:00   does not know what kind of empire he's [TS]

00:16:03   going to have he's thinking in the short [TS]

00:16:05   to medium term making us really you know [TS]

00:16:07   pretty smart decisions being savvy [TS]

00:16:09   having sort of an ethical code about how [TS]

00:16:12   he works but really Vito story is about [TS]

00:16:14   somebody who starts off in this terrible [TS]

00:16:15   situation and then has a fairly [TS]

00:16:17   hard-working but somewhat meteoric [TS]

00:16:19   ascent and the poignancy to me comes out [TS]

00:16:23   of then looking at Michael at that same [TS]

00:16:25   age who is presiding and obviously this [TS]

00:16:28   began in part one but he's really [TS]

00:16:29   presiding over a very very changed [TS]

00:16:32   industry the the way we used to do [TS]

00:16:35   things is not going to work anymore [TS]

00:16:36   whether that's getting into you know [TS]

00:16:38   drugs like in Godfather one but looking [TS]

00:16:40   at these ways everything is going to [TS]

00:16:41   have to change but the same themes a [TS]

00:16:44   family and loyalty trust power those [TS]

00:16:47   things get played out in these two [TS]

00:16:49   different interlinking stories and then [TS]

00:16:51   you get those crazy long multi foot [TS]

00:16:53   dissolves between the two and it gives [TS]

00:16:55   you a moment to kind of like emotionally [TS]

00:16:57   change gears as we move between those [TS]

00:16:59   two and it's a really weird movie if you [TS]

00:17:02   really forget about watching this movie [TS]

00:17:04   for 30 40 years this is a very very [TS]

00:17:06   strange movie I think it was very [TS]

00:17:07   shocking to people at the time it came [TS]

00:17:09   out according to Wikipedia which is [TS]

00:17:11   never wrong I got a lot of mixed reviews [TS]

00:17:13   because people thought this was bananas [TS]

00:17:14   what is it who let this guy make this [TS]

00:17:17   movie this way but well the answer is [TS]

00:17:19   the first one was such a success that [TS]

00:17:20   they're like they're like alright three [TS]

00:17:22   making him do do a curb launch do [TS]

00:17:25   whatever you want and and he's on on [TS]

00:17:27   record as saying you know the first [TS]

00:17:29   movie is all about external action in [TS]

00:17:30   the second movie is all about internal [TS]

00:17:32   action it is it is this much more [TS]

00:17:33   introspective kind of film and that he [TS]

00:17:36   wanted to make guy as an art film almost [TS]

00:17:38   about a father and a son and instead he [TS]

00:17:40   just was like I'll just make the [TS]

00:17:41   Godfather Part two and have it be about [TS]

00:17:43   that it is shockingly again Merlin like [TS]

00:17:46   you were saying you know what what lives [TS]

00:17:48   in our minds versus what's on the on the [TS]

00:17:50   screen I I just the tone of it too [TS]

00:17:53   struck me as being so different from [TS]

00:17:55   the first film that is a very different [TS]

00:17:57   film in a lot of ways it is not just a [TS]

00:17:59   pickup the storyline of the first it [TS]

00:18:02   does that but that's not what the film [TS]

00:18:04   is is it's sort of surprisingly dark and [TS]

00:18:06   weird and and an arty in ways that you [TS]

00:18:10   would be you'd be surprised by I think [TS]

00:18:12   go the further the first one is much [TS]

00:18:14   more of an ensemble kind of ensemble [TS]

00:18:16   narrative and this one is much more [TS]

00:18:18   driven entirely by Michael and everybody [TS]

00:18:21   else is along for the ride I yeah it's [TS]

00:18:23   so difficult to go back and watch these [TS]

00:18:25   things you know it becomes like the Mona [TS]

00:18:26   Lisa but yeah I agree the tone the tone [TS]

00:18:29   does feel very different and it's [TS]

00:18:32   there's something I don't know I should [TS]

00:18:34   probably save this for closing rather [TS]

00:18:36   than opening but like after watching [TS]

00:18:37   this so many times I now I sit and I [TS]

00:18:40   watch that last scene you see Michael in [TS]

00:18:41   the seat it starts to fade out and it's [TS]

00:18:44   so strange to me that he is the main [TS]

00:18:45   character and this but I still don't [TS]

00:18:47   feel like I know him very well [TS]

00:18:49   it's such an accomplished performance in [TS]

00:18:51   such a such a terrific movie but it's so [TS]

00:18:53   interesting to me that Michael still is [TS]

00:18:54   a little bit of a cipher by the end of [TS]

00:18:56   this movie which I think is I don't if [TS]

00:18:58   you all agree but I think that's still [TS]

00:18:59   such a fascinating part of this is like [TS]

00:19:01   what is he thinking right now that [TS]

00:19:02   that's what's what affects me so much [TS]

00:19:05   about the the difference in tone is [TS]

00:19:06   because it is so profoundly Michael's [TS]

00:19:09   movie the getting to know him better by [TS]

00:19:12   it by by watching things in many ways [TS]

00:19:15   through his perspective pretty much [TS]

00:19:16   overriding the whole narrative he is so [TS]

00:19:19   distant and so detached and so aloof and [TS]

00:19:21   cold just ice-cold that it's it's [TS]

00:19:26   difficult to really come to the end of [TS]

00:19:27   the movie feeling like you have a more [TS]

00:19:29   profound impression of who this person [TS]

00:19:31   is than you did at the beginning of it I [TS]

00:19:33   think I did like I I think I really get [TS]

00:19:35   to know Michael Nestorian I also have [TS]

00:19:37   slightly different take on the on what [TS]

00:19:39   the the flipping back and forth between [TS]

00:19:40   the stories is showing myself see were [TS]

00:19:42   saying there was kind of like thinking [TS]

00:19:44   what his father would do or whatever the [TS]

00:19:46   way the way this movie feels to me and [TS]

00:19:47   I've seen it many times and this feeling [TS]

00:19:49   it's never gone away is that when they [TS]

00:19:50   do those those fades back to the past [TS]

00:19:53   the contrast that the movie is is [TS]

00:19:56   putting in my faces Michael's doing this [TS]

00:19:58   stuff but Michael doesn't know to the [TS]

00:20:02   degree that the flashbacks are showing [TS]

00:20:05   Michael doesn't know all that stuff sure [TS]

00:20:06   his father told him the basic story of [TS]

00:20:09   maybe how he came to America and where [TS]

00:20:11   he is but he didn't live it he doesn't [TS]

00:20:12   know he doesn't understand it he's in [TS]

00:20:14   the present day and I think he is [TS]

00:20:15   thinking about you know uh what should I [TS]

00:20:19   do [TS]

00:20:19   he has to he has to go to his mom to ask [TS]

00:20:21   is you in the situation right [TS]

00:20:24   I believe that's what he's thinking but [TS]

00:20:25   the movie switches back to say here's [TS]

00:20:28   what Michael doesn't know here's what it [TS]

00:20:30   was like for his father during this time [TS]

00:20:32   and he'd like to show you how far off [TS]

00:20:36   track Michael actually is that he [TS]

00:20:39   doesn't he doesn't understand how things [TS]

00:20:41   were for his father what his father did [TS]

00:20:44   what he was trying to do the context of [TS]

00:20:45   everything he only knows the thought his [TS]

00:20:48   father at the end sort of the empire [TS]

00:20:50   that he grew up in and the maintenance [TS]

00:20:52   thereof and the political strategy and [TS]

00:20:54   what you're supposed to do for your [TS]

00:20:56   family and like he's you know in the [TS]

00:20:58   Roman Empire as it speak which they you [TS]

00:21:00   know they they put a pin on several [TS]

00:21:01   times with the Roman Empire analogy and [TS]

00:21:03   the flashbacks are like unbeknownst to [TS]

00:21:05   Michael this is what the deal was [TS]

00:21:08   look at this person this person is not [TS]

00:21:10   like Michael Michael is so far off the [TS]

00:21:12   rails that you know he is he has [TS]

00:21:14   forgotten the face of his father to pull [TS]

00:21:15   another uh they like and that that that [TS]

00:21:19   heartbreaking is the heart brain of [TS]

00:21:20   going back and seeing Vito seeing how [TS]

00:21:22   difficult Vito a life Vito had and you [TS]

00:21:25   know how he was you know marginalized [TS]

00:21:28   and and found himself to you know make [TS]

00:21:31   his way while retaining as much of his [TS]

00:21:34   integrity and goodness as he possibly [TS]

00:21:36   could while still trying to provide and [TS]

00:21:38   also having ambition and so on so but [TS]

00:21:39   then they come back to the present and [TS]

00:21:40   you see you see just how far gone [TS]

00:21:42   Michael isn't through the whole movie he [TS]

00:21:44   plays it very cold but you his flaws are [TS]

00:21:48   expressed in the in the little things [TS]

00:21:50   that he does like you can see that the [TS]

00:21:53   need Michael has it's in the Godfather [TS]

00:21:55   Part one as well like seems like a good [TS]

00:21:57   old American boy but like there there [TS]

00:21:59   are a couple of there a couple of things [TS]

00:22:02   in his brain and things in his [TS]

00:22:04   personality that drive him to do things [TS]

00:22:07   you know that are spiteful that are evil [TS]

00:22:09   that is need for power and respect in a [TS]

00:22:14   way you know in a sort of more [TS]

00:22:15   sophisticated more angry way than Fredo [TS]

00:22:17   who also wants respects for other [TS]

00:22:19   reasons and so much of what Michael does [TS]

00:22:21   wrong in this [TS]

00:22:22   movie is driven by those flaws that his [TS]

00:22:24   father just does not have his father De [TS]

00:22:26   Niro has the easy confidence in his [TS]

00:22:30   abilities in his in his righteousness [TS]

00:22:32   and in his general goodness and Michael [TS]

00:22:34   doesn't have that all he's got is like [TS]

00:22:35   he's got a tiny devil on both of his [TS]

00:22:37   shoulders for the whole movie and every [TS]

00:22:39   time you see him like you could make [TS]

00:22:40   this right Michael he can't help but [TS]

00:22:42   like you know needle someone or stick [TS]

00:22:45   someone because they you know they [TS]

00:22:46   weren't it comes out and says at the end [TS]

00:22:48   you know I get a wipe everybody out no [TS]

00:22:49   not everybody - only my enemies um that [TS]

00:22:53   that's Michael for turns out he has a [TS]

00:22:54   lot of enemies well you know like not [TS]

00:22:56   not for long [TS]

00:22:57   I probably phrased it wrong but I my [TS]

00:23:00   notion was when we when we flash back [TS]

00:23:04   that's what he's doing but he's not he [TS]

00:23:06   doesn't he doesn't have like omniscient [TS]

00:23:10   protagonist perspective he doesn't [TS]

00:23:12   necessarily necessarily see everything [TS]

00:23:14   that we're seeing the flashbacks or it [TS]

00:23:16   could be that the flashbacks are [TS]

00:23:18   informed by by what his perspective on [TS]

00:23:20   his father's past were but we see him in [TS]

00:23:23   the present even if he does have that [TS]

00:23:25   kind of full view of what it is that [TS]

00:23:27   we're seeing when we go to young Vito [TS]

00:23:28   we're seeing all of his blind spots [TS]

00:23:31   where it you know you can you can show [TS]

00:23:33   somebody something that makes perfect [TS]

00:23:35   logical sense and then they can they can [TS]

00:23:37   go they can go forward in a way that [TS]

00:23:40   completely undermines what it is that [TS]

00:23:43   they're actually trying to accomplish [TS]

00:23:44   blind to how they're undermining [TS]

00:23:46   themselves but I think you make a very [TS]

00:23:48   good point about the kind of [TS]

00:23:50   generational loss of Godfather Godfather [TS]

00:23:53   where he were you know regardless of [TS]

00:23:56   precisely [TS]

00:23:57   you know the directorial intent or [TS]

00:23:59   precisely you know what we're supposed [TS]

00:24:01   to be gleaning from a narrative Lee we [TS]

00:24:03   were visibly seeing him just not getting [TS]

00:24:06   it in terms of the reason that his dad [TS]

00:24:09   did certain things the way that he did [TS]

00:24:11   them and it's something that you know in [TS]

00:24:13   in the theoretical third movie you know [TS]

00:24:15   we see we see even more degradation as a [TS]

00:24:18   result of that not to skip to the end [TS]

00:24:19   but I feel like you mentioned what you [TS]

00:24:21   know Merlyn mentioned like oh the last [TS]

00:24:22   scene but the last scene is not him in [TS]

00:24:24   the chair which by the way is a nice [TS]

00:24:25   echo of you know it yeah chair sitting [TS]

00:24:28   with the oranges in the first movie and [TS]

00:24:29   how you know he's completely alone as [TS]

00:24:31   grandchild [TS]

00:24:31   running our we'll talk about later but [TS]

00:24:33   the last thing in this movie is my [TS]

00:24:35   favorite flashback every time I watch it [TS]

00:24:37   somehow I forget that this thing is [TS]

00:24:39   going to be there and I always also [TS]

00:24:40   think of him sitting in the chair just [TS]

00:24:42   staring out like as the end of the week [TS]

00:24:44   it's not the end of the movie the [TS]

00:24:46   flashback they go to there is like what [TS]

00:24:49   I feel like is now let's revisit the [TS]

00:24:51   Godfather one class we've seen this [TS]

00:24:53   whole movie we've seen how this tragedy [TS]

00:24:54   has unfolded we've seen what's happened [TS]

00:24:56   here's Michael in the chair staring out [TS]

00:24:57   into the distance because you know bad [TS]

00:24:59   things have happened right and he's [TS]

00:25:01   living with the consequences now it's [TS]

00:25:03   flashback one more time let's show you [TS]

00:25:04   Michael and Godfather Part 1 he's just [TS]

00:25:07   enlisted and the guy who we couldn't get [TS]

