The Incomparable

323: Abe Vigoda Knows All the Toilets


  [Music] [TS]

  the comparable number 323 October 2060 [TS]

  welcome back everybody to the [TS]

  uncomfortable i'm your host Jason smell [TS]

  we're here to talk about a classic film [TS]

  i've had this on my list for more than a [TS]

  year now i really wanted to talk about [TS]

  the Godfather from 1972 winner Best [TS]

  Picture considered by many one of the [TS]

  finest motion pictures ever made i [TS]

  really like it a lot and I want to talk [TS]

  about it with some interesting people [TS]

  let me introduce those people to you now [TS]

  from the heartland from indiana mr. [TS]

  David jail or hello there someday and [TS]

  this day may never come [TS]

  nevermind not an Italian also joining us [TS]

  Joe rosenstiel hello [TS]

  I not a full-blooded Italian da coming [TS]

  back for the first time in 315 weeks but [TS]

  it's like it was yesterday [TS]

  mr. John grouper hello welcome back [TS]

  hello good to have you here [TS]

  I don't have a don't have a joke I had [TS]

  you on my list for the Godfather wanted [TS]

  to talk talk with you about the [TS]

  Godfather non-italian per se but I'm [TS]

  glad you're here and yes full-blooded [TS]

  Italian finally there's one it's john [TS]

  siracusa hello I'm more than happy to [TS]

  bring my novel olive oil voice and [TS]

  guinea charm to this podcast even though [TS]

  I can't say olive oil voice but it's [TS]

  very difficult to say it is we're [TS]

  getting out of the olive oil business [TS]

  I I before we get started because I [TS]

  traditionally what I'll do is I'll walk [TS]

  through the the plot and people can [TS]

  chime in with the things that they like [TS]

  and don't like about it but I before we [TS]

  get going to talking about what happens [TS]

  in The Godfather I wonder if there's [TS]

  anything that I that if anybody has the [TS]

  opening statements / say about about [TS]

  what about this film that we watched [TS]

  this three-hour long epic about [TS]

  organized crime in America in right [TS]

  after the war I have a statement about [TS]

  the opening but I don't have an opening [TS]

  statement so if anyone has an opening [TS]

  statement there you go first and then I [TS]

  can do my statement about the opening [TS]

  i'll just say I think I'm pretty good on [TS]

  this but there's a chance that I might [TS]

  make a mistake and a tribute to the [TS]

  Godfather certain scenes from The [TS]

  Godfather to simply because yeah here's [TS]

  why twofold [TS]

  I believe that it is the greatest like a [TS]

  quote-unquote sequel to a movie ever [TS]

  made because the Godfather feels like a [TS]

  standalone movie and combined they feel [TS]

  like two parts of a whole [TS]

  and mess that up with like the coppola [TS]

  restorations where were you [TS]

  you can watch it all edited [TS]

  chronologically and right i'm pretty [TS]

  sure i know what's the godfather and [TS]

  what's the godfather to but there's a [TS]

  cheap there's a chance I might start [TS]

  going to start talking about Las Vegas [TS]

  or something and you'll have to correct [TS]

  me the very first time i saw it was in [TS]

  like 1983-84 when NBC brought the [TS]

  Godfather's saga television and they did [TS]

  exactly that was in chronological order [TS]

  and it was lovely and it wasn't until a [TS]

  few years later when it came out on on [TS]

  DVD and I said that and just watch them [TS]

  properly and I went ok [TS]

  that version was really good this is a [TS]

  masterpiece each each of the two movies [TS]

  separately first time i saw it was the [TS]

  complete epic i believe is what it was [TS]

  called on via the complete not hand it [TS]

  was uh it was great but that happy and I [TS]

  think the movies probably you know they [TS]

  they work better as to excellent movies [TS]

  instead of this giant thing because you [TS]

  get the benefit of hindsight when you [TS]

  get to see what happens in part to [TS]

  knowing what happens in part one and you [TS]

  don't get that when robert de niro [TS]

  appears for the first long part of the [TS]

  movie before we get to see Marlon Brando [TS]

  but it has messed up my conception of it [TS]

  to where every time i watch The [TS]

  Godfather I think to myself is that in [TS]

  this movie or is it that in part two and [TS]

  i have to remind myself [TS]

  oh you know Moe Greene is in part one [TS]

  but Fredo in the boat is not in part one [TS]

  so it's it's complicated but it's not [TS]

  just you John you which a Godfather [TS]

  movie [TS]

  no one's going to get confused with [TS]

  these once my way I didn't bullying now [TS]

  John circus would you have a statement [TS]

  about the opening of the movie the very [TS]

  beginning I believe in america i believe [TS]

  is how do i do but we actually have [TS]

  before i get onto that I'm i did get [TS]

  exposed unfortunately at a young age to [TS]

  the terrible chopped-up US version of [TS]

  nautica which is called warriors of the [TS]

  wind or something but i'm glad to say [TS]

  that I was never exposed to any of these [TS]

  chronological recutting of the Godfather [TS]

  I saw the first movie is on the second [TS]

  movie not even know these recut things [TS]

  existed until many many years later i've [TS]

  never watched one I can see how they [TS]

  would work and it would be fun and kind [TS]

  of a good response type thing [TS]

  but i like them as two movies yeah i [TS]

  think if I think it's worthy it's a war [TS]

  it's a fun thing to watch as long as you [TS]

  keep in mind that that's not that's not [TS]

  the me know that's not the work that's [TS]

  the special that's like the trade that [TS]

  the big oversized Library Edition where [TS]

  they where the author is you know [TS]

  bundled two of their books together it's [TS]

  like weird it's like a fan at it because [TS]

  like they don't I mean I don't know what [TS]

  to do with the audio and everything [TS]

  soundtracking I know that it's this kind [TS]

  of a sameness to them but just they're [TS]

  just two different movies and I don't [TS]

  see how you can cut scenes them together [TS]

  and not have another looking like a fan [TS]

  at it which is again a fun thing to look [TS]

  at after you've seen the movies proper [TS]

  yeah i agree i agree definitely watch [TS]

  the godfather so opening statement about [TS]

  the opening yes they were about the [TS]

  opening so I've never taken a film class [TS]

  or anything but I would imagine the [TS]

  godfather is a great thing to watch for [TS]

  film class because it's one of the few [TS]

  sort of great movies you know these [TS]

  movies that are always like the top 10 [TS]

  and like you said are a lot of it is one [TS]

  of the best you know hollywood movies [TS]

  ever made that comes right out in the [TS]

  very first scene in the movie and tells [TS]

  you like for your paper later the themes [TS]

  of the movie not in some text by [TS]

  actually having a person can talk to you [TS]

  the first line of the movie when the [TS]

  screen is black there are no pictures on [TS]

  the screen to distract you to say okay [TS]

  class get out your pads and paper ready [TS]

  i believe in America that's an important [TS]

  enough line we're going to say it with [TS]

  nobody on the screen so you can write [TS]

  down all right I believe in America and [TS]

  he goes through the whole thing of like [TS]

  you know I raised my daughter that why [TS]

  did you come to me why didn't you go to [TS]

  the police but they just laying out for [TS]

  you on the table and yet i think if you [TS]

  asked the majority of the the world has [TS]

  seen this movie [TS]

  what are the themes of the Godfather [TS]

  they won't be able to tell you and it's [TS]

  so funny because yeah this is like one [TS]

  of the few sort of high art fancy [TS]

  highfalutin movies and everybody loves [TS]

  it just comes out and tells you so I [TS]

  love this opening scene for it's sort of [TS]

  like subtle trolling of the public and [TS]

  and it's sort of pandering to film [TS]

  students and making it just such a [TS]

  perfect object lesson and that it hits [TS]

  you over the head with it but you're [TS]

  just too wrapped up in the movie that [TS]

  you don't even see it most of the time [TS]

  yeah it's it's it's laying it all out [TS]

  for you in that first thing it's a [TS]

  breathtaking foreseen we got we've got [TS]

  the guy [TS]

  who is his uh his uh daughter has been [TS]

  what it was she been with she would [TS]

  issue assaulted was she raped before I [TS]

  forget exactly what it was she was [TS]

  beaten because she had refused [TS]

  damn yeah she kept her honor but she [TS]

  kept her honor but was beaten and will [TS]

  never be pretty again he says they broke [TS]

  her nose and all those things ready and [TS]

  he's asking for for revenge he wants the [TS]

  godfather to have his guys kill the [TS]

  people who did this and and it's this [TS]

  the the transaction is really [TS]

  fascinating because he's like first off [TS]

  you know you're kind of a shame to be [TS]

  around me you never you don't you don't [TS]

  call me Godfather you you do you went to [TS]

  the police and not to me and and also [TS]

  about you know killing them versus [TS]

  dispensing some sort of justice and the [TS]

  whole the whole conversation of what it [TS]

  is to swear the oath of fealty to to to [TS]

  kiss the ring of the godfather and call [TS]

  him Godfather it's all laid out in this [TS]

  in this first scene it's really pretty [TS]

  amazing while the well but like the [TS]

  wedding party is happening behind them [TS]

  the cinematography of this also it lets [TS]

  you know you're in for something a [TS]

  little bit different than most nineteen [TS]

  seventies period pieces because we [TS]

  started in from black like John said [TS]

  right on this with this character [TS]

  talking just slightly off of the camera [TS]

  lens and we pull back slowly over the [TS]

  shoulder of a shadowy figure and that's [TS]

  basically all you can see because [TS]

  there's so little light in the scene and [TS]

  even when he comes over to tell The [TS]

  Godfather what is he once he gets up and [TS]

  walks over and whispers completely out [TS]

  of focus and then we cut away to some of [TS]

  the other framing we barely see Brando's [TS]

  eyes this is a shadowy dark place and [TS]

  it's contrasted with the bright [TS]

  exuberant exterior shots of of the [TS]

  wedding they're taking place outside so [TS]

  it's it's just a really let you know [TS]

  you're not in for a something something [TS]

  more run-of-the-mill like this is this [TS]

  is there so there's definitely thought [TS]

  put into the eat the staging the the [TS]

  intensity with which things are a little [TS]

  and exposed for like on film it's [TS]

  beautiful yeah they really push the [TS]

  darkness like this is the thing that [TS]

  every modern TV shows and I assume for [TS]

  some technical reason about and [TS]

  understand its way easier to do in [TS]

  digital or whatever [TS]

  but for the most part in the area this [TS]

  was made you either couldn't or wouldn't [TS]

  make things as incredibly oppressively [TS]

  dark as the inside scenes in this movie [TS]

  are and I think the wedding scenes are [TS]

  all blown out probably intentionally [TS]

  just incredible contrast and that always [TS]

  struck me about this movie like that [TS]

  again hitting over that [TS]

  here's the dark underbelly and here's [TS]

  the bright outside with the family you [TS]

  know that's it's not subtle but it's [TS]

  it's so well done and to this day I feel [TS]

  like maybe it's just the incredible film [TS]

  grain on this thing you know like but [TS]

  like the dark interiors yes everything [TS]

  is dark and black and everything is like [TS]

  pure black except for the part that slit [TS]

  but the black has texture to it it's [TS]

  like the black is like like sandpaper or [TS]

  like that the film grain is on the black [TS]

  minute when i think of this movie in my [TS]

  head [TS]

  this is one of the few movies but i [TS]

  think my head I see film grain if anyone [TS]

  is that was some great just watch the [TS]

  cops question because father to when you [TS]

  know you have to remember the time [TS]

  Coppola was not a big giant filmmaker he [TS]

  was he was still an experimental sort of [TS]

  independent guy that came in and do this [TS]

  so so he's trying stuff he's doing [TS]

  things you wouldn't normally do you know [TS]

  it's like the big names would not do in [TS]

  this film which is fascinating to watch [TS]

  and I you know I was I was kidding in [TS]

  the introductions but one of my favorite [TS]

  lines in the movie is someday and the [TS]

  state may never come i will call upon [TS]

  you to do a service for me and that is [TS]

  that says everything about Don Corleone [TS]

  and and the code of honor and how he [TS]

  expects everyone to be if they ask him [TS]

  to help them they better help him later [TS]

  and that ties and it's just going to [TS]

  movie making the way that ends up time [TS]

  is a tragic way later movie because you [TS]

  look at that point you I don't know if [TS]

  you don't know what he does but it's [TS]

  certainly not important about and when [TS]

  they they connect that back later in [TS]

  such a tragedy fashion it's a it's all [TS]

  the more better than you know a worse [TS]

  way to do it bc i will call you for a [TS]

  favor in later and we have him calling [TS]

  his favor and have it be like either [TS]

  unrelated or as a tool of his victory [TS]

  over is disposed or ever but instead [TS]

  it's entirely tragic circumstances and [TS]

  you realize like like he pitches it as [TS]

  I'll become your friend you know and and [TS]

  then your enemies will be my enemies and [TS]

  for you and all the stuff but it's [TS]

  supposed to be like why don't you come [TS]

  to me as a friend you know like like [TS]

  he's acting almost like and it's almost [TS]

  like he's hurt but not a sinister way [TS]

  you kind of get the idea that he does [TS]

  want these friendships the godfather is [TS]

  all about is all about personal [TS]

  relationships [TS]

  yeah right like that he really really [TS]

  truly means it's not just a sinister [TS]

  plot to put people under his thumb that [TS]

  you really want these relationships and [TS]

  that he is you know that again what [TS]

  raise your daughter in the American [TS]

  fashion going to the police and the [TS]

  Godfather you know doesn't it is the the [TS]

  opposite of the American Dream and [TS]

  that's the American dream to live in a [TS]

  civilized society and rule of law [TS]

  I represent not that and when you don't [TS]

  come to me and when you're ashamed to be [TS]

  seen with me I take that as a personal [TS]

  insult that's and that's like the the [TS]

  transaction here is almost about hurt [TS]

  feelings more than like a power struggle [TS]

  around gonna go to call his favorite [TS]

  that's gonna hurt you later like this [TS]

  favor is gonna hurt me more than it [TS]

  hurts you but it will still be important [TS]

  because that's our relationship because [TS]

  it's it's not it's not a loose [TS]

  affiliation people it's the family [TS]

  yeah that's what society do you want to [TS]

  live in are you living in American [TS]

  society are you living inside the family [TS]

  and our society that we've built and and [TS]

  if you go to the police you're not in [TS]

  our family [TS]

  yeah and that's by the way did the [TS]

  American Society the American dream for [TS]

  italian immigrants that doesn't work [TS]

  you're learning you know the Godfather's [TS]

  there's wedding you'll see you'll see [TS]

  that it doesn't work you'll have to come [TS]

  to me because we try to go to police it [TS]

  won't work like for Italians there is no [TS]

  American dream later shoot again from [TS]

  the Statue of Liberty you'll see that [TS]

  but you mentioned uh someday I'll call [TS]

  upon you to different do a service for [TS]

  me but also you know you come into my [TS]

  house on the day of my daughter's [TS]

  wedding this is a movie that I'm struck [TS]

  when I watch it that this this is you [TS]

  know a lot of movies are quotable sci-fi [TS]

  movies are quotable Comedy Store [TS]

  quotable but the godfather is I've had [TS]

  forgotten just how many lines in this [TS]

  movie are in classic quotable repeated [TS]

  in in love in the lexicon in in the [TS]

  vernacular of everybody of of of people [TS]

  who don't even know they're quoting The [TS]

  Godfather and it is rife with these [TS]

  things that we say all the time it's [TS]

  amazing i've had to explain leave the [TS]

  gun take the cannoli because my wife has [TS]

  never seen the guy [TS]

  father but we use that all the time [TS]

  yeah yeah anytime I've got cannoli it's [TS]

  gonna happen [TS]

  that's just how it is so we've got that [TS]

  we've got the dark scenes with the [TS]

  godfather and we've got the very bright [TS]

  seems very much like you're walking [TS]

  outside from a darkened room and into [TS]

  the light and made that got kind of [TS]

  blown out outside the house but you also [TS]

  get the sense that the Godfather you [TS]

  know he's at his daughter's wedding but [TS]

  he's doing business inside it's a family [TS]

  day it's a very serious day and yet [TS]

  everybody you know he's still conducting [TS]

  his business while this is all going on [TS]

  and then obligation in a burden like is [TS]

  there like I got one more like it's not [TS]

  like he's their like again you know [TS]

  stroking his cattle he does have a cat [TS]

  and being super evil about it it's [TS]

  exhausting to have person after person [TS]

  come in and demand things up because of [TS]

  this tradition or whatever you would [TS]

  like to just get out to the wedding that [TS]

  he would like to enjoy but he's doing [TS]

  this because this is basically his job [TS]

  and when he very briefly goes out and to [TS]

  take that photo and Michael isn't there [TS]

  he just goes back to doing business [TS]

  until Michael arrives [TS]

  yeah that mean this is obviously as you [TS]

  know it an easy way to set up everybody [TS]

  and all the characters have a wedding [TS]

  where all your characters were together [TS]

  and you can cut back and forth it [TS]

  establishes all the characters [TS]

  establishes their relationships that [TS]

  establishes Michael as the favorite it [TS]

  establishes sunny as a hothead like it [TS]

  just so efficient in terms of like you [TS]

  mostly think you're just watching a [TS]

  wedding and this is the silly scenes are [TS]

  doing outside there but you get to know [TS]

  every single character for their three [TS]

  seconds there on camera and the wedding [TS]

  is a good excuse to give these little [TS]

  vignettes without having to have like a [TS]

  through-line like you can you couldn't [TS]

  do these are all in separate locations [TS]

  because what would be the motivation to [TS]

  interact with each other ways now [TS]

  cutting back and forth it feels natural [TS]

  boobs are like I'm going to see the [TS]

  whole wedding but I'm gonna see scenes [TS]

  from a wedding and in each of the scenes [TS]

  from the wedding i'm going to learn who [TS]

  the major players are and what they're [TS]

  like in very short order and there are a [TS]

  lot of characters in this movie is a [TS]

  three-hour movie is a lot of characters [TS]

  a lot of moving pieces this is like in [TS]

  the beginning we're going to set the [TS]

  table [TS]

  here's the themes of the movie here's [TS]

  all the characters involved movie here's [TS]

  what they're like and then they can move [TS]

  forward what is actually much more [TS]

  leisurely pace after that without [TS]

  throwing thousand characters actually at [TS]

  once they pick up that all out of the [TS]

  way in the beginning [TS]

  and then move on to slowly going out a [TS]

  series of slow scenes or people talk to [TS]

  each other i think it ties in the [TS]

  opening scene really the the seventies [TS]

  crop of filmmakers maybe Scorsese a [TS]

  little bit aside but Coppola for sure [TS]