00:25:09   to appear in this movie is going to come [TS]

00:25:10   for dinner soon so let's all get ready [TS]

00:25:12   and you know introduce Carlo to Connie [TS]

00:25:15   and and you know like The Godfather one [TS]

00:25:18   timeframe at the time we are introduced [TS]

00:25:21   to Michael and got far the one he is the [TS]

00:25:22   good boy and that movie is you know the [TS]

00:25:24   tragic roping of him into this this [TS]

00:25:26   world or whatever but we go back now [TS]

00:25:28   knowing what Michael is really like and [TS]

00:25:30   what he's going to turn into and we go [TS]

00:25:31   back to Godfather / 1 and see was that [TS]

00:25:34   stuff present in the Michael of the [TS]

00:25:35   Godfather 1 was that little like you [TS]

00:25:38   know kind of needle II [TS]

00:25:40   chip-on-the-shoulder flaw anger that was [TS]

00:25:43   totally there there he is it thinner [TS]

00:25:45   doing the right thing I enlisted because [TS]

00:25:47   I believe in America blah blah blah but [TS]

00:25:49   still a little bit you know kind of he [TS]

00:25:52   demands respect he knows what's best he [TS]

00:25:54   is a little bit full of himself he's a [TS]

00:25:56   little bit you know a little bit of an [TS]

00:25:58   upstart even though is he's not the [TS]

00:26:00   eldest brother when they all go to meet [TS]

00:26:03   their father at the door he sits there [TS]

00:26:04   silently at the table drinking his drink [TS]

00:26:07   apart from everybody else and so it's [TS]

00:26:09   like ah even then it was still there [TS]

00:26:11   like to bring I just love it because it [TS]

00:26:13   brings you back to the time when the [TS]

00:26:14   family was all there together and it [TS]

00:26:15   shows you everything you've seen unfold [TS]

00:26:17   and Godfather Part 1 and 2 was in all [TS]

00:26:20   these people from the get-go it's not as [TS]

00:26:22   if we you know introduced these [TS]

00:26:24   character traits to make stories out of [TS]

00:26:25   the movies 1 & 2 these characters you [TS]

00:26:28   know it's obviously retconning but you [TS]

00:26:29   know these these characters were these [TS]

00:26:31   characters from the beginning and these [TS]

00:26:32   people's lives played out the only [TS]

00:26:33   possible way they could with sonny the [TS]

00:26:35   hothead and Michael even then when he [TS]

00:26:38   was the good boy college student army [TS]

00:26:39   hero or whatever he was always the same [TS]

00:26:41   person and it and it makes I think it [TS]

00:26:43   clarifies the Michael of part [TS]

00:26:45   to reveal him as a character who is just [TS]

00:26:48   come into what he was always going to [TS]

00:26:51   come into with tragic circumstances that [TS]

00:26:53   trapped him in that did they really I [TS]

00:26:54   don't know the Trivium is did they [TS]

00:26:55   really try to get brando to come back [TS]

00:26:57   for that scene they did and it broke [TS]

00:26:58   down like they thought the day of they [TS]

00:27:00   were gonna get him but they just didn't [TS]

00:27:02   get the deal finalized they handled it [TS]

00:27:04   pretty well all things considered I [TS]

00:27:05   don't that scene doesn't work for me it [TS]

00:27:07   feels really hasty the scene originally [TS]

00:27:10   had him in it and they effectively had [TS]

00:27:13   to make it up on the day I love it I [TS]

00:27:15   it's like not seeing the shark in Jaws I [TS]

00:27:16   love right yeah I mean I know I just [TS]

00:27:19   it's it feels a little bit and feel a [TS]

00:27:21   little bit fanservice II to me I love [TS]

00:27:23   the way Michaels portrayed you know and [TS]

00:27:25   supposedly again according 90 be James [TS]

00:27:27   Caan demanded the fee that he got for [TS]

00:27:29   Godfather one just to appear in that [TS]

00:27:31   scene [TS]

00:27:32   good for him good for James time well [TS]

00:27:35   there were there were a lot of [TS]

00:27:36   contractual renegotiations for this one [TS]

00:27:38   like that's why we didn't get Clemenza [TS]

00:27:40   back and we got off-brand store-brand [TS]

00:27:43   Clemenza in this movie you know [TS]

00:27:45   everybody wanted their rates upped yeah [TS]

00:27:47   that's okay except Dave Vigoda 12 times [TS]

00:27:50   sake it reminded me when when you got to [TS]

00:27:53   see Sonny again it's the only thing I [TS]

00:27:55   could compare it to even though it's [TS]

00:27:57   across two movies in a couple of years [TS]

00:27:59   but it reminds me of in Pulp Fiction [TS]

00:28:01   when you get to see Travolta again and [TS]

00:28:04   it's actually like Baskaran like in a [TS]

00:28:06   hail of bullets right but then it's like [TS]

00:28:08   oh yeah remember him he died and all [TS]

00:28:10   that he pretended to punch that guy [TS]

00:28:11   other than last that last scene the [TS]

00:28:14   movie is more restrained than I then [TS]

00:28:16   then I thought it could be at in the [TS]

00:28:19   flashbacks of having it be like Francis [TS]

00:28:22   Coppola 'he's monster babies where it's [TS]

00:28:24   like i mean they do have like hey it's [TS]

00:28:26   young clemens and it's bruno kirby [TS]

00:28:27   credited is like be Kirby jr. or [TS]

00:28:30   something but it's bruno kirby and it's [TS]

00:28:31   guy he's fun as as young Clemenza but [TS]

00:28:33   III was at one point like are we gonna [TS]

00:28:36   get a parade of cameos and even with the [TS]

00:28:38   kids like they try to give us a little [TS]

00:28:40   tidbit of like the kids personalities or [TS]

00:28:43   their future when they're kids but it's [TS]

00:28:45   not overdone like I expected really like [TS]

00:28:48   oh that's Sonny he's such a hothead he's [TS]

00:28:51   gonna be in trouble and there's nothing [TS]

00:28:53   like that but if you watch carefully you [TS]

00:28:54   can see little things [TS]

00:28:57   about those kids and maybe it's just me [TS]

00:28:59   you know I so wanted to read into like [TS]

00:29:02   the future of these children because [TS]

00:29:04   you're seeing these children that you're [TS]

00:29:05   seeing as adults over here are young [TS]

00:29:08   children over here and you're like what [TS]

00:29:10   kind of a world is this person going to [TS]

00:29:13   go into what kind of a life is this [TS]

00:29:15   person going to have but like I said I [TS]

00:29:17   think the movie is very subtle at most [TS]

00:29:20   points not all points in doing that and [TS]

00:29:22   not having to just be a a parade of [TS]

00:29:24   cameos of you know young this character [TS]

00:29:26   and young that character and and I'm [TS]

00:29:28   only mentioning Bruno Kirby as young [TS]

00:29:30   Clemenza I you know lacking castellano [TS]

00:29:34   reprising his role as Clemenza bruno [TS]

00:29:36   kirby is is one of these character [TS]

00:29:39   actors who is tremendously under under [TS]

00:29:41   recognized and underappreciated if you [TS]

00:29:43   ask me and and he really for me you know [TS]

00:29:47   the the flashback scenes were fun and [TS]

00:29:49   then bruno kirby shows up and just [TS]

00:29:51   knocked it out of the park for me what [TS]

00:29:53   bring it over we where we get notes of [TS]

00:29:55   that character that we didn't even see [TS]

00:29:56   in the first movie we didn't see that [TS]

00:29:57   much of Clemenza Clemenza was like a [TS]

00:29:59   trusted lieutenant type but he didn't [TS]

00:30:02   have he didn't have a bunch of big [TS]

00:30:04   character stuff to do where in this [TS]

00:30:06   movie the Frankie character is is [TS]

00:30:11   effectively you know he shows up he's [TS]

00:30:12   like Oh old man Clements died you know [TS]

00:30:14   I'm wearing a black armband I'm the new [TS]

00:30:16   Clemenza [TS]

00:30:17   I've regenerated as me you know he gets [TS]

00:30:20   to do the stuff that that actor would [TS]

00:30:22   have gotten to do at that age but you [TS]

00:30:25   know I don't miss that as much as I as I [TS]

00:30:27   think I would have if if Bruno Kirby [TS]

00:30:30   hadn't done such a great job as young [TS]

00:30:32   Clemenza again not not making it feel [TS]

00:30:34   like Muppet Babies for gangsters that [TS]

00:30:36   you know that that for me is is what [TS]

00:30:38   what worked really well all right we [TS]

00:30:40   should probably run through the story or [TS]

00:30:41   we could just start closing statements [TS]

00:30:42   now listen let's take a quick break so I [TS]

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00:31:24   be around you just pass over that week [TS]

00:31:27   blue apron doesn't deliver you don't get [TS]

00:31:29   charged you move on to the next week [TS]

00:31:30   some of the upcoming meals available at [TS]

00:31:33   blue apron beef teriyaki stir-fry with [TS]

00:31:35   sugar snap peas and lime rice whoo I had [TS]

00:31:37   that that was really good [TS]

00:31:38   3 cheese in baby broccoli Stromboli with [TS]

00:31:40   tomato and oregano dipping sauce that's [TS]

00:31:42   right we make our stuff with blue apron [TS]

00:31:45   a couple nights a week the whole family [TS]

00:31:48   and we save those recipe cards and other [TS]

00:31:50   nights of the week we replay favorite [TS]

00:31:53   blue apron recipes with stuff we buy at [TS]

00:31:55   the store so it has really changed our [TS]

00:31:56   entire family menu so check out this [TS]

00:31:58   week's menu and you can get your first [TS]

00:32:00   three meals for free with free shipping [TS]

00:32:03   go to blue apron comm slash Snell you'll [TS]

00:32:05   love how good feels and taste to make [TS]

00:32:07   these incredible home-cooked meals with [TS]

00:32:09   blue apron blue apron comm slash Snell [TS]

00:32:11   blue apron a better way to cook again [TS]

00:32:14   I'll run through and blocks and if [TS]

00:32:16   there's stuff that you want to talk [TS]

00:32:17   about in the section let's let's do it [TS]

00:32:20   the opening block is nine-year-old Vito [TS]

00:32:26   his dad what is it his dad has been [TS]

00:32:29   killed by the local Don his at the [TS]

00:32:32   funeral his brother who's on the run [TS]

00:32:36   because he's vowed revenge is is killed [TS]

00:32:39   at the funeral and his mother collapses [TS]

00:32:41   in a heap on the on the casket and then [TS]

00:32:44   his mother takes young Vito to the dawn [TS]

00:32:46   to demand that they be that that he be [TS]

00:32:49   spared to beg that's a demand well yeah [TS]

00:32:52   I suppose that is fair laughs my family [TS]

00:32:53   just how about how about you give me [TS]

00:32:55   this one well it's like she starts with [TS]

00:32:57   baking then she then she'd break out a [TS]

00:33:00   knife and threatens him and they shoot [TS]

00:33:02   her shoot her to death and he demands [TS]

00:33:04   that that young Vito also be killed and [TS]

00:33:06   Vito runs away and his squire day you [TS]

00:33:09   know snuck out of town on in a bag on a [TS]

00:33:12   donkey and escapes to New York where he [TS]

00:33:15   is registered as Vito Corleone on Ellis [TS]

00:33:19   Island because he says he's Vito [TS]

00:33:20   Andolini from Corleone I have decided [TS]

00:33:22   let me let me defend Don Cheech oh here [TS]

00:33:24   whatever [TS]

00:33:25   I thought his name done yeah chichi on [TS]

00:33:27   who who Kip who kills his phone he was [TS]

00:33:30   right Oh totally right I gotta work I'm [TS]

00:33:32   worried about what this kid's gonna do [TS]

00:33:33   when he grows up it's like the moms like [TS]

00:33:35   oh no don't worry he'll he'll forget all [TS]

00:33:37   about you killing his brother and his [TS]

00:33:38   father it'll be fine and the time was [TS]

00:33:41   right I mean you know in the end it [TS]

00:33:43   wasn't that bad cause he was pretty old [TS]

00:33:45   by the time he gets killed litter in the [TS]

00:33:46   movie but I just feel like you try to [TS]

00:33:49   run a crime family you you you're doing [TS]

00:33:52   everything right and just a couple of [TS]

00:33:54   sloppy henchmen and that's it for one [TS]

00:33:55   kid escapes on a donkey and you're it's [TS]

00:33:57   a joke that's it it's like that kid's [TS]

00:33:59   gonna come boomeranging back and you [TS]

00:34:01   know look at that can of olive oh oh no [TS]

00:34:04   I'm being gutted [TS]

00:34:05   can we give can we give Vito's mother [TS]

00:34:07   the mother of the Year award Wow III [TS]

00:34:09   give her I take some points away for how [TS]

00:34:12   easily the knife was removed from the [TS]

00:34:14   neck of that guy got him by the neck I [TS]

00:34:16   know you can't kill me because if you [TS]

00:34:17   kill me your son is dead you have to [TS]

00:34:19   hold the knife but is next to give your [TS]

00:34:20   son time to escape but you didn't give [TS]

00:34:22   him much time and it basically just [TS]

00:34:24   pulled your hand away and and then she [TS]

00:34:27   didn't even flee or run or cover I mean [TS]

00:34:29   let's be honest she could have gone to a [TS]

00:34:30   knife wielding class once or twice extra [TS]

00:34:32   a week yeah I'm just saying like she was [TS]

00:34:34   so she was so adamant about she's so [TS]

00:34:36   smart about hiding the knife she got the [TS]

00:34:38   knife of the guy's throat this is the [TS]

00:34:39   problem with a lot of the the you know [TS]

00:34:41   70s movies in terms of the choreography [TS]

00:34:43   of the the fight scenes we talked about [TS]

00:34:44   in The Godfather one it just it wasn't [TS]

00:34:46   as sophisticated an art and we were okay [TS]