  George Lucas for sure steven spielberg [TS]

  for sure [TS]

  what's his name the guy who who did [TS]

  Carrie and no diploma diploma diploma [TS]

  for sure that this crop of filmmakers [TS]

  that they loved movies and I think it [TS]

  was the first to me it's the first [TS]

  generation of filmmakers who already [TS]

  loved movies where it's like the [TS]

  generation before kind of had to invent [TS]

  what movies were and because they loved [TS]

  movies they they all of those guys i [TS]

  listed took movies it that were in these [TS]

  genres that would that had all these [TS]

  tropes and and you know here's how you [TS]

  do a gangster movie here's how you do a [TS]

  Western that made them all feel the same [TS]

  and they like turn them upside down and [TS]

  and tried to make them it for lack of a [TS]

  better word real like what you know and [TS]

  the godfather is not realistic but in a [TS]

  sense there's like a it doesn't feel [TS]

  like anything like the way like James [TS]

  Cagney era gangster movies are and the [TS]

  opening really sets the tone of that [TS]

  they got Italians to play Italians like [TS]

  that's the reality is that right 70 [TS]

  movies like that you did they said look [TS]

  we're gonna make it authentic so get a [TS]

  bunch of Italian people to play by even [TS]

  if they're not great actors even if you [TS]

  don't know them from other movies as [TS]

  opposed to the old Hollywood butchers we [TS]

  have a crop of stars and they can do [TS]

  anything they can be gangster in one [TS]

  movie they can be detective they can be [TS]

  a singer that can be you know because [TS]

  there they have all these talents and we [TS]

  don't care really are we just going to [TS]

  put them in any role we feel like [TS]

  putting them in whereas the seventies [TS]

  movies that you're gonna have a gangster [TS]

  movies about Italians we're gonna get [TS]

  all the extras are going to be Italian [TS]

  Americans and our actors are going to be [TS]

  Italian or italian-looking which is very [TS]

  different from the old style which would [TS]

  always seem to look like like a bunch of [TS]

  your high school friends got together [TS]

  and decided to put on a play this like [TS]

  you expect to see your favorite actors [TS]

  and all these roles even if they're not [TS]

  really great for the rules i'm perfectly [TS]

  plausible as an Italian me and see me [TS]

  johnny dangerously nails that too [TS]

  yeah so that's a good example of of sort [TS]

  of playing playing up the tropes of a of [TS]

  a traditional gangster movie and it's so [TS]

  the whole opening scene there it is [TS]

  whether it's it is you know it's the [TS]

  gritty but business of being The [TS]

  Godfather in the darkroom and it's just [TS]

  a happy Italian family outside at the [TS]

  wedding but there's nothing is played up [TS]

  for over-the-top you know there's [TS]

  nothing really sinister nobody gets [TS]

  threatened I mean they are talking about [TS]

  beating up a guy who beat up the guy's [TS]

  girl but it's it's not like they're a [TS]

  big caper is going on or anything it's [TS]

  almost mundane and the wedding there's [TS]

  no it's not like oh these these awful [TS]

  mob family wives are you know what [TS]

  terrible people they are now that's just [TS]

  a happy Italian family [TS]

  yeah I'm this is where we get I want you [TS]

  talking about the the romance of it a [TS]

  little bit I I think about what what [TS]

  separates the Godfather for something [TS]

  like Goodfellas and for me it's the it's [TS]

  the family aspect of it a little bit and [TS]

  it's the fact that this is playing a [TS]

  little higher level that the the [TS]

  Goodfellas is the low-level guys and so [TS]

  that's like the the brutality not like [TS]

  there's brutality there's personality [TS]

  aplenty in The Godfather but it's the [TS]

  the people on the ground just where the [TS]

  brutality is and so moving like [TS]

  goodfellas III which I love but it's [TS]

  very violent and I it wants you to feel [TS]

  I think disgusted by the the sudden [TS]

  violence that happens in that movie The [TS]

  Godfather it's it though it's there's [TS]

  violence there but because it's a little [TS]

  higher level and it's a little more [TS]

  strategic it's the people in charge the [TS]

  violence is more a means to an end [TS]

  there's a little more understanding it's [TS]

  a little bit less at the center of the [TS]

  movie than something like Goodfellas and [TS]

  i was struck that it's not it's not [TS]

  super crazy romantic like we're [TS]

  gangsters but nothing bad happens I mean [TS]

  talk to Luca Brasi about that but it's [TS]

  it's but it's got a very different kind [TS]

  of feel in terms of who these that it's [TS]

  the gangster family and it's a family [TS]

  story in a way that Goodfellas is not [TS]

  because they're the low-level guys who [TS]

  have to do all the dirty work [TS]

  let's take their stakeholders in this [TS]

  like the reason everybody in this the [TS]

  main characters move you're doing [TS]

  something is because they are the [TS]

  ultimate stakeholders they are Corleone [TS]

  family like and so their motivation is [TS]

  you do what's best for the family was in [TS]

  goodfellas your motivation is I'm not [TS]

  the ultimate stakeholders organized [TS]

  crime family [TS]

  I'm looking out for myself how much [TS]

  money can i make how much you know what [TS]

  kind of ice can I pull off or whatever [TS]

  and they're motivated in goodfellas by [TS]

  probably more realistic motivations in [TS]

  terms of what happened to my childhood [TS]

  that made me a violent person [TS]

  what issues do i have to work out that I [TS]

  expressed by beating on people who are [TS]

  smaller than me you know and how does [TS]

  that affect my ability to advance within [TS]

  the organization / become a made man [TS]

  right that the right is a lower level [TS]

  but like in this movie the motivations [TS]

  are going to say more more noble but it [TS]

  just because this they are the ultimate [TS]

  stakeholders in the top level of this [TS]

  game and so they are they're motivated [TS]

  to buy strong motivation to like the [TS]

  goodfellas but they have much more to [TS]

  gain a much more to lose and they can't [TS]

  they can't afford to and generally don't [TS]

  succeed by indulging their personal [TS]

  impulses just a sunny [TS]

  well it's it's also kind of the inverse [TS]

  of Goodfellas to write the main [TS]

  character in goodfellas is someone who [TS]

  is who wants to be parted he's striving [TS]

  he's trying to get ahead and he becomes [TS]

  disillusioned by the end an Italian turn [TS]

  not an Italian and and in this you know [TS]

  i mean Michael isn't i mean i would call [TS]

  them the protagonist because we kind of [TS]

  follow him yeah so without Pacino and so [TS]

  Delta G know that hey you know uh is [TS]

  someone arguing that you someone arguing [TS]

  that marlon brando is the protagonist in [TS]

  the story the story is that is the dell [TS]

  Pacino got bent out of shape because he [TS]

  had nominated for Best Supporting Actor [TS]

  and Marlon Brando got nominated for Best [TS]

  Actor and yeah al pacino didn't [TS]

  appreciate that very much and break a [TS]

  one and but but you know Michael being [TS]

  the protagonist he starts out not [TS]

  wanting to be involved and he peed finds [TS]

  himself slowly pulling back in because [TS]

  of the family tie he doesn't have a [TS]

  choice because he has to defend the [TS]

  family and he has to step up eventually [TS]

  I don't think it's just that has to well [TS]

  you know it's the stories about kings [TS]

  who are Prince's they were the second [TS]

  line and they were going to be the king [TS]

  and then the the older brother dies and [TS]

  suddenly they thrust into it i mean all [TS]

  of that is going on in here [TS]

  he was meant to be some senator Corleone [TS]

  right he's meant to make for a different [TS]

  path and he ends up not going down that [TS]

  path and not only z is Michael the main [TS]

  character Michael is the title character [TS]

  write this this is a movie about him [TS]

  becoming the Godfather more than it is [TS]

  about [TS]

  about Marlon Brando being The Godfather [TS]

  it's about this transfer that's that's [TS]

  the trick that the title plays on you as [TS]

  you think it's about Marlon Brando and [TS]

  you very slowly begin to realize no no [TS]

  this is about Al Pacino becoming the [TS]

  godfather and that's where the sequel is [TS]

  called The Godfather to t.o.o the sun's [TS]

  controls the all my past hours podcast [TS]

  but i'll say it again on the Godfather [TS]

  one as well like every time I think of [TS]

  Star Wars prequels I think of this movie [TS]

  is that is what they should have been [TS]

  modeled on because this is not the only [TS]

  but I think the best movie that shows [TS]

  how a good person can end up especially [TS]

  by the end of the godfather part two end [TS]

  up in a bad place to a series of things [TS]

  that both he and the audience watching [TS]

  the movie believes are the right thing [TS]

  to do which is an incredibly hard thing [TS]

  to pull off many movies have the [TS]

  downfall of the character but at a [TS]

  certain point the audience starts to [TS]

  agree [TS]

  all right guy what you're doing here is [TS]

  wrong and Michael didn't want to be [TS]

  involved in his family that's my family [TS]

  k that's not me right [TS]

  yeah and it's not it's not as if he had [TS]

  to because that family obligation here's [TS]

  the problem he's kind of like 10 seconds [TS]

  but he's kind of like a what's-his-name [TS]

  in Game of Thrones where the the the [TS]

  gifts of strategy and determination and [TS]

  you know wisdom that marlon brando's [TS]

  character has obviously skip sunny and [TS]

  went to Michael that he has the raw [TS]

  skills in the same way that tyrion [TS]

  lannister Syrian yeah [TS]

  Tyrion has the same raw skills this [TS]

  Tywin and right and so Michael doesn't [TS]

  want to be involved in that [TS]

  um but when the time comes he doesn't [TS]

  feel like all I have to go save my [TS]

  family he eventually and very quickly [TS]

  realizes I'm the best-equipped yes save [TS]

  my family I am the i have my father's [TS]

  skills and and he and his his emotional [TS]

  he's angry he loves his family wants to [TS]

  do those things but but you know we're [TS]

  going to cover part 2 and eventually [TS]

  realize like this is my core skill set [TS]

  him i was born to be a godfather [TS]

  everything I'm doing is I'm protecting [TS]

  my father I'm protecting my family and [TS]

  then on eventually just like my protect [TS]

  my family or my just trying to win or [TS]

  you know like through two movies [TS]

  Michael Corleone with us reading from [TS]

  essentially the whole time right up [TS]

  until maybe efficient crap happens [TS]

  like that he's he's trying to do the [TS]

  right thing and we want him to win and [TS]

  it's just through a series of those [TS]

  small steps by the end of it he's Darth [TS]

  Vader and that's what the prequels could [TS]

  never do [TS]

  there's a breathtaking moment later in [TS]

  this movie we'll jump around a little [TS]

  bit but breathtaking moment is when [TS]

  they're trying to figure out how to kill [TS]

  the you know the cop and the and and the [TS]

  the guy who's behind this is a lot so [TS]

  the Turk and and Michael just says [TS]

  here's what here's what we're gonna do [TS]

  I'll have you know I have dinner with [TS]

  him in and you know you gave me a gun [TS]

  not kill him just like that it's like [TS]

  wow just ok at and that's not working [TS]

  that out they show i'm sitting in the [TS]

  chair like silently and you get like you [TS]

  see the gears turning he's working out [TS]

  is it this is realizing these guys are [TS]

  all talking they don't want to do [TS]

  eventually he's like you know what I [TS]

  know what to do and then he's going to [TS]

  think about what am I gonna do that [TS]

  inventors got venison look company this [TS]

  is the solution to the problem [TS]

  do this do this do this and he's not [TS]

  good at it it's not like he will get to [TS]

  that seen eventually it's not like he's [TS]

  a super expert you know for but he knows [TS]

  what to do yeah let's talk about the the [TS]

  the family here but since we're at the [TS]

  wedding I feel like this is maybe a good [TS]

  time to talk about the family we get [TS]

  obviously Mike Michael is there it comes [TS]

  in his uniform to the wedding [TS]

  there-there's are Al Pacino Diane Keaton [TS]

  is there as k his girlfriend [TS]

  we know your Italian not an Italian we [TS]

  Tom Tom Hagen was Robert to fall was [TS]

  there too [TS]

  who else is there tell your shower is [TS]

  there is Connie Carlo Rizzo's there but [TS]

  were not introduced to him yet right [TS]

  Sonny James Caan so it's cool i wanted [TS]

  an amazing cast here but we get to meet [TS]

  all the all the characters and and it [TS]

  did we meet [TS]

  it's fredo do we see Freddie no here I [TS]

  don't yes we drunk at the wedding [TS]

  he's drunk at the wedding comes up it [TS]

  gets too close to ke to go in for the [TS]

  kiss oh yeah that's right establishes [TS]

  himself as a you know not not altogether [TS]

  not to put the other kind of guy [TS]

  SEO SEO is there right SEO was there [TS]

  commences then [TS]

  men's that you know Michael's mom is [TS]

  there at the wedding and everybody's [TS]

  there Johnny Fontane Luca Brasi is there [TS]

  he has a any others in a really truly [TS]

  hilarious and weird scene where he [TS]

  insists he insists on seeing the [TS]

  godfather and and and Marlon Brando very [TS]

  much like it's a great little moment of [TS]

  like do I really need to see him and [TS]

  like you how you need to see him like I [TS]

  right away just want to say thank you [TS]

  like that's it yes he's got a spray tan [TS]

  line to say thank you see didn't expect [TS]

  to get invited to the wedding and it's [TS]

  such a fascinating thing because he's [TS]

  this big lug and he is completely unable [TS]

  to even sort of Express he's he's [TS]

  reading rehearsed he's we see no cursing [TS]

  his work [TS]

  it's amazing and it's hilarious and [TS]

  weird and I don't know in a in a movie [TS]

  it was a tone and I didn't expect it how [TS]

  funny it was I'd forgotten how funny it [TS]

  is that Luca Brasi a is so beside [TS]

  himself meeting meeting the Godfather [TS]

  it's amazing and may your first child be [TS]

  a masculine child [TS]

  oh well he's a useful tool right you [TS]

  look at process is there to be a you [TS]

  know to be a thug that's but he's very [TS]

  loyal it's um it's a fascinating [TS]

  character and we get a story about him [TS]

  at the same time by the way that's what [TS]

  the story Michael tells k about like you [TS]

  know how do you get out of his deal or [TS]

  whatever you know looking brothy held a [TS]

  gun to his head [TS]

  you know said get your signature your [TS]

  brains gonna be on my contract that [TS]

  we're getting that story more or less in [TS]

  the same section of the movie as he's [TS]

  this sort of sweet bumbling yeah who [TS]

  wants to say thank you so you see you [TS]

  see the cross over there between these [TS]

  two worlds that guy is the guy who is [TS]

  threatening to do that [TS]

  that's my family k that's not me its [TS]

  fine and that's what that's why you say [TS]

  Michael tells us start with such [TS]

  incredible disdain at the end of it he [TS]

  goes that's true story like you can tell [TS]

  he's not proud of that story he's not [TS]

  saying it to impress his girlfriend it's [TS]

  like you want to know what the deal is [TS]

  this is what the deal is and she's like [TS]

  good and he's like to but he's been done [TS]

  about it also that piece of exposition [TS]

  not only sets up that for Luca Brasi but [TS]

  we also get the back story about what [TS]

  happened to people who have crossed [TS]

  Johnny Fontane in the the past because [TS]

  that gets reference again we move on [TS]

  later to the film here and heard about [TS]

  that band leader [TS]

  is this the point where Johnny Fontane [TS]

  asks the yeah he's one of the people [TS]

  comes in and says I want i got to get in [TS]

  this movie I want to be in the movie any [TS]

  cries and he gets it he gets chastised [TS]

  we get slapped around he does [TS]

  be a man so you're gonna come on my [TS]

  godfather imitate some crying toxic [TS]

  masculinity the movie back that I was [TS]

  the seventies is different sunny is busy [TS]

  my note my notes just as Sony's banging [TS]

  a girl that's what's happening not [TS]

  talking while you're behind [TS]

  sunny is being sunny welcome this is [TS]

  sunny curly I don't do people inches of [TS]

  cheek which is his main pic of movies [TS]

  yeah finishing as an unfortunate angle [TS]

  though of course of a is his wife [TS]

  turning around and seeing that he is [TS]

  absent from the table and then she turns [TS]

  around and act like everything's normal [TS]

  chichi unfortunately to do that couple [TS]

  times the film and it is that everything [TS]

  happens at the wedding i mean this is [TS]

  this is the it's a huge download i wrote [TS]

  down [TS]

  it's like 20 it's like almost 30 minutes [TS]

  is the wedding [TS]

  it's a day long stretch of the film is [TS]

  is the wedding and meeting all the [TS]

  characters and how they relate to each [TS]

  other and what what you know what we [TS]

  need to know about them [TS]

  there's a whole it's just doing [TS]

  incredible you are you are given time to [TS]

  understand who is who in this complex [TS]

  Italian family before we move on to [TS]

  other you know to LA basically and and [TS]

  the film spans 10 years so taking 30 [TS]

  minutes for a few one day is kind of [TS]

  amazing very important day [TS]

  you also have the establishment of how [TS]

  the rest of the world views this family [TS]

  they were watching because you have the [TS]

  paparazzi outside yet and the FBI right [TS]

  during the people like writing down [TS]

  license plate numbers and sunny goes out [TS]

  smash the guy camera throws bills on the [TS]

  ground was away which is a classic move [TS]

  that has also been copied in so many [TS]

  movies [TS]

  yeah kind of a hothead seems like hope [TS]

  that doesn't get the better of him [TS]

  Oh surely not now no definitely not [TS]

  so what if we leave the wedding wewe I [TS]

  end up in California [TS]

  oh yeah Tom Hagen goes out to LA to did [TS]

  get basically get this part in the movie [TS]

  for Johnny Fontane and is told lots of [TS]

  lots of bad things even though even [TS]

  though it's great [TS]

  robert duvall admire your pictures very [TS]

  much is a great just a great line when [TS]

  he meets him before he knows he's part [TS]

  of iCarly on how is like it is these you [TS]

  know he goes through the series of [TS]