00:34:48   was kind of staged punches and stuff [TS]

00:34:50   like that whereas I think there's a [TS]

00:34:52   higher standard now for looking like you [TS]

00:34:54   really are strangling that person or you [TS]

00:34:55   really are pulling them towards you with [TS]

00:34:57   all your might in the back end and like [TS]

00:34:59   they were basically pantomiming I have a [TS]

00:35:00   knife at your throat but at the first [TS]

00:35:02   first movie James Caan could get away [TS]

00:35:03   with screwing up hitting a guy in the [TS]

00:35:05   face with a trashcan lid which should [TS]

00:35:08   not be that difficult but but this one [TS]

00:35:10   they really you know it had to be a bit [TS]

00:35:12   slicker yeah but but she is a great mom [TS]

00:35:14   and I loved her outfits too while she's [TS]

00:35:16   still on plan a begging begging for [TS]

00:35:18   their lives she calls his Vito [TS]

00:35:21   slow-witted yeah he doesn't get [TS]

00:35:24   everything flinch he's only 9 and dumb [TS]

00:35:26   witted he never speaks [TS]

00:35:28   he knows sitting there going she's right [TS]

00:35:30   more or less I know I don't say anything [TS]

00:35:34   um I like the AI I do appreciate and [TS]

00:35:38   it's never we [TS]

00:35:39   him running away and then we see the the [TS]

00:35:41   husband and wife putting him in the bag [TS]

00:35:45   and but they put him in the trunk of the [TS]

00:35:47   donkey yeah exactly exactly right and [TS]

00:35:50   then he goes out of town and like waves [TS]

00:35:52   at the guys who are looking or in front [TS]

00:35:54   of the church is like hey how's it going [TS]

00:35:56   and that's really good and then we cut [TS]

00:35:59   to him you know on the ship [TS]

00:36:01   in in in a harbor going Ellis Island and [TS]

00:36:05   seeing the smallpox yeah yeah and see in [TS]

00:36:07   the sea in the Statue of Liberty which [TS]

00:36:09   again you know could it be clearer about [TS]

00:36:11   the immigrant experience and he gets [TS]

00:36:13   famously as maybe didn't actually happen [TS]

00:36:16   but famously his name is miss registered [TS]

00:36:18   he's beat up or later this movie is a [TS]

00:36:20   lot to blame I think for the idea being [TS]

00:36:22   runs names got changed it yeah [TS]

00:36:23   snopes.com has a whole webpage on all of [TS]

00:36:27   this yes but most of the names that [TS]

00:36:29   people change when they came to the new [TS]

00:36:30   world were because they wanted to change [TS]

00:36:31   their names not because they were [TS]

00:36:33   changed for them accidentally but but [TS]

00:36:36   still so that's that's the first block [TS]

00:36:38   that's all we get we don't see him again [TS]

00:36:41   for a little bit and I think it's I [TS]

00:36:44   think it's really interesting because as [TS]

00:36:45   a parent I'm sitting there thinking [TS]

00:36:47   there's a nine-year-old kid who doesn't [TS]

00:36:49   speak English who has traveled halfway [TS]

00:36:51   around the world on his own to a new [TS]

00:36:53   country what's gonna happen to this poor [TS]

00:36:55   kid in his legs his legs dangling [TS]

00:36:57   dangling off the chair so sad that's the [TS]

00:37:00   best part where he gets into his little [TS]

00:37:01   tiny room which of course the room the [TS]

00:37:04   quarantine room for small box of course [TS]

00:37:06   has a literal view of the Statue of [TS]

00:37:07   Liberty which is a little artistic [TS]

00:37:08   license we're gonna put in here but what [TS]

00:37:10   does he do he takes the chair and he [TS]

00:37:12   points it towards the window and he sits [TS]

00:37:13   down at like like he doesn't have many [TS]

00:37:15   lines but how perfectly cast is that kid [TS]

00:37:18   that kid is such a great actor and how [TS]

00:37:20   did they find a kid who's so scrawny [TS]

00:37:21   like can't they just starved him for a [TS]

00:37:23   few weeks it was 1973 [TS]

00:37:25   I mean child labor laws had not come [TS]

00:37:27   into being he really transformed for the [TS]

00:37:29   role he went on the talk of the night [TS]

00:37:30   late night started and talked about how [TS]

00:37:32   he really transformed himself for the [TS]

00:37:33   role he did a Christian Bale I also want [TS]

00:37:35   to in passing want to do a shout out to [TS]

00:37:37   the whole scene one of the first of many [TS]

00:37:39   wonderful crowd scenes in this movie I'm [TS]

00:37:41   a huge fan of miner Godfather characters [TS]

00:37:44   some of the most memorable cares like [TS]

00:37:46   the guy playing the accordion the hotel [TS]

00:37:48   room and number one there's people [TS]

00:37:49   you're just never going to forget and [TS]

00:37:51   seeing that again that just I guess [TS]

00:37:53   panning shot or dolly shot of just going [TS]

00:37:55   through and somebody's playing a violin [TS]

00:37:57   and everybody's doing something it [TS]

00:38:00   doesn't look like a bunch of extras just [TS]

00:38:01   standing around they all got costumes [TS]

00:38:03   first of probably I don't know what at [TS]

00:38:05   least three of those kinds of shots [TS]

00:38:07   obviously the parade the Festa would be [TS]

00:38:09   kind of the champion here but what a [TS]

00:38:12   great bit of world-building the sepia [TS]

00:38:14   tone world that they don't cheap out on [TS]

00:38:16   Ellis Island right it is not it is fully [TS]

00:38:19   realized there is a room full of [TS]

00:38:21   immigrants who are speaking different [TS]

00:38:22   languages and all are doing things [TS]

00:38:24   there's the lady our lady who's making [TS]

00:38:26   German they're all looking at the Statue [TS]

00:38:28   of Liberty they have a big tracking shot [TS]

00:38:30   where they're all they're all their [TS]

00:38:31   faces are upturned looking the Statue of [TS]

00:38:33   Liberty each one of those faces you see [TS]

00:38:34   like what what this whole thing means [TS]

00:38:36   yeah you know no lines let a lot of [TS]

00:38:38   restraint for the dialogue here for [TS]

00:38:39   everybody again the veto doesn't say [TS]

00:38:41   anything this whole time we're like well [TS]

00:38:42   how does Vito feel about was this what [TS]

00:38:44   is he doing is he just being checked up [TS]

00:38:45   when we find out what how he feels about [TS]

00:38:46   it when he takes that chair turns [TS]

00:38:47   towards the window sits down on it and [TS]

00:38:49   his little feet start to swing anything [TS]

00:38:51   I saw singing a little song so okay [TS]

00:38:53   staring at the Statue of Liberty that's [TS]

00:38:54   that's little Vito can I just say his [TS]

00:38:56   parent of a current 13 year old how [TS]

00:38:58   completely incapable my son would be [TS]

00:38:59   totally with you I don't I'm not [TS]

00:39:03   entirely sure that I could drop him off [TS]

00:39:05   at the airport with a ticket and he [TS]

00:39:08   would get to like Italy on an airplane [TS]

00:39:11   you just draw a chalk X on his shirt and [TS]

00:39:13   put a circle around it he'll get to [TS]

00:39:14   where he's gone it's fine yeah I had the [TS]

00:39:17   exact same thought John with Garcia and [TS]

00:39:19   our sensor about similar ages and it's [TS]

00:39:20   just like I don't I don't have any [TS]

00:39:22   belief that like like he would still be [TS]

00:39:25   on the boat they just turned the boat [TS]

00:39:26   around and go back like oh here's the [TS]

00:39:30   key so playing Minecraft you just wanted [TS]

00:39:32   to see both of his parents die in front [TS]

00:39:34   of him and that were really kick him [TS]

00:39:35   into gear I guess he snapped out of it [TS]

00:39:37   you know that could be that could be [TS]

00:39:38   Hannah's brother next the next block [TS]

00:39:41   it's 1958 we're at Lake Tahoe this movie [TS]

00:39:45   a lot of it takes place around Lake [TS]

00:39:46   Tahoe this is the communion four and [TS]

00:39:52   there's a party like celebrating the the [TS]

00:39:55   Mike one of Michael's kids first [TS]

00:39:57   communion it's an echo of the wedding [TS]

00:39:59   exactly right and they have a needle it [TS]

00:40:01   outdoors and you mentioned about the [TS]

00:40:03   extras before this in my notes is where [TS]

00:40:05   I had the thing about the extras like [TS]

00:40:06   this is a party scene like the thing in [TS]

00:40:08   the first one but of course it's part [TS]

00:40:09   two so everything is scaled up look at [TS]

00:40:11   this party scene they have a complete [TS]

00:40:13   party every single guest it looks like [TS]

00:40:16   they have like there was given like a [TS]

00:40:18   backstory and a role and like mm-hmm [TS]

00:40:21   you just don't see this in movies they [TS]

00:40:22   said it's not because like they don't [TS]

00:40:24   want it like they had no other way to do [TS]

00:40:27   this and they had the budget to actually [TS]

00:40:30   do this so they're like we're going to [TS]

00:40:31   make a full party they have sick they [TS]

00:40:33   have boats time to be going through the [TS]

00:40:35   scene in the background like there's no [TS]

00:40:37   there was no CG for them to do this [TS]

00:40:38   stuff they had to stage all this thing [TS]

00:40:40   and I'm like how much must this have [TS]

00:40:42   cost and how long did it take to shoot [TS]

00:40:44   this getting all these extras to do all [TS]

00:40:46   the things they're supposed to do to be [TS]

00:40:48   in their little characters to have the [TS]

00:40:50   the motor boats and the sailboats go by [TS]

00:40:52   just at the right time and all that shot [TS]

00:40:54   at the right level of lighting and [TS]

00:40:55   everything like I'm surprised at how [TS]

00:40:59   shocked I was at that you could pull off [TS]

00:41:01   a shot like this in the days before CG [TS]

00:41:03   I'm not gonna say they would have done [TS]

00:41:04   the whole crowd in CG these days but [TS]

00:41:06   they'd be tempted to do elements of this [TS]

00:41:08   in CG but they just had no choice back [TS]

00:41:09   then so they're like human beings you've [TS]

00:41:11   done the minor and wardrobe and real [TS]

00:41:13   clothes and real actors in a tremendous [TS]

00:41:15   amount of time marshaling them in a real [TS]

00:41:17   band playing pop goes the weasel you [TS]

00:41:19   just it blows me away a lot of [TS]

00:41:21   walkie-talkies not in the movie but [TS]

00:41:24   obviously yeah okay sailboat turn back [TS]

00:41:26   around sailboat yeah we need you to do [TS]

00:41:28   that again like in the first movie like [TS]

00:41:30   I don't know if they're really good job [TS]

00:41:31   of like you know put up the casting call [TS]

00:41:32   for I mean the first movie is I put out [TS]

00:41:34   the casting call for Italian Americans [TS]

00:41:35   in here it's like a mix of the the mob [TS]

00:41:38   people and like the the Nevada sort of [TS]

00:41:41   Midwestern type people exemplified by [TS]

00:41:42   the the congressperson and all that okay [TS]

00:41:45   and the whole thing the whole scene is [TS]

00:41:46   basically a Magic Hour like there's [TS]

00:41:48   golden light and everybody's head so [TS]

00:41:49   it's like how many days did it take to [TS]

00:41:50   shoot this oh the senator we get to meet [TS]

00:41:52   here who is who is is from Nevada [TS]

00:41:54   although speaks with kind of a Texas II [TS]

00:41:56   accent he gets to introduce us to Vito [TS]

00:41:59   Carly Harley on yeah and which he [TS]

00:42:01   intentionally mispronounces Corleone's [TS]

00:42:03   later later he says it correctly to show [TS]

00:42:05   that he can and and we also meet [TS]

00:42:08   potentially right who who is uh who is [TS]

00:42:11   angry because the Rosato brothers are [TS]

00:42:14   banks are pushing well yeah but there's [TS]

00:42:17   a lot of brothers you're pushing on this [TS]

00:42:18   territory and they work with Roth I got [TS]

00:42:20   to do something about it but of course [TS]

00:42:21   Michael has but got a deal with Roth to [TS]

00:42:24   do the to do the casino and so they [TS]

00:42:28   gotta like you got a not not act against [TS]

00:42:31   and that's we have the kind of an [TS]

00:42:32   immediate conflict that happens and of [TS]

00:42:35   course then this block also ends with a [TS]

00:42:38   Michael admiring a crayon drawing of of [TS]

00:42:43   himself in a car made by his son do you [TS]

00:42:46   like it check yes or no which is very [TS]

00:42:48   sweet [TS]

00:42:49   until the hail of bullets through the [TS]

00:42:51   window sweet and very tragic because [TS]

00:42:52   even like here's the thing like it seems [TS]

00:42:54   sweet like oh the kid is making a nice [TS]

00:42:56   picture for his dad but the picture he's [TS]

00:42:58   making is not a good reflection of a [TS]

00:43:00   working relationship now check yes or no [TS]

00:43:02   box is a desperate plea attention [TS]

00:43:04   communication from his father and so [TS]

00:43:06   like you feel like Michael looks at it [TS]

00:43:08   and is proud of his son's rendition but [TS]

00:43:11   also recognizes is also smart enough to [TS]

00:43:13   recognize that this is not healthy how [TS]

00:43:15   great was Frank Pentangeli at acting [TS]

00:43:18   drunk at that party I I was when I was I [TS]

00:43:21   don't I don't know how much he was [TS]

00:43:22   acting I don't know either but I do [TS]

00:43:24   think as it's just one of those things [TS]

00:43:26   that it seems like it's very hard to get [TS]

00:43:28   right it's I think it's hard to act [TS]

00:43:30   inebriated I do I think it often comes [TS]

00:43:33   across as phony even from otherwise good [TS]