  Italian slurs and he's like actually I'm [TS]

  german-irish just let me tell you [TS]

  something my crop make friends with you [TS]

  because you're ready with you ready with [TS]

  the ethnic slurs for any set of [TS]

  nationalities I got all the slurs you [TS]

  just just say and then it's like almost [TS]

  like smash cut too apologetic [TS]

  oh why didn't you say Don Corleone [TS]

  doesn't know but he says I'm not going [TS]

  to give him apart he ruined my starlet [TS]

  and then like you know [TS]

  okay well Don Corleone doesn't [TS]

  appreciate people saying no and but but [TS]

  hey let me show you this great horse i [TS]

  have in my stable that's important is an [TS]

  important part and at this point Lauren [TS]

  turned to me and was like wow the horse [TS]

  head in the bed is this early i'm like [TS]

  yes it is really it's like you again a [TS]

  piece of pop culture that is known by [TS]

  all even if they have not seen this [TS]

  movie The the scene where he wakes up [TS]

  and you know he's just kind of rolling [TS]

  around and then he realizes there's [TS]

  something feels kind of funny and then [TS]

  it's like it's blood and sweat there's [TS]

  more blood [TS]

  there's more blood and it's nice and [TS]

  then to put the horse head like down [TS]

  like down by his feet so we have to like [TS]

  search around a little bit before he [TS]

  gets that the head of his his prized [TS]

  racehorses that he's putting out to stud [TS]

  and Johnny Fontane get the part after [TS]

  that the kid stays in the picture the [TS]

  framing of that shot to where we don't [TS]

  know if the punishment for refusing this [TS]

  favor is maybe he died or something [TS]

  because the cameras just moving slowly [TS]

  over a bed and it's not until we start [TS]

  to see some movement that's like okay [TS]

  well he's not dead and then we see just [TS]

  a little bit of the blood as the camera [TS]

  rounds up over his shoulder and then we [TS]

  pull down the sheets and slowly go [TS]

  through all the blood until we finally [TS]

  get to that horse head so it's a great [TS]

  way to shoot that and then of course the [TS]

  reaction shot where at [TS]

  you're just seeing the enormous [TS]

  Hollywood villa that he has and just [TS]

  shouting it's you know is this is really [TS]

  nicely put together a piece of film it's [TS]

  pretty amazing [TS]

  did Tom Higgins character I mean there's [TS]

  a bunch of great i mean we're talking it [TS]

  sounds stupid but there's a bunch of [TS]

  great characters in this way but Tom [TS]

  Higgins character is so unusual for this [TS]

  genre film because he's he's just a [TS]

  smart businessman that's you know smart [TS]

  attorney and he acts like a smart [TS]

  attorney and he's confident and he knows [TS]

  he knows as he's dealing with this guy [TS]

  the entire time he knows he's going to [TS]

  get what he wants because ultimately he [TS]

  could take it to that level that he [TS]

  eventually goes to but he's not [TS]

  threatening the guy at 1st he's being [TS]

  these bending over backwards that to let [TS]

  this cook to get this guy to make the [TS]

  right decision [TS]

  you know like it and there's no you know [TS]

  I don't think I think Hagen would have [TS]

  loved it if this guy could have just [TS]

  been ok yes i'll give them apart and [TS]

  then Hagen would have been that's great [TS]

  and he would have been very nice but [TS]

  it's so unusual for this genre film is [TS]

  is a guy Tom Hagen doesn't even carry a [TS]

  gun he's not there to threaten the guy [TS]

  that's so unusual [TS]

  it's a great character to become so he's [TS]

  not Italian he was adopted [TS]

  basically he he's a lawyer so he's the [TS]

  family lawyer he's the constantly area [TS]

  but not not a wartime constantly area [TS]

  and they get a full-blooded Italian and [TS]

  how well does that go to do that to do [TS]

  that job and it's fast because he's in [TS]

  the family close and yet he's also sort [TS]

  of not of the family and the the things [TS]

  he's good at are different from the [TS]

  things that other people are good at is [TS]

  almost like the ambassador to the [TS]

  outside world to the respectable society [TS]

  Italians are respectable he can he can [TS]

  pass and regular society and he's got an [TS]

  Irish Annie navigate the laws of love [TS]

  the legal society and he can he can be [TS]

  that for them but that also means he's [TS]

  an outsider to a certain degree even as [TS]

  Insider is he is he's not full-blooded [TS]

  Italian he's not actually part of the [TS]

  family even though he might as well be [TS]

  because he was raised with them but his [TS]

  loyalty is unwavering us another nice [TS]

  exactly like oh because I'm not part of [TS]

  the family I feel on the outside and i [TS]

  have a resentment no peace a hundred [TS]

  percent loyal all the time is willing to [TS]

  do I mean he's gonna say why am I out of [TS]

  my out Mike likes just but still he is [TS]

  loyal to the end forever yeah and he [TS]

  knows he knows what's going on i mean he [TS]

  he you get the sense at that time that [TS]

  he has a pretty much all the answers [TS]

  like he knows what's what's up and [TS]

  sometimes it takes some other people [TS]

  little bit of time to get there but Tom [TS]

  Hagen I think super-sharp he knows [TS]

  what's going on and he's and he's loyal [TS]

  and and you know and he's aware the [TS]

  other thing is i think there will be a [TS]

  cliché way of doing this character [TS]

  where he's a little bit naive and Tom [TS]

  Hagen is not naive like he's well aware [TS]

  of the consequences of the of the [TS]

  producer turning him down he's [TS]

  absolutely perfectly aware and he's very [TS]

  a school is a cool character like wow [TS]

  you know they're having that dinner and [TS]

  he's all like oh I didn't you tell me [TS]

  that you were from the Corleone blonde [TS]

  is all being nice finish moves in or [TS]

  whatever and as you know as he [TS]

  eventually get to the heart of it why [TS]

  won't you give Johnny this party started [TS]

  telling a story and it's more angry and [TS]

  more angry when she gets up out of the [TS]

  water gets up out of his seat he walks [TS]

  over to him he's looming over and he's [TS]

  like him just tell him not a [TS]

  hard-hearted man she was beautiful may [TS]

  also says she was the best piece is ever [TS]

  had so much for his uh yeah classiness [TS]

  yeah all over the world during that [TS]

  whole scene [TS]

  Tom higgenson is dinner he's eating his [TS]

  dinner he's just a beauty keeps eating [TS]

  dinner is eating dinner when the guys [TS]

  done yelling says thank you for a lovely [TS]

  meal and leaves like he doesn't even [TS]

  stop is amelia is just the coolest [TS]

  customer during this whole thing even [TS]

  though he knows how it's gonna end like [TS]

  you said he's you know gonna finish this [TS]

  meal there's a great scene that they [TS]

  obviously you know for for cinematic [TS]

  purposes don't show it you did they cut [TS]

  right to the morning and areas the guys [TS]

  in bed with the Horsehead but if you [TS]

  imagine how they got the horse head [TS]

  there it's because first you gotta kill [TS]

  the horse and that's not too are you get [TS]

  to shoot the horse but you don't want to [TS]

  wake this guy out like that the whole [TS]

  point was they wanted to have a nice [TS]

  surprise form so you don't want allowed [TS]

  gunshot so somehow you got to kill the [TS]

  horse easy enough but then you gotta cut [TS]

  the horse head off yeah that's that's a [TS]

  lot of cut a lot of manpower even on the [TS]

  west coast you can find some Union folks [TS]

  get that done for you and then you gotta [TS]

  get the horse head into his bed without [TS]

  waking them up and I just imagine like a [TS]

  couple of crooks with his horse and gosh [TS]

  she's a sound sleeper luckily and are [TS]

  they giggling maybe they're like maybe [TS]

  there's like one feather just going up [TS]

  and down [TS]

  can you believe he's still asleep I mean [TS]

  normally you're breaking people's [TS]

  fingers or their legs are you know [TS]

  collecting this is a novel and exciting [TS]

  gig the Horsehead gig [TS]

  that's the charity gig and I imagine [TS]

  that it's a guy like that Tommy from [TS]

  Goodfellas yeah like the west coast [TS]

  version and Tommy is there and he's just [TS]

  he's like shut up will laugh about this [TS]

  later when best dismemberment guy on the [TS]

  west coast [TS]

  you gotta take pride in your work even [TS]

  if its leading a horse head in [TS]

  somebody's beds stealthily and also [TS]

  likely before they get to that stage [TS]

  what is that you know Tom comes there [TS]

  with with things to offer besides do [TS]

  this role do something bad to you things [TS]

  offer you got your gonna have Union [TS]

  problem soon we can make those go away [TS]

  like there he has connections he has [TS]

  things to offer which under any other [TS]

  circumstance would have worked but it's [TS]

  a personal vendetta here with the whole [TS]

  starlet you know that that's that's why [TS]

  he has to go out that's why there's a [TS]

  problem doing everybody tries all [TS]

  conventional means first because it's [TS]

  just much more efficient to do it that [TS]

  way and it yeah it doesn't just [TS]

  alternately the the family's authority [TS]

  rests on their willingness to resort to [TS]

  violence that's ultimately what the [TS]

  authority goes to and the producer makes [TS]

  the mistake of thinking that the [TS]

  authority is ultimately the the in the [TS]

  legal sense and in a sense that we [TS]

  respect civil society that he owns the [TS]

  studio it's his picture [TS]

  therefore whatever you know if he says [TS]

  no to Johnny Fontane that's it that's [TS]

  the bottom line he's is just doesn't see [TS]

  that there's another level that this [TS]

  could be taken to you don't buy me out i [TS]

  buy you out if but the family and but [TS]

  it's the way that they you know and in [TS]

  ultimately that they do resort to [TS]

  violence shows that there's you know [TS]

  there's there is something morally wrong [TS]

  with with the Corleone family but until [TS]

  they get there they really are acting [TS]

  like good guys you know they're not that [TS]

  they don't go to violence first they [TS]

  don't just say threatened they're trying [TS]

  they're like hey look will be with your [TS]

  Union problems we can you know do this [TS]

  we can do that you know and enters also [TS]

  like with with Hagen is sort of like he [TS]

  acknowledges look I know you don't want [TS]

  to do this but it's gotta be done [TS]

  yeah and violence as a way for them to a [TS]

  mass power because they want power they [TS]

  want to have politicians they want to [TS]

  control the unions or whatever and all [TS]

  its not violence's is about [TS]

  this is an end as if they want to be [TS]

  known as this thing that will kill you [TS]

  they want to use violence as needed to [TS]

  amass power they would much rather say [TS]

  because we have done all these small [TS]

  violent things and captured the unions [TS]

  and we have the judges in your we want [TS]

  we can use that to get what we want [TS]

  which way better than using violence [TS]

  violence is a problem we don't want to [TS]

  kill police officer because i know it'll [TS]

  bring stuff down and it's like small [TS]

  acts of violence to you know maintain [TS]

  their gambling business and and you know [TS]

  the prostitution all of the stuff and to [TS]

  a mass power to have the politicians who [TS]

  you have something on because they've [TS]

  been with your prostitutes because they [TS]

  are they are indebted to you for [TS]

  gambling or whatever and to use that [TS]

  power to get your things done like it [TS]

  it's all about a massive power is just [TS]

  that when when your power is [TS]

  insufficient because you don't have [TS]

  enough leverage over this particular guy [TS]

  that of the gear you can go up into it [TS]

  we got Horsehead one of the things that [TS]

  happens here I mean he's saying no to [TS]

  Don Corleone and you don't say don't [TS]

  know Don Corleone but part of this is i [TS]

  would say that the main plot of the [TS]

  movie is because Don Corleone says no to [TS]

  the other families and this is you know [TS]

  when you say no and and that's just it [TS]

  and in and you can have the this art of [TS]

  persuasion or horse trading or you let [TS]

  us do this and we'll take care of this [TS]

  problem and all of that [TS]

  that's when they're the the violence [TS]

  becomes the recourse and you see it in [TS]

  the very next scene so they meet with [TS]

  with a lot so the Turk and this is it's [TS]

  fascinating because this is about about [TS]

  narcotics it's about it's about getting [TS]

  into the drug trade and I I think tom [TS]

  says narcotics is the future through the [TS]

  night [TS]

  he's a man with a vision one word for [TS]

  you narcotics yea and perhaps only but [TS]

  video does not does not like that and he [TS]

  and he says finally after you know all [TS]

  of this talk he says I must say I must [TS]

  say no to you because and that that [TS]

  kicks off this whole the all the [TS]

  violence that happens between the [TS]

  families but it's not just that he says [TS]

  no like that is that is one part of it [TS]

  but the real the real key stone too i [TS]

  think the the entire particular conflict [TS]

  miss movies during this meeting they [TS]

  have the pre-meeting we're all it's like [TS]

  sunny and [TS]

  and the Godfather they're all in and Tom [TS]

  and they're all talking about what [TS]

  they're gonna do and they say you know a [TS]

  lot of money in that white powder i [TS]

  don't know we should definitely meet [TS]

  with him he's a serious person here's [TS]

  the deal like they're all doing the [TS]

  background on them then they they set [TS]

  the meet [TS]

  they do the meet there's a lot of [TS]

  talking back and forth i was very polite [TS]

  talks about things [TS]

  sunny has one tiny outpost like what you [TS]

  mean you're gonna guarantee our [TS]

  investment that one tiny outpost which [TS]

  wasn't against the Godfather wasn't like [TS]

  he went against the family right as [TS]

  Michael school someone for doing later [TS]

  he merely was incredulous that the [TS]

  supposed guarantees that were being [TS]

  offered and it showed that he was more [TS]

  open to the deal than his father and [TS]

  that was the thing that sets off this [TS]

  entire conflict because if the families [TS]

  had been loyal [TS]

  I think the Corleone family as a unit [TS]

  they they wouldn't have gone up against [TS]

  them like there was there was a reason [TS]

  they were having this meeting why didn't [TS]

  they just forced it like they they can't [TS]

  go up against a unified fan but once [TS]

  they see a crack in the armor lock up [TS]

  all you gotta do is kill the old man get [TS]

  rid of the end man and sunny your shady [TS]

  dishonest because Sonny is is more [TS]

  amenable to this deal and so here is it [TS]

  here is an efficient way to get what we [TS]

  want with us again another small act of [TS]

  violence to make these things go for if [TS]

  they had presented unified front [TS]

  I don't think there was this whole movie [TS]

  wouldn't play out there wouldn't have [TS]

  been this violence because it the [TS]

  impression I get from the first [TS]

  Godfather is that the Corleone family [TS]

  was if not the most powerful family in [TS]

  New York one of the most powerful and it [TS]

  is certainly in political power because [TS]

  they have complained that he had all the [TS]

  politicians yeah and so no they're the [TS]

  most powerful i think that's that's very [TS]

  clear mean they can't you know it's one [TS]

  of those subjective things that maybe [TS]

  the other families would disagree but I [TS]

  think the movie clearly presents them as [TS]

  the you know the equivalent of like the [TS]

  Gambino's you know that they're there [TS]

  the barzinis bad a table the end though [TS]

  so I don't know like why does he have to [TS]

  sit at the head and the Godfather's [TS]

  gotta sit in the middle but either way I [TS]

  feel like if they had a unified front [TS]

  there it would they wouldn't have gone [TS]

  to war over it because this definitely [TS]

  these you know that to tell you and [TS]

  everything that they were these were [TS]

  lesser smaller families which is why you [TS]

  know they weren't really concerned about [TS]

  them but one outburst from sunny one [TS]

  sentence 1 introjection and then that's [TS]

  it then they get the twinkle in their [TS]

  eye and they hang a lantern on that [TS]

  right because he gets dressed down he [TS]

  says never tell anyone outside the [TS]

  family what you think righty The [TS]

  Godfather immediately says you can't do [TS]

  it right and it wasn't [TS]

  never go against the family it was just [TS]

  just don't tell them what you're [TS]

  thinking because by revealing your [TS]

  thinking now we're not a unified front [TS]

  also this situation is misread by a lot [TS]

  so in a very unfortunate way because he [TS]

  assumed that that Sonny will go along [TS]

  with this he doesn't realize that she [TS]

  doesn't care what he wanted to kill you [TS]

  yeah you heard his father that is the [TS]

  only thing he'll see red for the rest of [TS]

  the movie [TS]

  yeah then he realizes oh maybe Sonny is [TS]

  a bit of a hothead and not reasonable [TS]

  this was a miscalculation right Michael [TS]

  you could argue I I think again the [TS]

  loyalty to their fathers probably but i [TS]

  think so wats was making me cold [TS]

  calculation that the sons are going to [TS]

  want to seize power and that will that [TS]

  will be enough that that even other [TS]

  father is it is dead that they're going [TS]

  to be so happy to be in charge gonna [TS]

  make the cold calculation likes alot so [TS]

  perhaps would do and that's not what [TS]

  happens because Sonny is a hothead we [TS]

  get so look at Brasi sleeps with the [TS]

  fishes which we find out a little bit [TS]

  later because he they send Luca Brasi to [TS]

  talk to them and they kill him probably [TS]

  not a great plan by the way look abroad [TS]

  see maybe not your most savvy spy under [TS]

  him yes it is a great enforcer he's got [TS]

  at least he's the most loyal henchman [TS]

  why would he be the one that you send [TS]

  and being like I don't know maybe he'll [TS]

  switch sides looking process [TS]

  consultations on tomorrow it's like the [TS]

  most you know the big lies better than [TS]

  the small I'm just saying I don't have [TS]

  faith in his ability to act like him act [TS]

  like he's not loyal he does a pretty [TS]

  good job is very stone-faced or whatever [TS]

  but that's what look at roxy is like so [TS]

  he gets he gets carotid do you know it's [TS]

  it's bad and that's a brutal murder that [TS]

  happens and that's the end of the [TS]

  prostate but then the oranges oh the [TS]

  oranges so many things happen with [TS]

  oranges around 44 feet oh but he's [TS]

  buying some oranges and fruit stand and [TS]

  shoot him [TS]

  like many times we and it's it's quite [TS]

  shocking [TS]

  the thing that really struck me though [TS]

  and this is just the world of this movie [TS]

  and also when this movie was made and [TS]

  our modern world Michael Corleone finds [TS]

  out that his father has been shot from [TS]

  the newspaper yet by walking past a [TS]

  newsstand and seeing it in the papers [TS]

  it's amazing come on a cellphone and [TS]

  then he runs to a phone booth [TS]

  yeah it's just like they have time to [TS]

  that time to write the story print the [TS]

  paper ready with his [TS]

  additionally front shows along i think [TS]

  he was yeah I think he was out you know [TS]

  out on the town for many hours and you [TS]

  know you don't have a phone or anything [TS]

  like that but it's just and they [TS]

  couldn't reach him and that they do say [TS]

  when he finally calls and like where [TS]

  where the hell have you been [TS]

  but it's pretty amazing that like you [TS]

  can go you can go so long that you find [TS]

  about your about your dad being shot by [TS]

  seeing it on a newsstand in a newspaper [TS]

  that's amazing [TS]

  the world we live in doesn't say if he's [TS]

  alive or dead and Tom Hagen is uh has [TS]

  kidnapped as well as part of this plan [TS]

  and they're gonna release him but they [TS]

  want to talk to him first and this is [TS]

  this is against lots of trying to trying [TS]

  to make a make an offer i make a deal [TS]

  about about this with the family about [TS]

  what that what they want to do anyone's [TS]