00:43:35   actors and boy it just really he just [TS]

00:43:37   acts like exactly what a you know [TS]

00:43:40   Michaels older cousin from from the New [TS]

00:43:42   York would act like she gets the hose [TS]

00:43:45   outside I love my drinks in the hood I [TS]

00:43:47   do I love cuz that's such an such a like [TS]

00:43:51   a thing that like you know kids do you [TS]

00:43:53   know like drink from the hose in the [TS]

00:43:56   summer and just like he gets a little [TS]

00:43:57   drunk he just reverts to his normal ways [TS]

00:43:59   he's pissed off about the about the hors [TS]

00:44:00   d'oeuvres and the crappy West Coast food [TS]

00:44:02   and he's drinking kids he wants to get [TS]

00:44:04   into Michael you know there's probably [TS]

00:44:06   an outtake somewhere where he just [TS]

00:44:08   decided to take a leak against a tree [TS]

00:44:09   just just because another one of these [TS]

00:44:12   characters that just shows up fully [TS]

00:44:14   formed I mean it seems like this feels [TS]

00:44:16   like the final season of a show where [TS]

00:44:17   he's been playing that character for six [TS]

00:44:19   years yeah yeah yeah oh and and the [TS]

00:44:21   there's so much parallelism in this [TS]

00:44:24   movie to the first movie and for me him [TS]

00:44:26   doing a great job playing drunk which [TS]

00:44:28   again [TS]

00:44:28   not not an easy thing to do well is [TS]

00:44:31   something that that for me mirrors at [TS]

00:44:33   the at the wedding in the first movie [TS]

00:44:35   John Cazale playing Fredo again doing a [TS]

00:44:38   great job playing drunk which people [TS]

00:44:40   don't generally do well and playing a [TS]

00:44:42   particular kind of drunk who is gonna [TS]

00:44:44   you know take his his uh his younger [TS]

00:44:46   brother's girlfriend by the face and [TS]

00:44:47   kiss her on the cheek and just stare at [TS]

00:44:50   her and not say anything because he's [TS]

00:44:53   drunk out of his out of his gourd there [TS]

00:44:56   there those little touches throughout [TS]

00:44:58   this scene that go back to the wedding [TS]

00:45:00   scene of the of the first movie not you [TS]

00:45:03   not the same characters doing the same [TS]

00:45:04   things but a lot of the same notes a lot [TS]

00:45:07   of the same kind of misbehavior a lot of [TS]

00:45:08   the same kind of embarrassment and and [TS]

00:45:11   that sort of thing in tree introducing [TS]

00:45:13   us to Fredo and to Connie also needs to [TS]

00:45:15   happen here you need to get the [TS]

00:45:16   geography the family together just like [TS]

00:45:18   in that first movie you see how Connie [TS]

00:45:20   has changed and how Fredo hasn't yeah [TS]

00:45:22   like they're like it's not like the [TS]

00:45:23   first movie you have to introduce 100 [TS]

00:45:24   characters which is this amazing feat [TS]

00:45:26   that they pull off in that one party [TS]

00:45:27   scene but this does fulfill the same [TS]

00:45:29   rule of setting up the plot there are [TS]

00:45:31   fewer moving pieces here Michael is in [TS]

00:45:33   his father's seat inside the darkened [TS]

00:45:35   room indoors taking meetings but not so [TS]

00:45:37   many meetings and we do know a lot of [TS]

00:45:39   these characters are ready so it's it [TS]

00:45:40   sets up a console yep aunt Angela [TS]

00:45:42   you got the congressman you know the bee [TS]

00:45:44   senator the Senators all right the [TS]

00:45:46   senator these the Italians are not [TS]

00:45:48   welcome in Nevada that whole scene where [TS]

00:45:51   where the senator points the little [TS]

00:45:53   candidate is desk at him and makes all [TS]

00:45:55   these threatening demands or whatever [TS]

00:45:56   like and Michael comes back in his [TS]

00:45:58   typical way you could have mine [TS]

00:45:59   answering the hell if you'd like like [TS]

00:46:01   this that's it's very different than the [TS]

00:46:04   equivalents in the first movie but if [TS]

00:46:06   this fails the same function just to set [TS]

00:46:09   up the set up the conflicts that are [TS]

00:46:11   going to play off the rest of the movie [TS]

00:46:12   there's a I think that it's it it it [TS]

00:46:14   succeeds so well as a scene overall all [TS]

00:46:17   the way from daytime to nighttime and in [TS]

00:46:20   setting the sort of theme which we [TS]

00:46:22   already talked about that Michael has [TS]

00:46:23   sort of become unmoored he sort of lost [TS]

00:46:26   his bearings as as a human being in a [TS]

00:46:31   way that Vito never did write that [TS]

00:46:33   that's but the story of the movie that [TS]

00:46:36   Vito had like a moral core that Michael [TS]

00:46:39   doesn't and I feel like the [TS]

00:46:41   as to the wedding in the first movie [TS]

00:46:43   with this is that the wedding and the [TS]

00:46:45   first one they were where they were [TS]

00:46:47   supposed to be there in New York the [TS]

00:46:49   band is a bunch of paisans who can you [TS]

00:46:52   know play these songs and and when [TS]

00:46:53   Pentangeli goes up there and tries to [TS]

00:46:55   get him to you know bottle pop but up [TS]

00:46:57   but up but in another and any so good at [TS]

00:47:00   it but those guys it's just the fact [TS]

00:47:02   that the band doesn't know what to do [TS]

00:47:04   yeah it just shows like this isn't [TS]

00:47:06   they're not where they're supposed to be [TS]

00:47:07   they're nowhere like Michaels move the [TS]

00:47:09   family to like it's not the wrong place [TS]

00:47:11   but it's not the right place beautiful [TS]

00:47:12   as the backdrop is of of Lake Tahoe you [TS]

00:47:15   know in winter and in summer where we [TS]

00:47:17   see in both in both places here it [TS]

00:47:19   you're absolutely right it feels wrong [TS]

00:47:22   like why are we here what are we doing [TS]

00:47:25   out here and the band just puts the [TS]

00:47:27   finest point on it that they are they [TS]

00:47:30   are way away from their roots in so many [TS]

00:47:33   ways going into the casinos which is you [TS]

00:47:35   know away from the roots of the [TS]

00:47:36   businesses that that Vito was involved [TS]

00:47:38   with leaving New York being in Nevada of [TS]

00:47:42   all places it just it feels wrong the [TS]

00:47:45   whole way through its be a beautiful [TS]

00:47:46   backdrop but it doesn't it doesn't feel [TS]

00:47:48   right a lot echoes from this movie [TS]

00:47:50   forward into Goodfellas one of them [TS]

00:47:53   getting back to what we talked about [TS]

00:47:54   earlier is the well we'll get to when we [TS]

00:47:57   get to the section with video and [TS]

00:47:58   realizing like what what the Mafia was [TS]

00:48:01   when Vito arrived in New York and the [TS]

00:48:03   reflection in Goodfellas where they come [TS]

00:48:04   right on site it's like the police for [TS]

00:48:05   wiseguys they can't go to they can't go [TS]

00:48:07   to the police they need someone else to [TS]

00:48:08   Dino so that that thing but in this one [TS]

00:48:10   it's the you know the band is wrong and [TS]

00:48:14   the food is wrong it's whatever was like [TS]

00:48:15   liver on Ritz crackers try to tell them [TS]

00:48:17   you know that it was a canopy or [TS]

00:48:19   whatever that's egg noodles and ketchup [TS]

00:48:20   right it's the same thing where Ray [TS]

00:48:23   Liotta is is fish-out-of-water taken out [TS]

00:48:26   of his element and put somewhere else [TS]

00:48:27   and he gets egg noodles and ketchup when [TS]

00:48:29   he s4 we get any meatballs and it does [TS]

00:48:31   feel wrong but it also feels like we [TS]

00:48:35   remember the first movie not that they [TS]

00:48:36   were on the run so much but they The [TS]

00:48:39   Five Families thing went down and they [TS]

00:48:40   had to get out of there like it was like [TS]

00:48:42   one big final triumphant also a shift [TS]

00:48:45   West and there's money in casinos and [TS]

00:48:47   he's built this fortress for himself [TS]

00:48:49   he's built this giant palace and [TS]

00:48:50   fortress even bigger than his dad's set [TS]

00:48:52   up everything is beautiful there's tons [TS]

00:48:54   of people but there [TS]

00:48:55   not wanted here it's very clear and yeah [TS]

00:48:59   they everybody the everybody seems out [TS]

00:49:02   of place even to like his bodyguards [TS]

00:49:04   which look less Italian than the people [TS]

00:49:06   who were guarding him in the first movie [TS]

00:49:07   or certainly the people that were [TS]

00:49:08   guarding him in Italy yeah the guy that [TS]

00:49:10   connie's brought home is is some you [TS]

00:49:13   know curly-headed dude a Merle I mean I [TS]

00:49:16   mean who wants to hang out with a guy [TS]

00:49:17   named Merle anyway both like oh my god [TS]

00:49:21   the way the way Michael talks about him [TS]

00:49:23   right I know it just savage and that's [TS]

00:49:28   that's one of the great I think it's one [TS]

00:49:29   of the great laugh lines that is the be [TS]

00:49:30   in the movie you know if you know if you [TS]

00:49:32   don't listen to me and marry this man [TS]

00:49:33   big long poems big long pause but [TS]

00:49:35   address after we had seen him like did [TS]

00:49:37   the confrontation with the center at [TS]

00:49:38   everything you'll disappoint me ice-cold [TS]

00:49:41   but also somewhat funny because they're [TS]

00:49:43   all waiting for with what terrible thing [TS]

00:49:45   is gonna happen and Connie like she is a [TS]

00:49:47   mess she is falling apart you know [TS]

00:49:49   lively after the events of the first [TS]

00:49:51   movie yeah she's she's like you know got [TS]

00:49:53   sores on her faces like what do you mean [TS]

00:49:55   I have a math problem you know she's [TS]

00:49:57   she's really out of sorts and just does [TS]

00:49:59   not get how out of sorts is everything I [TS]

00:50:01   mean everything is wrong right that's [TS]

00:50:02   basically the message of the scene it is [TS]

00:50:04   this intricate scene that sets up the [TS]

00:50:06   story but it also just gives you the [TS]

00:50:08   sense especially if you're coming in [TS]

00:50:10   remembering the first movie you're like [TS]

00:50:11   wow this is not like this is not good [TS]

00:50:13   people are in in bad bad places here and [TS]

00:50:16   this begins the movie the the one other [TS]

00:50:18   bit about the the chess pieces on the [TS]

00:50:19   board that I wanted to make mention of [TS]

00:50:21   you know we mentioned Hyman Roth which [TS]

00:50:23   is you know Meyer Lansky with a [TS]

00:50:25   different name there's something from [TS]

00:50:27   the first movie that wasn't mentioned on [TS]

00:50:28   on the episode you guys did on the first [TS]

00:50:30   one that I wanted to call out here which [TS]

00:50:32   is the character Johnny Fontaine which [TS]

00:50:34   is basically Frank Sinatra or not even [TS]

00:50:36   basically just is supposed to be Frank [TS]

00:50:38   Sinatra to the extent that Francis Ford [TS]

00:50:41   Coppola was persona non grata with with [TS]

00:50:44   Sinatra with Sinatra's people with the [TS]

00:50:46   people that Sinatra was attached to in a [TS]

00:50:48   dangerous sense just for that character [TS]

00:50:51   existing in the first movie you know [TS]

00:50:53   we've got we've got a doubling down on [TS]

00:50:55   the real-life corruption involving [TS]

00:50:59   people like Meyer Lansky you know [TS]

00:51:01   further underlines the fact that Moe [TS]

00:51:03   Greene was was the Bugsy Malone type [TS]

00:51:05   before before mo got taken out in the [TS]

00:51:07   first movie and and that that whole [TS]

00:51:10   thing they they do anything but run away [TS]

00:51:12   from it because I mean they move them [TS]

00:51:14   out west but they they really you know [TS]

00:51:17   they're there I guess you could say that [TS]

00:51:19   they could have been more disrespectful [TS]

00:51:21   of lansky you know then cast somebody of [TS]

00:51:24   the enormous stature of Lee Strasberg [TS]

00:51:27   but it it definitely sets up that that [TS]

00:51:30   they are they are not shying away from [TS]

00:51:31   from any of that stuff that that brought [TS]

00:51:33   them out west right so the next [TS]

00:51:36   flashback block is with Robert De Niro [TS]

00:51:40   now as young Vito Corleone he's he's [TS]

00:51:44   married Sonny has already been born he [TS]

00:51:47   works at a at a grocery in Little Italy [TS]

00:51:51   this is one of those moments that I was [TS]

00:51:53   thinking about when I was thinking about [TS]

00:51:55   where we left him and how is this kid [TS]

00:51:57   gonna survive in the United States he [TS]

00:51:59   doesn't even speak English and this is [TS]

00:52:00   the answer is that there's a whole [TS]

00:52:02   community of Italians in New York and [TS]

00:52:04   they they have Italian groceries and [TS]

00:52:06   they all speak Italian and that's where [TS]

00:52:09   he is and that's how he is able to [TS]

00:52:12   presumably make it to this point of [TS]

00:52:13   being a young man who's married with a [TS]

00:52:16   son unfortunately he does lose his job [TS]

00:52:19   at the at the grocery store because Don [TS]

00:52:22   fanucci needs his uh near to well cousin [TS]

00:52:26   needs a job and so and which leads to a [TS]

00:52:30   very sweet scene where the guy who runs [TS]

00:52:31   the grocery is very sad that he has to [TS]

00:52:34   get get rid of Vito and wants to give [TS]

00:52:36   him a box of groceries he runs out on [TS]

00:52:38   the street and gives it tries to give to [TS]

00:52:39   him any betta refuses him he doesn't not [TS]