  Tom Hagen to be the the person two weeks [TS]

  to lay it all out because he's got the [TS]

  he's got the clear legal mind and he [TS]

  they think it's a good a good emissary [TS]

  here but video doesn't die five shots [TS]

  but he's still alive [TS]

  yeah and they didn't have a [TS]

  miscalculation with Tom like Tom you're [TS]

  right tom is the person who listen to [TS]

  reason everything but Tom's loyalty is [TS]

  just as big as they're all he's gonna do [TS]

  is take everything you told him and use [TS]

  it against you and he gets back there's [TS]

  never any inkling in this movie that [TS]

  he's going to like never once the family [TS]

  and be persuaded the entire time he's [TS]

  talking to slot so you can tell he's [TS]

  like everything you say to me i will use [TS]

  against you as soon as I get back to my [TS]

  family [TS]

  tell them what the deal is we will use [TS]

  the potty you know like so-and-so thinks [TS]

  maybe there's a chance and he is very [TS]

  wrong [TS]

  yeah and this is a the oranges I just I [TS]

  can't get hung up on that we realized [TS]

  it's playing with oranges and get shot [TS]

  and then later he's playing with your [TS]

  inches when he dies at the end of the [TS]

  movie just gonna buy gonna buy some [TS]

  fruit my poli calls in sick [TS]

  Fredo is the driver Fredo is not leaping [TS]

  into action some real gun handling that [TS]

  radio has some amazing like what is this [TS]

  gun will at any and he's crushed by day [TS]

  like you can see that he you know he [TS]

  realizes he fails use Lisicki he knows [TS]

  yeah he knows this vault and he feels [TS]

  terrible [TS]

  alright the next set of scenes that we [TS]

  get our amazing which is when we get [TS]

  leave we really the gun take the cannoli [TS]

  here to put the hospital the hospital [TS]

  but deserted hospital is so amazing that [TS]

  like what [TS]

  where is everybody and it's just veto [TS]

  there and the one nurse that there [TS]

  jumpscares a jump-scare on the Godfather [TS]

  the nervous twitch becomes in like the [TS]

  quiet scene where is creeping in looking [TS]

  for his father finds a nurse comes what [TS]

  are you doing here it's a jump-scare [TS]

  with a whisper but probably the feet [TS]

  never achieved in a regular non our [TS]

  movie yeah well it also it's amazing how [TS]

  this particular scene shot because it's [TS]

  very tense the camera's not moving at [TS]

  all [TS]

  we have sort of a fixed position very [TS]

  low to the ground on that top floor of [TS]

  the hospital where there's a very clear [TS]

  the hallway that goes on one way to the [TS]

  room now the hallway that goes down to [TS]

  the place where they they take a video [TS]

  later on when will the card out in a [TS]

  takes place very slowly we get another a [TS]

  momentary disturbance with Enzo and they [TS]

  go downstairs and they just stand there [TS]

  while the car drives by and it's not a [TS]

  there's nothing crazy happening in terms [TS]

  of quick cuts and camera moves or [TS]

  anything like that in it just allows [TS]

  this very slow tension to build over the [TS]

  scene because there's effectively no one [TS]

  there who can help him and and you you [TS]

  see the isolation there I use any uses [TS]

  brains to get out of it and I think the [TS]

  key thing about the pacing the scene [TS]

  that always struck me as so they do that [TS]

  whole thing is it's tense and those [TS]

  comes out [TS]

  n0 you know he's got the flowers were in [TS]

  his end will come over here put your [TS]

  hand in your pocket you got a gun behind [TS]

  really they did they do the whole bluff [TS]

  right but it's very tense right don't [TS]

  forget the one of my favorite things in [TS]

  the in this whole set is when he turns [TS]

  the nurses we need to move him men are [TS]

  coming here to kill him [TS]

  yeah yeah is it now the line is you you [TS]

  know my father men are coming here comes [TS]

  Michael effective communication in [TS]

  crisis is it you know my father [TS]

  it's only a second to say you understand [TS]

  my father's part of organized crime [TS]

  bosses you know my father [TS]

  it's a question a statement men are [TS]

  coming here to kill him that comes right [TS]

  to the point we need emotions but maybe [TS]

  like after after they put the collar up [TS]

  and they do they're bluffing it works [TS]

  they have what seems like a luxurious [TS]

  amount of time showing Enzo trying to [TS]

  light a cigarette and his hands are [TS]

  shaking you so nervous like we don't [TS]

  need we already got the attention but [TS]

  somehow having the scene where you see [TS]

  how shaken up he is afterwards like [TS]

  ripples backwards movie and makes it [TS]

  even more tense up and they spend time [TS]

  on it like they're not saying anything [TS]

  that didn't already say before like in [TS]

  other words it's almost like they're [TS]

  putting had a hat there but it's [TS]

  important because it's like the [TS]

  audience's decompressing and then [TS]

  realizing how to [TS]

  here's what they did was and then it [TS]

  leads into the you know the pitch the [TS]

  police chief coming and knocking Michael [TS]

  in the face so it doesn't actually do [TS]

  something it's not like we go to that [TS]

  and I cut to something entirely [TS]

  different but that always struck me as [TS]

  it as a tiny luxury that most movies [TS]

  don't take because like all right we've [TS]

  already done that everyone knows his [TS]

  tents next scene but the Godfather has [TS]

  that has this area lighting and I think [TS]

  it's important you can you because you [TS]

  can see that it's that that's what's [TS]

  happening is a it's all spinning out of [TS]

  control they come by and they they they [TS]

  see that they're there with their hands [TS]

  in their pockets and then they move on [TS]

  yeah it's a and then the cops come and [TS]

  it's it's still close thing right like I [TS]

  mean they're gonna try a few things to [TS]

  get to veto and then they finally kind [TS]

  of have the beat at the end when Tom [TS]

  Hagen toss-up is a private detective so [TS]

  I just carry firearms blah blah blah and [TS]

  please like I legalese scraping it [TS]

  yeah I also would argue that the that [TS]

  the the shaking hands I mean the great [TS]

  thing about the shaking hands is that it [TS]

  gets it across that this guy that [TS]

  Michael has conscripted is essentially [TS]

  is a civilian and you need to show like [TS]

  this is not normal [TS]

  this is terrifying they are standing out [TS]

  there with a hitman coming by and acting [TS]

  like they've got guns in order to do [TS]

  this and yeah it is terrifying this is [TS]

  not normal [TS]

  this is not every day for four Enzo he's [TS]

  terrified and it's it's great that we [TS]

  see that the Indians I'm rewinding a [TS]

  little bit to the before we move on to [TS]

  the running a little bit to the poly [TS]

  business [TS]

  I think I mean this is for me this [TS]

  establishes maybe this is an old [TS]

  gangster movie trope but i think is one [TS]

  of the first ones I saw Polly you know [TS]

  called in sick quote-unquote you know [TS]

  that day the the video got shot and [TS]

  everything right so he is with people [TS]

  who are going to kill him we kind of [TS]

  know that we kind of know that's what [TS]

  they're for business I Polly I don't [TS]

  want to see him again like you know so [TS]

  they're there to do that they all get [TS]

  into the car together to go with their [TS]

  cannolis and everything [TS]

  Paulie doesn't want someone sitting [TS]

  directly behind him and make some excuse [TS]

  about being able to see in the rearview [TS]

  mirror because he no like why does he [TS]

  not want someone sitting behind his is [TS]

  this kind of seeing that the godfather [TS]

  is full of where Paulie is there with [TS]

  people who are ostensibly his friends [TS]

  they all have to pretend like a billy [TS]

  budd dope fashion that I know that you [TS]

  so that i know but i can't let on that i [TS]

  know that you're there to kill me that [TS]

  vibe Godfather's entire movie is that [TS]

  vibe and this one seems clear that [TS]

  paulinho's there to kill but what can [TS]

  you do he's got to play along with and [TS]

  hope that maybe he's wrong about it but [TS]

  he also doesn't want the guy sitting [TS]

  behind them and that's that adds to the [TS]

  tension that scene and also i think the [TS]

  great scene where he kicks it gets [TS]

  strangled from behind and kicks out the [TS]

  windshield which is another dramatic [TS]

  moment mostly not copies i think you [TS]

  don't have the strength to kick out a [TS]

  windshield on a modern car but those old [TS]

  cars and the forties remember this most [TS]

  no problem and that of course they [TS]

  should they should inform the Statue of [TS]