00:52:42   doesn't refuse Don fanucci because that [TS]

00:52:45   would be unwise but he just feel really [TS]

00:52:47   bad about Vito's meat losing Vito's job [TS]

00:52:51   and then and then yeah Bruno Kirby [TS]

00:52:54   invites him to go visit a friend's house [TS]

00:52:56   where they steal a rug I like the idea [TS]

00:52:59   that his wife would love a rug like it [TS]

00:53:00   really brings home like the yes there is [TS]

00:53:02   community there but they're all very [TS]

00:53:04   poor that the kids living conditions are [TS]

00:53:05   not great they don't have a rug they [TS]

00:53:07   would like to have a rug but who can [TS]

00:53:08   afford a rug I noticed it this time for [TS]

00:53:10   the very first time there's one of the [TS]

00:53:12   things I picked up first time I noticed [TS]

00:53:14   it was just how ill-fitting the rug was [TS]

00:53:17   in their house because it was too [TS]

00:53:19   it's actually it's actually like a [TS]

00:53:21   couple of inches too big so it's curled [TS]

00:53:23   up at the sides just a little bit it's [TS]

00:53:25   just ever so slightly too big for the [TS]

00:53:27   room whereas in the room they stole it [TS]

00:53:28   from it was just a little a little rug [TS]

00:53:31   and a throw rug in the center of the [TS]

00:53:33   room it's a nice little touch how much I [TS]

00:53:35   love the scene it's such a subtle it's [TS]

00:53:38   so subtle but it's so perfectly played I [TS]

00:53:40   just love the scene where as the [TS]

00:53:42   grocer's trying to fire Vito and Vito [TS]

00:53:45   just heats eat he says I say again I [TS]

00:53:47   know exactly what's going on it's easy [TS]

00:53:49   don't worry you have to you know it's [TS]

00:53:50   okay you have to get rid of me well it [TS]

00:53:52   makes you realize what a good guy Vito [TS]

00:53:54   is like we know him as the scary [TS]

00:53:56   Godfather and he's like I understand how [TS]

00:53:58   this works it's fine I don't want your [TS]

00:54:00   stuff you don't need to give me the box [TS]

00:54:01   you just you've been good to me all [TS]

00:54:03   these years and I'll remember points to [TS]

00:54:04   his head mm-hmm yeah the super-chill [TS]

00:54:07   enlightened Buddhist Godfather where [TS]

00:54:09   he's completely unflappable he's like [TS]

00:54:11   this is only a thing and this is the [TS]

00:54:13   thing that has happened business and now [TS]

00:54:14   life continues he's a you know I I know [TS]

00:54:18   that it's sort of a good ad the good [TS]

00:54:21   father's good good fellows as a [TS]

00:54:23   counterpart to the Godfather is sort of [TS]

00:54:25   the and Scorsese's even scented that [TS]

00:54:27   none of these guys are good guys and if [TS]

00:54:29   there's a problem with the Godfather [TS]

00:54:29   movie it's that the God you know Vito [TS]

00:54:31   Corleone is sort of he is he's a good [TS]

00:54:33   guy he's you can't you know he's a crime [TS]

00:54:35   boss he does immediately go to murder as [TS]

00:54:38   a solution for the situation you never [TS]

00:54:40   he never kills anybody in either movie [TS]

00:54:42   who doesn't deserve it [TS]

00:54:43   well you know it's a culture that's what [TS]

00:54:45   all sure that would all criminal [TS]

00:54:47   masterminds think John does he have your [TS]

00:54:48   family you can tell us like there's no [TS]

00:54:52   way that he would know you can tell us [TS]

00:54:53   right now he never kills anybody it [TS]

00:54:55   doesn't deserve it he's a good you know [TS]

00:54:56   he's a good man he has a sense of [TS]

00:54:58   justice essentially present he doesn't [TS]

00:55:00   he has an ethos now John John you're [TS]

00:55:03   doing you're doing the Senators defense [TS]

00:55:04   from later in the movie Vito Corleone [TS]

00:55:07   right now fine Italian is a decently [TS]

00:55:10   landing citizen no but I think that's [TS]

00:55:13   the contrast to Michael and it's it's [TS]

00:55:15   that he it through in both movie he [TS]

00:55:17   doesn't have insecurities he doesn't [TS]

00:55:19   have internal flaws that caused him to [TS]

00:55:20   externalize his his internal yeah okay [TS]

00:55:22   let me jump in here because that's the [TS]

00:55:24   way it was was gonna almost bring this [TS]

00:55:26   up with pent Angela but one thing I got [TS]

00:55:27   on this last watching is you know [TS]

00:55:29   obviously with the first vlog could [TS]

00:55:31   anybody be cooler than Robertson [TS]

00:55:32   in this movie no no Robert DeNiro [TS]

00:55:35   running across the roofs is just it's [TS]

00:55:37   it's so glorious but yeah I mean they're [TS]

00:55:40   setting him up as having an ethos you [TS]

00:55:41   see you see Michael there's a certain [TS]

00:55:43   kind of I almost want to say stoicism I [TS]

00:55:45   don't know if that's the right word but [TS]

00:55:46   there's a certain one reason people get [TS]

00:55:48   in trouble in these movies is that they [TS]

00:55:51   have a vulnerability that is not offset [TS]

00:55:54   by their usefulness and I think that's [TS]

00:55:56   something that both of the Godfather's [TS]

00:55:58   really pick up on is there's certain [TS]

00:55:59   kinds of problems [TS]

00:56:01   vulnerabilities hang-ups addictions weak [TS]

00:56:04   spots there's things that you can put up [TS]

00:56:05   with but if you cross them the net [TS]

00:56:07   vulnerability is going to be exposed in [TS]

00:56:09   a way that's going to be very very ugly [TS]

00:56:11   for you or you might just get killed and [TS]

00:56:13   it's there it's there the way that they [TS]

00:56:14   keep things play things so close to the [TS]

00:56:16   chest I mean there's anybody in these [TS]

00:56:18   movies who is a hothead you know is a [TS]

00:56:21   sunny type character or is somebody who [TS]

00:56:22   has sometimes people with addictions [TS]

00:56:24   these are the people who become a [TS]

00:56:27   problem and then they have to be dealt [TS]

00:56:29   with it's it's its ETSU I guess I'm [TS]

00:56:33   skipping ahead a little bit but then [TS]

00:56:35   there's there's the scene where the guy [TS]

00:56:37   his wife says you know sends her friend [TS]

00:56:39   over the landlords kicking her because [TS]

00:56:42   of her doll because the dog I like [TS]

00:56:43   there's like the kind of things that the [TS]

00:56:45   Godfather was dealing with in the [TS]

00:56:46   beginning it was mostly dog related [TS]

00:56:47   issues mrs. Columbo the idea that he [TS]

00:56:50   that it's not just being a criminal [TS]

00:56:53   right he's he's they're kind of like [TS]

00:56:56   he's like the played police for people [TS]

00:56:57   can't go to the place that's right he's [TS]

00:56:59   the neighborhood you know guy who will [TS]

00:57:01   help make things right he still uses [TS]

00:57:03   less rhodium and he'll use his leverage [TS]

00:57:06   to do what is what is necessary and he [TS]

00:57:07   does the Godfather thing because he goes [TS]

00:57:09   immediately he's not like oh we do such [TS]

00:57:11   a good guy he's gonna help ugly with dog [TS]

00:57:12   first thing he says is what do you want [TS]

00:57:14   me to Vaughn do is a dog what's what do [TS]

00:57:15   you want what he want me to do better [TS]

00:57:17   than that that's part of his schtick is [TS]

00:57:18   you know you come to me with this thing [TS]

00:57:21   like what's you know an event he he [TS]

00:57:23   wants to have his respect baby that's [TS]

00:57:25   where where Michael gets it in a much [TS]

00:57:26   more severe form she you know and the [TS]

00:57:29   wife sitting next to him going uh-huh [TS]

00:57:30   like you know it's it's such a weird [TS]

00:57:32   baby version of the dynamic that will [TS]

00:57:35   eventually be when you know man Marlon [TS]

00:57:36   Brando is though yeah father doors what [TS]

00:57:39   it this is a scene that plays a little [TS]

00:57:41   bit as this is you know how it started [TS]

00:57:44   this it's a version of the scenes [TS]

00:57:46   you remember from the first movie like [TS]

00:57:48   the proto version of that is that saying [TS]

00:57:50   although we're not very much lower [TS]

00:57:52   stakes and funnier and but but as [TS]

00:57:54   revealing of him him figuring out how [TS]

00:57:56   he's going to be this person he's going [TS]

00:57:58   to because he doesn't know how this is [TS]

00:57:59   all going to turn out he's not coming in [TS]

00:58:01   here saying I'm gonna build a criminal [TS]

00:58:02   empire he's just doing what it takes and [TS]

00:58:04   he he has an intuitive nough cebause [TS]

00:58:07   manipulating people while while still [TS]

00:58:10   making them love you that he's able even [TS]

00:58:12   with his friends he pulls a Steve Jobs [TS]

00:58:13   Steve Jobs Steve Wozniak thing on his [TS]

00:58:15   friends like you guys give me some money [TS]

00:58:16   you be a yo yeah like obsequious to the [TS]

00:58:20   crime boss and say oh yeah no we'll [TS]

00:58:21   totally pay you by a block he's [TS]

00:58:23   basically setting me up and say you to [TS]

00:58:25   go and show him that you're totally weak [TS]

00:58:26   I will take your money go to him because [TS]

00:58:29   I have judged that if I have a little [TS]

00:58:31   bit of spine he's gonna say I like your [TS]

00:58:34   style kid and then you know I I won't [TS]

00:58:38   you know I won't even give them all the [TS]

00:58:40   money that you said you're gonna pay [TS]

00:58:41   them and then I'll go and kill him take [TS]

00:58:42   the money back anyway yep yeah he's [TS]

00:58:44   playing it from multiple angles but part [TS]

00:58:46   of it part of it is he's ambitious [TS]

00:58:48   there's no question about it he's [TS]

00:58:49   ambitious but part of it too to me is [TS]

00:58:51   that it comes across to me that he has a [TS]

00:58:53   moral core and the reason one of the [TS]

00:58:56   reasons he moves against Dom felluci is [TS]

00:58:58   that he sees an opportunity to be [TS]

00:59:00   ambitious but the other thing gets to [TS]

00:59:02   that line he said when he first starts [TS]

00:59:04   learning about Don fallujah knees like [TS]

00:59:05   why should bothering other Italians you [TS]

00:59:08   know right [TS]

00:59:08   it's that he's chosen danfa Lucia's [TS]

00:59:11   chosen to abuse his position to just [TS]

00:59:13   terrorize his own people and you can see [TS]

00:59:15   it in every scene Dom velu G's in his [TS]

00:59:18   interaction with everybody else in in [TS]

00:59:20   the neighborhood is he's different he [TS]

00:59:22   doesn't dress like them he doesn't act [TS]

00:59:24   like them it just no he just jumps off [TS]

00:59:26   jumps on your car while you're driving [TS]

00:59:28   down the street exact shakes you down [TS]

00:59:30   for cash right there yeah I I think if [TS]

00:59:32   Dom felluci was a good guy like in the [TS]

00:59:34   sense that Vito was a good guy that Vito [TS]

00:59:37   never would have he wasn't gonna you [TS]

00:59:38   know he might have gotten involved with [TS]

00:59:40   a racket but it goes right back to what [TS]

00:59:41   drove him out of Sicily it understands [TS]

00:59:43   that there's a system and it may not be [TS]

00:59:45   the law right but there is a way that [TS]

00:59:47   things work in order for things to [TS]

00:59:49   function correctly hundred I mean he saw [TS]

00:59:51   what happened you know when you run [TS]

00:59:53   afoul of the system but I think he I [TS]

00:59:55   don't know if the ethics is that the [TS]

00:59:56   right word for it but he has a sense of [TS]

00:59:57   the right thing to do this is [TS]

00:59:57   the right thing to do this is [TS]

01:00:00   to do in this system and I think that [TS]

01:00:02   that's obviously a huge contrast with [TS]

01:00:05   what Michael ends up there's there's [TS]

01:00:06   corruption and graft and it's a matter [TS]

01:00:08   of corruption and graft that actually [TS]

01:00:10   watches out for the backs of of people [TS]

01:00:12   and rather than take advantage of them [TS]

01:00:15   and and create the kind of environment [TS]

01:00:17   that is what pushed him out of Sicily [TS]

01:00:18   was somebody who was you know really [TS]

01:00:21   just directly you know taking out hits [TS]

01:00:23   on people and he thought that he had a [TS]

01:00:26   better way of doing this and this is him [TS]

01:00:27   acting on all of that when that when the [TS]

01:00:29   grocer gives Vito the free Arne should [TS]

01:00:31   just insist you take it just know you've [TS]

01:00:33   got to take it it's not out of fear you [TS]

01:00:36   can see it it's palpable it's it's just [TS]

01:00:38   another one of those characters who's in [TS]

01:00:40   the movie for 20 seconds but it's great [TS]

01:00:42   it's is he's like no I love you you know [TS]

01:00:45   you it's like it's like carryin carrying [TS]

01:00:47   your mother's groceries huh you know [TS]

01:00:49   what I mean it's out of sex [TS]

01:00:50   well I but he's also sort of starstruck [TS]

01:00:53   it's sort of like oh my god Vito [TS]

01:00:54   Corleone's gonna take one of my oranges [TS]

01:00:55   yeah I'm gonna tell kids down [TS]

01:00:57   generations about the day that I gave [TS]

01:00:59   Don Corleone an orange yeah and he takes [TS]

01:01:01   the orange on like the grocery that's [TS]

01:01:02   another turning point and before he was [TS]

01:01:04   refusing the groceries now he's like you [TS]

01:01:06   know what I do deserve a day give me [TS]

01:01:08   Cuban yarn you know what you give me an [TS]

01:01:09   orange you're my friend yeah and the [TS]

01:01:11   this other young widow the gap between [TS]

01:01:13   young video engineer obviously is huge [TS]

01:01:15   but I feel like they do a good job of [TS]

01:01:17   bridging that because the way Vito story [TS]

01:01:21   plays out as you go to the you know the [TS]

01:01:22   adult De Niro you see that quiet [TS]

01:01:25   observant kid he's watching he's [TS]

01:01:27   figuring out everything works he's not [TS]

01:01:29   saying much he asked a couple questions [TS]

01:01:31   every once in a while but he's observing [TS]

01:01:33   that's how he's able to figure out what [TS]

01:01:35   the right play is I tell you what guys [TS]

01:01:37   you each give me 50 bucks Bob like [TS]

01:01:38   that's because he had spent the whole [TS]

01:01:40   rest that will be watching even when [TS]

01:01:41   when the dawn comes into his grocery [TS]

01:01:44   store he just goes back to his seat with [TS]

01:01:45   his little sausage and cheese and he [TS]

01:01:47   sits and he watches and he you know has [TS]

01:01:49   a short conversation that very quiet kid [TS]

01:01:52   like you could tell the gears returning [TS]

01:01:53   and sat there and even as an adult that [TS]

01:01:55   still his mindset even in the Marlon [TS]

01:01:57   Brando it's a little bit of his MO is to [TS]

01:01:58   just be quiet sit back think and watch [TS]

01:02:00   and only speak when when you have to so [TS]

01:02:02   I think it's nice continuity this is the [TS]

01:02:04   fundamental functional difference [TS]

01:02:06   between the way the Vito works in the [TS]

01:02:07   way that Michael works where Vito was a [TS]

01:02:09   was a kid refugee who [TS]

01:02:11   to find a way to survive and Michael is [TS]

01:02:13   the kid who was going there out of [TS]

01:02:15   education and went into the military and [TS]

01:02:17   he looks at doing the job from a [TS]

01:02:20   militaristic perspective of eliminate [TS]

01:02:23   all enemies you know silence the song as [TS]

01:02:26   those who needs to be silenced era [TS]

01:02:27   that's a military thing I think it's his [TS]

01:02:28   personality that he can't you can't bear [TS]

01:02:30   that he has an inferiority complex that [TS]

01:02:33   he externalizes something that his [TS]

01:02:34   father never had his father never felt [TS]

01:02:36   inferior despite being at the bottom of [TS]

01:02:38   the ladder of you know immigrants in New [TS]

01:02:39   York and by the way that the sectarian [TS]

01:02:41   nature of New York when you know when [TS]

01:02:44   Vito is walking around as DeNiro the [TS]

01:02:46   fact that why does he go over his own [TS]

01:02:47   people like the fact that Italians wear [TS]

01:02:49   their own people emphasize many times in [TS]

01:02:51   all these movies like me the prejudice [TS]

01:02:53   against Italians in the viewing them of [TS]

01:02:54   them as separate which seems ridiculous [TS]

01:02:56   in today's day and age when they're just [TS]

01:02:58   like you know they've completely [TS]

01:02:59   assimilated along yeah other white [TS]

01:03:01   people so so hated exactly yeah it's [TS]

01:03:03   it's one of the it's one of the things [TS]

01:03:05   that that that I associated with or that [TS]

01:03:08   I related to the most was I mean you [TS]

01:03:10   know as a Cuban American Cuban Americans [TS]

01:03:12   love these movies Jewish Americans love [TS]

01:03:14   these movies there's that kind of tribal [TS]

01:03:16   aspect to it of there is there is some [TS]

01:03:19   sort of specific stigmatization on [TS]

01:03:20   different people's and it's one of the [TS]

01:03:22   reasons that this isn't just a movie for [TS]

01:03:24   for Italian Americans it's a movie for [TS]

01:03:26   people who have who have come in you [TS]

01:03:30   know who immigrated in who have [TS]

01:03:32   assimilated and and had to find their [TS]

01:03:35   way back in the later timeframe this is [TS]

01:03:40   a long segment where we stay away from [TS]

01:03:43   before we go back to Vito and they have [TS]

01:03:45   the the orphanage she jumps on the car [TS]

01:03:49   and all that so we'll wrap back around [TS]

01:03:51   to that in the Festa and stalking them [TS]

01:03:52   from the roof and all that but there's [TS]

01:03:54   this long block in here what lots of [TS]

01:03:56   stuff happens [TS]

01:03:57   he Michael goes to Miami visits with [TS]

01:04:01   Hyman Roth that gets a nice dude gets [TS]

01:04:04   offered a tuna sandwich which he turns [TS]

01:04:06   down I love that moment I would you like [TS]

01:04:08   a due decision grants wife and her dress [TS]

01:04:10   the tip fills the entire room yeah it's [TS]

01:04:14   just great he's just watching the [TS]

01:04:15   college football game brats house so [TS]

01:04:17   modest oh yeah yeah you know he's just a [TS]

01:04:19   man just retired he's a retired investor [TS]

01:04:21   on a pension [TS]

01:04:22   yeah it was it was like Michael was was [TS]

01:04:24   going to pick up a donation for the [TS]

01:04:26   local theater community group spected [TS]

01:04:29   someone to come into said harangue him [TS]

01:04:31   Seinfeld style he's on a very fixed [TS]

01:04:33   income a lot of this movie um [TS]

01:04:36   and it's many points in this movie I [TS]

01:04:38   find myself thinking what are they [TS]

01:04:40   thinking because this movie makes you [TS]

01:04:42   always ask like what's their motivation [TS]

01:04:45   what are they thinking and you see it in [TS]

01:04:47   this scene because they have that you're [TS]

01:04:50   like okay he suspects something because [TS]

01:04:54   of the thing with the guy in New York uh [TS]

01:04:56   he's going to see him what's this going [TS]

01:04:58   to all be about and and instead they [TS]

01:05:02   like they do the small talk thing and [TS]

01:05:03   then there's that great moment where [TS]

01:05:06   they like close the door move the chairs [TS]

01:05:08   together turn up the TV playing college [TS]

01:05:10   football and then they talk a little [TS]

01:05:12   healthy paranoia thing is the whole [TS]

01:05:13   thing is really a wonder of blocking [TS]

01:05:15   shots in that little little tiny space [TS]

01:05:17   you see walking you see Lee Strasberg [TS]

01:05:19   with his leg over the chair like all [TS]

01:05:21   like lounged out and just the way I mean [TS]

01:05:23   you know I feel like you could teach a [TS]

01:05:24   whole class on how to sit down like Al [TS]

01:05:27   Pacino because he's a very specific kind [TS]

01:05:29   of way that he sits down when it was it [TS]

01:05:30   was Lee Strasberg who taught that class [TS]

01:05:32   huh you know this is a guy and his [TS]

01:05:34   mentor playing a scene with each other [TS]

01:05:36   two of the great actors of all time and [TS]

01:05:38   just getting to watch them effectively [TS]

01:05:40   quote/unquote eat soup is is phenomena [TS]

01:05:43   I like that Polly Strasburg could not be [TS]

01:05:45   more I'm an old man in Florida when he [TS]

01:05:47   walks in it's just like here I am I'm [TS]

01:05:49   hanging out I got you like the college [TS]

01:05:51   football and then they and then they do [TS]

01:05:53   that and you're still asking like what [TS]

01:05:55   is one of these characters motivations [TS]

01:05:56   here we don't know and and I feel like [TS]

01:05:59   that's one of the cool things about this [TS]

01:06:00   movie is that for a while you're like [TS]

01:06:02   what's Michael doing who's telling the [TS]

01:06:05   truth here as we kind of go through [TS]

01:06:07   because because then we get the thing [TS]

01:06:09   where we see pent Angele in New York and [TS]

01:06:12   he has been told you know you got to [TS]

01:06:15   make peace with the rosada family but [TS]

01:06:16   not but but I'm gonna I'm going to take [TS]

01:06:18   care of it and and he's just said to [TS]

01:06:22   Hyman Roth that potential he's dead [TS]

01:06:24   so it's like they're he's playing both [TS]

01:06:26   these sides who's he really playing here [TS]

01:06:28   and then there's a hit on pent Angele [TS]

01:06:31   which also brings to mind the fact that [TS]

01:06:33   we have so many successful hits in the [TS]

01:06:35   first movie [TS]

01:06:36   and this this movie has a lot of failed [TS]

01:06:37   attempts to kill people at sometimes [TS]

01:06:40   intentionally fail sometimes so but but [TS]

01:06:42   you don't always know so potentially get [TS]

01:06:44   strangled but doesn't quite die and a [TS]

01:06:46   cop comes in and there's a whole thing [TS]

01:06:48   and he ends up he ends up not not dying [TS]

01:06:51   it's an attempt on his like the bar [TS]

01:06:53   owners no not in the restaurant no not [TS]

01:06:56   in here Kimmy what's the purpose what's [TS]

01:06:58   the purposely failed hit attempt the one [TS]

01:07:01   the one where say hello Michael Corleone [TS]

01:07:03   says hello yes Danny Aiello tries to [TS]

01:07:06   kirat Frankie right and almost kills [TS]

01:07:08   wanted to make sure that pant Angela [TS]

01:07:11   thought that Michael was was trying to [TS]

01:07:13   kill him right all orchestrated oh I see [TS]

01:07:16   I don't get it no I don't get it [TS]

01:07:18   well it wasn't it wasn't a failed hit [TS]

01:07:20   attempt it was a it was a false flag a [TS]

01:07:21   misdirection oh so he purveyed he wasn't [TS]

01:07:24   supposed to kill frank pant and you're [TS]

01:07:26   supposed to think that we we almost [TS]

01:07:27   killed you but didn't quite pull it off [TS]

01:07:29   and Michael's the one to blame oh I [TS]

01:07:31   didn't get that oh I don't get that at [TS]

01:07:32   all when you go out somebody it is [TS]

01:07:34   really get the I don't know why I know [TS]

01:07:37   this but we put the wire around their [TS]

01:07:39   neck it's really hard to screw up that [TS]

01:07:40   kind of murder well that's why the cop [TS]

01:07:41   is all orchestrated to come in at the [TS]

01:07:43   right time and they got the whole you [TS]

01:07:44   know and the person who gets shot is you [TS]

01:07:47   know the is whatever whatever guy then [TS]

01:07:49   what are they what did they think pant [TS]

01:07:51   Angelis gonna do with that he's gonna [TS]

01:07:54   thank Michael turned on he's gonna turn [TS]

01:07:55   it and then he's going to in turn turn [TS]

01:07:57   on Michael exactly by going to Congress [TS]

01:08:00   and being like you know I'm gonna tell [TS]

01:08:01   you there's no buffers between me and [TS]

01:08:03   Michael Corleone why would they think [TS]

01:08:06   though that he would turn to turn to to [TS]

01:08:09   this because they're gonna have him on [TS]

01:08:10   everything and he there then he's gonna [TS]

01:08:12   flip so this is harming that Hyman Roth [TS]

01:08:14   grand plan right I mean that's the good [TS]

01:08:17   thing about this movie is that at [TS]

01:08:18   various points like the the the the [TS]

01:08:21   image of this movie is that Michael is [TS]

01:08:24   this devious mastermind who tragically [TS]

01:08:26   goes too far or whatever but then [TS]

01:08:28   Michael knows what's going on and is [TS]

01:08:31   seeing three moves ahead but at various [TS]

01:08:32   points in this movie Michael confidently [TS]

01:08:35   said something that eventually turns out [TS]

01:08:37   to be wrong yeah like that he was [TS]

01:08:38   mistaken I mean the Godfather does it [TS]

01:08:40   part too you know little didn't I was [TS]

01:08:41   browsing you all along right in the [TS]

01:08:44   scenes were like oh that Michael he [TS]

01:08:45   really knows what's going on he must be [TS]

01:08:47   purposely lying to this person but [TS]

01:08:49   I think it's clear in a lot of scenes he [TS]

01:08:50   wasn't purposely lying for the purpose [TS]

01:08:52   of you know of throwing somebody off [TS]

01:08:54   sometimes he does that but sometimes [TS]

01:08:56   he's just wrong he hasn't he hasn't [TS]

01:08:57   figured it out yet only at the end is he [TS]

01:09:00   put all the pieces together eventually [TS]

01:09:01   we also get the extended set of scenes [TS]

01:09:04   in Havana that happened here which I [TS]

01:09:06   believe were shot in the Dominican [TS]

01:09:07   Republic according to the credits [TS]

01:09:09   yeah no way they were shot in Cuba no [TS]

01:09:10   but it is said amazingly it is the last [TS]

01:09:14   days of Batista just before the [TS]

01:09:17   Revolution like just before like sorry [TS]

01:09:19   but he's credited as Cuban president [TS]

01:09:21   they don't want to demean somebody who [TS]

01:09:22   then became a resident of the state of [TS]

01:09:24   Florida and whose family then took over [TS]

01:09:26   most of Florida politics sorry again [TS]

01:09:28   nautical knot no no no but it but what's [TS]

01:09:31   amazing about the way this movie does it [TS]

01:09:33   is not just like you know Michael C is [TS]

01:09:35   the the guy pulled a grenade and he's [TS]

01:09:37   like oh these rebels could win and Hyman [TS]

01:09:39   Roth like no no give me a couple million [TS]

01:09:41   dollars investment we're going to own [TS]

01:09:42   these hotels down here it's going to be [TS]

01:09:44   great we're going to be out of the not [TS]

01:09:45   under the thumb of the American [TS]

01:09:47   government anymore [TS]

01:09:48   Michael's kind of unsure but it like [TS]

01:09:50   gets the point where that like literally [TS]

01:09:51   they witness the announcement by the [TS]

01:09:53   president that he's going to be leaving [TS]

01:09:55   and they're like we gotta get out of [TS]

01:09:57   here I'm gonna be leaving with your [TS]

01:09:59   money and everyone's like leaving the [TS]

01:10:00   party like and their sirens go run [TS]

01:10:03   entire upper classes of cuber saying [TS]

01:10:05   well let's just put all the cash in the [TS]

01:10:07   suitcases and get on the boats get on [TS]

01:10:09   the planes and get out of town as soon [TS]

01:10:11   as we can so there's there's a lot that [TS]

01:10:13   happens here there's a there's a there's [TS]

01:10:16   a New Year's Eve party there's like a [TS]

01:10:19   there's a sex show that they go to at [TS]

01:10:21   one point for some important plot [TS]

01:10:23   details are slipped there is there's the [TS]

01:10:24   rooftop party where a Hyman Roth tells [TS]

01:10:27   Michael of the money hasn't come yet [TS]

01:10:28   because he's waiting for two million [TS]

01:10:29   that he expects but of course the mint [TS]

01:10:31   wants to make sure you knit the best [TS]

01:10:32   part of that scene is smaller piece you [TS]

01:10:34   have a cake brain freeze implicated yeah [TS]

01:10:36   what's a smaller smaller piece for me [TS]

01:10:38   was was the effectively the cherry on [TS]

01:10:41   top of him earlier saying I want to make [TS]

01:10:43   sure everybody sees it before it's cut [TS]

01:10:44   yep everyone can see the cake it's [TS]

01:10:46   amazing special he's such an old man so [TS]

01:10:48   particular about all of his all this [TS]

01:10:50   stuff so so there's just there's so much [TS]

01:10:52   euro and and I should mention that the [TS]

01:10:54   the senator in one of the things that I [TS]

01:10:57   really like is the senator asks for a [TS]

01:10:59   redhead [TS]

01:10:59   and frado's like yes yes we can [TS]

01:11:02   absolutely provide that and then of [TS]

01:11:03   course later isn't working they are [TS]

01:11:05   they're dancing he is dancing without a [TS]

01:11:07   right we skipped over that but that's a [TS]

01:11:08   question that I don't know the answer to [TS]

01:11:11   I haven't been able to figure out mostly [TS]

01:11:13   because I feel like it if it plays out [TS]

01:11:16   too strongly towards Michael being super [TS]

01:11:19   evil too early like so they the way to [TS]

01:11:21   get leverage on the senator the senator [TS]

01:11:22   who was totally against them they get [TS]

01:11:23   leverage on on because he's he frequents [TS]

01:11:25   these you know brothels right and so [TS]

01:11:27   they have with the prostitute right and [TS]

01:11:29   it's like I don't know what happened to [TS]

01:11:30   remember anything and now she's dead my [TS]

01:11:33   questions are one is she actually dead [TS]

01:11:34   or is she just pretending to if she's [TS]

01:11:35   actually dead did Michael Corleone crime [TS]

01:11:38   family essentially kill a prostitute [TS]

01:11:39   just to get leverage on the senator and [TS]

01:11:41   if they did say yes yes yeah that is [TS]

01:11:43   pretty severe I mean they go through the [TS]

01:11:45   whole thing of like oh she has no family [TS]

01:11:46   so on and so forth I'm like boy that's [TS]

01:11:49   that's really harsh really early at this [TS]

01:11:51   point I feel like we're still supposed [TS]

01:11:52   to like the downfall of Michael's [TS]

01:11:54   supposed to be a slope in this movie and [TS]

01:11:55   in the beginning it's like if you think [TS]

01:11:57   about it for a little bit [TS]

01:11:58   he decided because someone insulted him [TS]

01:12:00   in his house that he's gonna kill a [TS]

01:12:01   prostitute [TS]

01:12:01   it's just you know just part of doing [TS]

01:12:03   business this is also like another [TS]

01:12:05   example of the vulnerabilities and the [TS]

01:12:07   weaknesses where this is compromise that [TS]

01:12:09   they probably got if Fredo did indeed [TS]

01:12:11   run that place into the ground am i [TS]

01:12:13   right but like there was they obviously [TS]

01:12:14   they had connections with this place so [TS]

01:12:16   they would know that that's a place [TS]

01:12:17   where he would be doing the kinds of [TS]

01:12:18   things that he does that would be smart [TS]

01:12:20   ship and they would know which one's the [TS]

01:12:21   kill who don't have family who aren't [TS]

01:12:23   gonna put up a stink and they would [TS]

01:12:24   never move would be okay with that like [TS]

01:12:25   I feel like that even Michael should [TS]

01:12:27   have known that that was far outside his [TS]

01:12:29   father's code for this type of fits al [TS]

01:12:31   Neri man al Neri I need an Allen Erie in [TS]

01:12:34   my life I think it's the right thing [TS]

01:12:35   it's a rare move John but I think it's [TS]

01:12:38   like when you're when you're gonna get [TS]

01:12:39   compromised on a senator especially a [TS]

01:12:41   senator who you know in the state where [TS]

01:12:43   you need a senator who can help you get [TS]

01:12:45   casinos then you do it yeah just you [TS]

01:12:47   know it's a rare move but you're doing [TS]

01:12:48   and one thing I think you need to read [TS]

01:12:50   into that scene in terms of if you ever [TS]

01:12:52   had a thought of maybe that they were [TS]

01:12:54   nice enough to have the girl fake it as [TS]

01:12:56   I think you have to read into it that [TS]

01:12:58   there was only so much gruesomeness that [TS]

01:13:00   they could actually show there's a lot [TS]

01:13:01   of blood on the sheets but I think if [TS]

01:13:03   you read into the senator Geary how [TS]

01:13:05   shaken up he was you've got to read into [TS]

01:13:07   that that he knows she's freaking [TS]

01:13:09   dead dead yeah shoes or the or the de [TS]

01:13:12   senator actually killed her because he [TS]

01:13:13   had weird predilections and he literally [TS]

01:13:15   do this and they were just there to pick [TS]

01:13:16   up but if you look if you look at how [TS]

01:13:18   shaken up his he she's she's like [TS]

01:13:20   intestines on the bed dead yeah yes I I [TS]

01:13:23   can understand the lack of clarity and I [TS]

01:13:25   think I think what we're intended to [TS]

01:13:27   think is that maybe this is just luck on [TS]

01:13:31   the Corleone's part and this happened to [TS]

01:13:35   happen somewhere that they had ties and [TS]

01:13:37   that kind of thing and it's only later [TS]

01:13:39   in the movie that you realize that no no [TS]

01:13:41   Michael has been absolutely doing stuff [TS]

01:13:44   this bad and just keeping it well [TS]

01:13:46   there's the shot just a shot of al Neri [TS]

01:13:48   in the next room to me that that says [TS]

01:13:50   the whole thing out yeah I'll killed her [TS]

01:13:52   yeah III have no problem no I doubt that [TS]

01:13:54   all his henchmen would do and what else [TS]

01:13:56   could have happened what else was like I [TS]

01:13:58   said it could have been that he [TS]

01:13:59   frequents this place and gets hopped up [TS]

01:14:01   on drugs and actually does get rough [TS]

01:14:03   with them and legitimately killed her [TS]

01:14:05   and they were just there to scoop it up [TS]

01:14:07   well he implies that they've done the [TS]

01:14:08   tying up game before it's just in this [TS]

01:14:10   case I'm guessing somebody slipped him [TS]

01:14:12   on 1950s roofie up yeah and and now he [TS]

01:14:14   kind of driven driven him mad to the bar [TS]

01:14:17   LSD or something and driven him to the [TS]

01:14:19   bar where he really yeah and they had [TS]

01:14:20   and they had al Neri or somebody else [TS]

01:14:22   watching him and getting a pattern of [TS]

01:14:23   behavior and figuring out that okay it's [TS]

01:14:26   this girl this day of the week you know [TS]

01:14:28   and and this is this is the easy target [TS]

01:14:31   so let's just do this if she was just [TS]

01:14:33   merely suffocated that could have been a [TS]

01:14:34   play for cuddle paint like maybe you [TS]

01:14:38   know or yeah but maybe he did it you [TS]

01:14:39   know maybe I my god I blacked out and [TS]

01:14:41   maybe I'd you know but the fact that she [TS]

01:14:44   she was all cut up it's so yeah beyond [TS]

01:14:46   the pale yeah yeah it did it you know [TS]

01:14:49   and it was purposefully done to drive [TS]

01:14:50   him out of his mind yeah yeah a literal [TS]

01:14:52   hatchet man was employed to do something [TS]

01:14:54   here it was it was very intentional and [TS]

01:14:56   very very specific so another key thing [TS]

01:14:59   that happens in this block is Michaels [TS]

01:15:01   realization that Fredo has betrayed him [TS]

01:15:03   right this is the Fredo we get weak not [TS]

01:15:05   only are there some looks between Fredo [TS]

01:15:07   that looked that look on Michaels face [TS]

01:15:09   oh the look on his face when he turns [TS]

01:15:12   it's just that's when they're at the sex [TS]

01:15:14   show and Fredo says oh you know Johnny [TS]

01:15:16   Ola took me here and all of that and [TS]

01:15:17   he's directly contradicting he said [TS]

01:15:19   something he said at dinner and Michael [TS]

01:15:21   realizes and like I think it actually [TS]

01:15:22   puts his hand [TS]

01:15:23   up to his face right like that Simone's [TS]

01:15:25   head goes down into his hands yeah yeah [TS]

01:15:27   holes on him he's in the background of [TS]

01:15:29   that scene we're sort of looking at the [TS]

01:15:30   front but if you look behind there's [TS]

01:15:31   Michael and it just it just crushes him [TS]

01:15:32   well at dinner you can tell that Michael [TS]

01:15:34   is suspicious right yeah afraid afraid [TS]

01:15:36   oh and what's Jonnie Jonnie what yeah [TS]

01:15:38   each other we're just meeting for the [TS]

01:15:40   first time at dinner he's like 90% on [TS]

01:15:43   Franco and he just needs that last 10 [TS]

01:15:45   and he doesn't want to believe it oh [TS]

01:15:47   sure he went into this knowing what was [TS]

01:15:49   going on he had his guy not Rocco but [TS]

01:15:50   the guy the guy who eventually tries to [TS]

01:15:52   hit later that guy's in the background [TS]

01:15:54   all the time basically just you know [TS]

01:15:56   what that conversation was look when I [TS]

01:15:58   give you the heads up go do it because [TS]

01:15:59   we know this is what happened he's just [TS]

01:16:01   I think Michael knows what's going on [TS]

01:16:03   but he needs some certainty that it's [TS]

01:16:05   what it is because he knows how [TS]

01:16:06   momentous that means what a momentous [TS]

01:16:08   change that means for his business and [TS]

01:16:09   his life and he sits on it for a long [TS]

01:16:11   time well yeah well I think I think he [TS]

01:16:13   intentionally waits until mom is dead [TS]

01:16:15   yes great kill his brother until mom's [TS]

01:16:17   dead if it was if I could if I could you [TS]

01:16:21   know play it play the Cuban card and [TS]

01:16:22   least you know we had we had opening [TS]

01:16:24   statements I haven't yeah Cuban [TS]

01:16:26   statement I have a Cuban stall right um [TS]

01:16:28   while we're sure this is a good time for [TS]

01:16:30   us to I was just gonna mention Hyman [TS]

01:16:32   Wafaa diamond Roth they also try he he [TS]

01:16:34   has a he has something he's taken to the [TS]

01:16:36   hospital on New Year's Eve and they [TS]

01:16:38   tried to smother him with a pillow but [TS]

01:16:39   the army marches hidden and and and [TS]

01:16:43   kills the guy who's trying to do that [TS]

01:16:45   Hyman Roth has made better friends with [TS]

01:16:47   the local military than they assumed yes [TS]

01:16:50   but the first off I find it very [TS]

01:16:52   interesting that that that apparently [TS]

01:16:55   Cuban weather is exactly Ascot weather [TS]

01:16:58   because that's when that's when Michael [TS]

01:17:01   switches to ascots for you know just for [TS]

01:17:04   this little trip and and that that has [TS]

01:17:06   become such an iconic still frame from [TS]

01:17:09   this movie that you've seen in different [TS]

01:17:11   home video releases and everything I [TS]

01:17:12   find it funny that you know it's you [TS]

01:17:14   know this is this is this is Michael [TS]

01:17:16   relaxing in the tropics Michael Corleone [TS]

01:17:18   he's in he's in Ascot mode dark suit [TS]

01:17:22   jacket over that's great yeah son the [TS]

01:17:26   the thing the things that that I think [TS]

01:17:29   you know people it's pretty blatant it's [TS]

01:17:32   pretty you know hits you over the head [TS]

01:17:34   but is real [TS]

01:17:36   real life stuff you know I mentioned [TS]

01:17:38   earlier the immigrant gone bad kind of [TS]

01:17:41   narrative being not indicative of most [TS]

01:17:43   immigrants the massive corruption within [TS]

01:17:46   the Cuban government under Batista is [TS]

01:17:48   absolutely a thing and is absolutely [TS]

01:17:49   what happened and you know Cuba is [TS]

01:17:52   portrayed in you know the musical Guys [TS]

01:17:54   and Dolls in in other popular media [TS]

01:17:57   during this era of being a fun time [TS]

01:18:00   place where everybody goes to be corrupt [TS]

01:18:02   it was the it was the bordered on [TS]

01:18:04   bordered by oceans Las Vegas of its time [TS]

01:18:08   well you didn't have to deal with the US [TS]

01:18:10   government having sway over things where [TS]

01:18:12   you know corruption was good and [TS]

01:18:13   everybody was in the corruption business [TS]

01:18:15   and you know again this is not a [TS]

01:18:18   political podcast but I would feel [TS]

01:18:20   remiss if I didn't touch on a couple of [TS]

01:18:22   the may be relevant may be directly [TS]

01:18:25   interesting political themes at play [TS]

01:18:27   here where the captains of industry the [TS]

01:18:30   people of Itt hmm [TS]

01:18:34   you know are presenting a golden [TS]

01:18:36   telephone you know it seems like corrupt [TS]

01:18:39   rich men really like things just covered [TS]

01:18:41   in gold and they they like to make a [TS]

01:18:44   show of things and they like to have all [TS]

01:18:46   of the the brokers of power around a [TS]

01:18:48   table even if they're the only ones [TS]

01:18:50   being seen with all of these people they [TS]

01:18:53   just like to surround themselves with [TS]

01:18:54   feeling important show everyone may hate [TS]

01:18:58   first [TS]

01:18:58   yeah show everyone the cake first you [TS]

01:19:00   know take a look at this take in this [TS]

01:19:01   view look you know we're going to only [TS]

01:19:03   but he says about that we finally have [TS]

01:19:05   what we've always wanted a government [TS]

01:19:07   that will work with us just hang in [TS]

01:19:08   there citizens united will come hey yeah [TS]

01:19:11   a government that will work with us a [TS]

01:19:13   government government this this this [TS]

01:19:15   kind of government knows how to help [TS]

01:19:17   business to encourage it yeah it's it's [TS]

01:19:20   such it's such even they're even dog [TS]

01:19:21   whistling while they sit there on the [TS]

01:19:23   roof in Cuba like this is the this is [TS]

01:19:24   the government that knows how to work [TS]

01:19:25   with us like a they're organized crime [TS]

01:19:28   and be like yes this government does [TS]

01:19:30   this is exactly what you've always been [TS]

01:19:31   looking for uh and if you just if you [TS]

01:19:34   just lived another 50 years you would [TS]

01:19:35   have in the US but yeah and and you know [TS]

01:19:38   look it would it would have to be a very [TS]

01:19:40   strange terrible age that we would live [TS]

01:19:43   in that we could directly relate to [TS]

01:19:44   people cheering government that was [TS]

01:19:47   directly [TS]

01:19:48   corrupt in in finding ways to undercut [TS]

01:19:50   its citizenry at the you know at their [TS]

01:19:53   expense to benefit big business and and [TS]

01:19:56   just trample over over the rights of the [TS]

01:19:58   common man but you know if you imagine [TS]

01:20:01   real hard you you might be able to [TS]

01:20:04   somehow relate to that re after after [TS]

01:20:07   the People's Revolution I'm sure [TS]

01:20:08   everything will be much better [TS]

01:20:09   yeah I'm sure I'm sure that everything [TS]

01:20:11   will work so so much better but I you [TS]

01:20:14   know that that micro monologue that [TS]

01:20:16   Michael has about what he saw in the [TS]

01:20:19   street just happening and just and just [TS]

01:20:22   you know the the other the other folks [TS]

01:20:24   just going yeah yeah okay whatever you [TS]

01:20:26   know that's that's not gonna be a big [TS]

01:20:27   deal he's he's quiet [TS]

01:20:28   I mean this is a little bit of the veto [TS]

01:20:29   thing he's quietly reading the scene [TS]

01:20:31   he's like before I give you my two [TS]

01:20:33   million dollars I'm just gonna get laid [TS]

01:20:35   Len he brings the two million dollars [TS]

01:20:36   they're Fredo delivers it which is a [TS]

01:20:38   bold move like they afraid oh bring your [TS]

01:20:39   suitcase with two million dollars but I [TS]

01:20:41   guess air travel was different than as [TS]

01:20:43   we see later when everybody meet Simon [TS]

01:20:44   coming off the plane he brings the money [TS]

01:20:47   he gets as far as having the money there [TS]

01:20:49   uh but like you know he's like be [TS]

01:20:53   patient we got plenty of time at you [TS]

01:20:55   know should I bring the suitcase [TS]

01:20:56   immediately from Fredo and throw it in [TS]

01:20:58   Hyman Roth slap no I'm gonna have some [TS]

01:21:00   more conversations with them you know if [TS]

01:21:01   that is on the table and I come out I'll [TS]

01:21:03   know I have a partner right he plays [TS]

01:21:06   this he plays this wisely he's the only [TS]

01:21:08   one with his head on his shoulders about [TS]

01:21:09   how things are gonna go down because he [TS]

01:21:11   gets the lay of the land now the the [TS]

01:21:12   only other Cuban history related thing [TS]

01:21:15   that I wanted to mention with this is [TS]

01:21:16   this movie was released in 1974 six [TS]

01:21:18   years later my dad and many many other [TS]

01:21:21   Cubans got on a bunch of boats and [TS]

01:21:23   escaped Cuba on the Mariel boatlift [TS]

01:21:24   coming over to the United States as [TS]

01:21:26   refugees and fueling you know the [TS]

01:21:29   narrative of movies like Scarface and [TS]

01:21:30   others about these bad dudes coming over [TS]

01:21:32   on boats but they were they were [TS]

01:21:34   escaping the the corrupt government that [TS]

01:21:36   came in directly after this corrupt [TS]

01:21:38   government Cuba has had just a series of [TS]

01:21:40   corrupt governments ever since it [TS]

01:21:42   existed but it's it's interesting with [TS]

01:21:45   this movie playing with all of these [TS]

01:21:48   themes that were then 15 years in the [TS]

01:21:50   past as the movie was being made just in [TS]

01:21:53   advance of a bunch of refugees you know [TS]

01:21:57   a couple hundred thousand [TS]

01:21:59   you know escaping the island and [TS]

01:22:01   with their own set of Mythology applied [TS]

01:22:04   to them in some part because of popular [TS]

01:22:07   media like this making people just you [TS]

01:22:10   know accept assumptions about immigrant [TS]

01:22:13   people in refugees scarface didn't help [TS]

01:22:15   there either [TS]

01:22:15   merlin just threw something in the chat [TS]

01:22:17   that that was the the thing that I [TS]

01:22:20   watched this afternoon that I was going [TS]

01:22:22   to bring up about John Cazale there's an [TS]

01:22:25   HBO documentary that's about 40 minutes [TS]

01:22:27   long that is is really fantastic and you [TS]

01:22:30   know as much as the line about Fredo and [TS]

01:22:32   Pacino's delivery of it is it lives in [TS]

01:22:36   so many people's memory people don't [TS]

01:22:37   remember John Casals name as well as [TS]

01:22:39   they remember the neighbor Fredo in [TS]

01:22:42   merlyn I assume you you probably have [TS]

01:22:44   something to say about this thing oh [TS]

01:22:45   just that you know given his regrettably [TS]

01:22:47   short career [TS]

01:22:49   it's amazing to just go look at how many [TS]

01:22:50   dinners he was in every movie he was in [TS]

01:22:52   was nominated for Best Picture Wow the [TS]

01:22:56   two first Godfather movies yeah [TS]

01:22:58   the conversation Deer Hunter has an [TS]

01:23:00   awesome haircut in Dog Day Afternoon you [TS]

01:23:02   know I afternoon yeah yeah and and he he [TS]

01:23:05   got a lung cancer he actually they [TS]

01:23:07   actually made Dog Day era they made a [TS]

01:23:10   deer hunter the they reordered the [TS]

01:23:14   shooting schedule to shoot his scenes [TS]

01:23:16   first because they knew he was going to [TS]

01:23:17   die [TS]

01:23:18   and he died before shortly after I think [TS]

01:23:21   they shot the movie before he'd even [TS]

01:23:22   seen any edited version of it yeah the [TS]

01:23:25   movie wasn't done and edited by the time [TS]

01:23:27   he died and it certainly went out and [TS]

01:23:28   they largely did it because I think [TS]

01:23:30   Robert De Niro put up the money to [TS]

01:23:31   guarantee because they couldn't get [TS]

01:23:33   insurance for him and no kid and and [TS]

01:23:35   then and it largely happened because of [TS]

01:23:38   that and because it would you know he [TS]

01:23:39   and Meryl Streep were together and they [TS]

01:23:41   were in that movie together and that was [TS]

01:23:43   part of that you know the last few [TS]

01:23:45   months they spent together but yes [TS]

01:23:46   literally of the amazing actor babies [TS]

01:23:48   they would have had yeah that God the [TS]

01:23:50   the phenomenal thing about this [TS]

01:23:52   documentary is it's only 40 minutes long [TS]

01:23:54   but it covers so much ground in that 40 [TS]

01:23:56   minutes and and it even at Meryl Streep [TS]

01:23:59   was personally convinced to do an [TS]

01:24:02   interview for it by someone or another I [TS]

01:24:04   forget who but they cross cut an [TS]

01:24:06   interview with her an interview with [TS]

01:24:08   Robert DeNiro [TS]

01:24:09   where you know she says that to this day [TS]

01:24:11   she can't get De Niro to to directly [TS]

01:24:15   admit that he put up the completion bond [TS]

01:24:17   money necessary for the movie to be able [TS]

01:24:20   to use John Cazale but it digs into the [TS]

01:24:23   fact that Pacino and kazow have worked [TS]

01:24:25   together you know and and in this in [TS]

01:24:26   this movie honestly you know it's a [TS]

01:24:29   precursor to them working in Dog Day [TS]

01:24:30   Afternoon together but we really see one [TS]

01:24:34   of the two of the absolute best pairings [TS]

01:24:37   of Al Pacino and another guy acting and [TS]

01:24:39   you know it's him and Lee Strasberg [TS]

01:24:40   earlier and throughout this movie and [TS]

01:24:42   him and John cos all in in what they get [TS]

01:24:44   to do with this thing but but that [TS]

01:24:46   documentary does such a great job of [TS]

01:24:48   fleshing out this actor you're like you [TS]

01:24:51   know what whatever happened to him you [TS]

01:24:53   know I don't really know that much about [TS]

01:24:54   that guy [TS]

01:24:54   what was the name again John something I [TS]

01:24:56   don't know this has the same speaking of [TS]

01:24:57   Merlin's opening with the with the hymen [TS]

01:24:59   tick we had Hyman shirtless on the couch [TS]

01:25:01   oh my head chest there and all his glory [TS]

01:25:03   love oh great not about these things and [TS]

01:25:05   yet he gets he gets a little angry he [TS]

01:25:07   finally fella comes out of his shell is [TS]

01:25:08   like this is the business we've chosen [TS]

01:25:11   with his little I know I didn't ask who [TS]

01:25:13   gave the order that he's finally he's [TS]

01:25:16   finally having to having his say about [TS]

01:25:17   what he has say and he has a little bit [TS]

01:25:19   the same things in Michael he really is [TS]

01:25:20   mad about mo green but he's like but but [TS]

01:25:23   I swallowed it down cuz you know this is [TS]

01:25:25   them and then he just he pulls it back [TS]

01:25:26   together and you know if it's I'm going [TS]

01:25:28   if it's on the table and I come back on [TS]

01:25:30   though I have a partner that was that's [TS]

01:25:32   his that's his big scene I feel like in [TS]

01:25:34   the movie that it all comes together [TS]

01:25:35   there was get both Strasbourg and Pacino [TS]

01:25:37   getting to play explosive and fiery and [TS]

01:25:40   angry and serious and the the amazing [TS]

01:25:43   thing about gazelles performance is that [TS]

01:25:45   he is so self-assured effortless and [TS]

01:25:48   just note perfect about just being [TS]

01:25:54   worthless and self-defeating and sad and [TS]

01:25:58   hating himself you know it is not a [TS]

01:26:00   showy performance you know there are [TS]

01:26:01   people that do emotionally hurt and [TS]

01:26:03   damage and you know feeling inferior [TS]

01:26:06   kind of characters where they're really [TS]

01:26:08   just wrenching every last [TS]

01:26:10   scenery-chewing you know facial [TS]

01:26:12   expression they can get but it's it's in [TS]

01:26:14   these just gentle little very specific [TS]

01:26:17   movements that he does body language [TS]

01:26:20   stuff that he does you know [TS]

01:26:21   it's just how he uses a folding chair [TS]

01:26:23   the that's my favorite line by the way [TS]

01:26:26   and Godfather movies is this is the [TS]

01:26:27   business we've chosen uh there's the the [TS]

01:26:30   nice moment where while they're at the [TS]

01:26:32   strip club sex show whatever you want to [TS]

01:26:35   call it where frado's in his element [TS]

01:26:38   he's doing the one thing he actually is [TS]

01:26:39   good at he's good at being the guy in [TS]

01:26:41   the family if you got to take some [TS]

01:26:43   people out and show him you know we're [TS]

01:26:45   gonna get these guys drunk and get him [TS]

01:26:46   some girls he's good at it he is he [TS]

01:26:49   knows people who knows the places [TS]

01:26:50   they're in there's even that thing like [TS]

01:26:51   oh my god how did you find this place [TS]

01:26:53   and it Fredo is told it's at one moment [TS]

01:26:56   where he's happy he knows he's doing a [TS]

01:26:58   good job but because he's you know is [TS]

01:27:00   kind of dim that's where he screws up [TS]

01:27:02   and because he's totally relaxed he's [TS]

01:27:04   totally in his element he's doing the [TS]

01:27:06   thing he's good at that's when he just [TS]

01:27:07   blabs that you know Johnny whatever his [TS]

01:27:09   name is knows all these places mm-hmm [TS]

01:27:11   yeah but it's not it's not that afraid [TS]

01:27:12   is not good for anything like he he is [TS]

01:27:14   this is the thing he's good right same [TS]

01:27:16   as in the first p.m. we are not close to [TS]

01:27:19   being done with this movie we have to [TS]

01:27:21   continue but this episode ends here join [TS]

01:27:23   us in our next episode of being [TS]

01:27:25   comparable as we continue the [TS]

01:27:27   conversation yes that will be the [TS]

01:27:30   Godfather Part two part two see you next [TS]

01:27:34   week [TS]

01:27:38   you [TS]

01:27:43   [Music] [TS]