  Liberty again are you getting the [TS]

  picture here American dream [TS]

  gone head but alright what's also [TS]

  interesting about that i didn't know [TS]

  until relatively recently can't remember [TS]

  what this was but a 4x4 couple wrote in [TS]

  the line for the wife telling Clemenza [TS]

  that she won't want into you know don't [TS]

  forget the cannoli and then when the [TS]

  actor who plays comenta Clemente later [TS]

  on is saying you know take the gun he [TS]

  improvised the line now leave the gun [TS]

  take the cannoli for that scene it [TS]

  wasn't exactly written that way but you [TS]

  know it really embodies a lot of what we [TS]

  think of when we think of this film I [TS]

  would say because it you know it's about [TS]

  family and don't cross the family and [TS]

  you know that year's ears you know the [TS]

  food we should come to my wife and I'm [TS]

  gonna shoot this guy who crosses a [TS]

  little bit of food business in this [TS]

  movie as well like that they make the [TS]

  sauce later and they talk about the [TS]

  cannoli and it's going probably no way [TS]

  onto the temple is they doing the [TS]

  Godfather but it's there like the food [TS]

  is an important part of the so you [TS]

  mentioned some so uh the the dirty cop [TS]

  shows up and and Michael Michael is gets [TS]

  a gets really mad how much are they [TS]

  paying you captain he says he mouths off [TS]

  a little bit you put get punched in the [TS]

  John gets his jaw broken for that but uh [TS]

  this leads into the big the scene where [TS]

  that the Turk wants to meet with Michael [TS]

  and Tom Hagen says we need to listen to [TS]

  them and sunny is just angry and he [TS]

  doesn't care and then michael says I can [TS]

  do this I can kill both of them if you [TS]

  can get me a gun they want to meet with [TS]

  me because they think I'm a reasonable [TS]

  person that's going to be the go-between [TS]

  but if you can get a gun if you can [TS]

  figure out where the restaurant is and [TS]

  you can get a gun there [TS]

  we you know we can take them out and at [TS]

  this point my notes I wrote a bogota [TS]

  knows all the toilets in the bronx [TS]

  because I gotta go to me is like they [TS]

  got that old pull chain toilet and I can [TS]

  put it behind the take their and so many [TS]

  things in this movie would have to be [TS]

  explained to younger people like in the [TS]

  hospital have a skipping record which [TS]

  i'm not sure people watching it today [TS]

  who don't know what the record is not [TS]

  skipping record atmosphere doesn't work [TS]

  and that he call someone and get on the [TS]

  phone and says like Long Beach 4 5 6 21 [TS]

  or whatever [TS]

  why didn't you just dial the number and [TS]

  what is that skipping thing and what [TS]

  does he mean like a water closet with a [TS]

  chain [TS]

  I've never even seen anything like that [TS]

  but you'll see it now I grew up with one [TS]

  of those pull chain toilets myself [TS]

  actually but there was never a gun taped [TS]

  behind forgot you don't know did you [TS]

  check i didn't just hard to find time to [TS]

  check generally no gun there you gotta [TS]

  keep lookin pretty sure we're gonna find [TS]

  it might be up in the middle part was [TS]

  there a cannoli I there was no can only [TS]

  either another family on this from my [TS]

  toilet now and that's seen by the way [TS]

  where they're where they're all talking [TS]

  about like what they're supposed to do [TS]

  you think we should be there before [TS]

  Michael comes out with before the gears [TS]

  turning Michael said me realize like [TS]

  this is what we're going to do [TS]

  sunny is frustrated me at home because [TS]

  tom is all about like we do this or [TS]

  whatever and it's one point Sonny yells [TS]

  at Tom just help me win like this is all [TS]

  Sonny's concerned about is like it's now [TS]

  just a game of army men like we need to [TS]

  kill them before they kill us [TS]

  Thomas give me the idea Sonny don't want [TS]

  to hear your damn ideas just just help [TS]

  me win and his version of winning is [TS]

  other everyone else dead in me alive [TS]

  which is why is it better to Tom's not [TS]

  even saying you know let's give up or [TS]

  something he's like let's listen to what [TS]

  they have to say he wants to collect [TS]

  more information he's crying for that [TS]

  whole collective sunny and Sonny does [TS]

  not care right because he wants revenge [TS]

  he's he's angry and that's though that's [TS]

  those characters in a nutshell right but [TS]

  Michael steps happens like I got a plan [TS]

  i'm gonna I you know this visit is going [TS]

  to get us our revenge but it's also kind [TS]

  of a cool logical constructed plan and [TS]

  several accidents funny laughs Adam you [TS]

  know like he's lasted this is proud that [TS]

  he's like gosto and willing to sale my [TS]

  friends like I'm Michael you're not [TS]

  going to do you know there's not a thing [TS]

  that you do you know we're proud of you [TS]

  i love you but just forget it but [TS]

  Michael eventually prevailed [TS]

  who's the guy who teaches Michael how to [TS]

  do a hit is it tests you notice my name [TS]

  is in command commander commander right [TS]

  I love that says one of my favorite [TS]

  little scenes in the movie because it's [TS]

  more interesting to me them then the [TS]

  scenery actually shoots the guys it's [TS]

  the scene you know and and it's just one [TS]

  of those things that to me feels [TS]

  realistic because it i don't know if [TS]

  that's actually the advice you want if [TS]

  you're going to shoot a guy in a [TS]

  restaurant but it sounds to me like good [TS]

  advice right it doesn't matter if it [TS]

  actually is gonna be like cereals like [TS]

  I've got shot 50 people in restaurants [TS]

  are you doing yeah yeah and it it's like [TS]

  it was just what he said that he says [TS]

  like and then whatever is going to be [TS]

  looking at you don't worry about you [TS]

  know no one's gonna be looking to go on [TS]

  everyone to me staring at your face so [TS]

  just put your hand down to your side and [TS]

  drop the gun and like the best thing I [TS]

  like buzz there in a basement in the [TS]

  basement firing the gun and they have [TS]

  the sound so loud like the sound of a [TS]

  gun going off in a cement basement just [TS]

  rings out and in the movie that you [TS]

  realize it's gonna be super loud and [TS]

  probably the hole in his wallet [TS]

  this is the the conversation they have [TS]

  in the in the restaurant is the we're [TS]

  gonna we're gonna speak Italian now and [TS]

  they end and then they speak Italian for [TS]

  a while with no subtitles with no [TS]

  subtitles for all of me out there but [TS]

  like we're supposed to be it helps the [TS]

  reason I think the reason without [TS]

  subtitles is worth looking at Michael's [TS]

  face [TS]

  yeah we know right Michael is there to [TS]

  do is the mom under the chair thing the [TS]

  audience knows and Michael knows and [TS]

  we're looking at his face and we realize [TS]

  Michael's not listening to him speaking [TS]

  Italian either because he's not thinking [TS]

  about that you know you wouldn't be you [TS]

  be thinking about how to shoot this guy [TS]

  not hearing a word he's saying [TS]

  so you might as well be speaking a [TS]

  different language we didn't understand [TS]

  the tension like he asked to go to the [TS]

  bathroom and they're like they patted [TS]

  down a couple of times the way he asked [TS]

  to go to the bathroom like so that they [TS]

  say speaking Italian back-and-forth [TS]

  Michael's not listening and at a certain [TS]

  point Michael who you can tell his cuz [TS]

  he understands Italian but he's more [TS]

  comfortable in English and so eventually [TS]

  Michael starts to get frustrated at this [TS]

  litany of like you know come on that [TS]

  he's saying and he goes the other famous [TS]

  line with this jar wiretap what I want [TS]

  what's most important to me because he's [TS]

  frustrated look just listen this is what [TS]

  I want I just want you know my fault you [TS]

  know [TS]

  no further attempts are father's life or [TS]

  whatever and he's like well who can say [TS]

  like you know things happen or whatever [TS]

  and Michael's like all right I'm going [TS]

  to the bathroom like he's so pissed off [TS]

  that he wouldn't even listen to reason [TS]

  he was supposed to be like asked to go [TS]

  to write in the cities like I'm going to [TS]

  the bathroom that ok i'm going to go to [TS]

  the bathroom and they [TS]

  and the other guys eye twitches yes the [TS]

  great seeing like he realizes that [TS]

  something like he realized that as far [TS]

  as Michaels concern like he gave it you [TS]

  know because he doesn't want to shoot [TS]

  the guy is not a thing he's done before [TS]

  he's crying a bit about you listen just [TS]

  I no more attempts on my father's life [TS]

  is here now is like a good the bathroom [TS]

  and get guys I switch and they want to [TS]

  check them again and he says you know [TS]

  he's going first them my friends first [TS]

  play young punks or whatever he says [TS]

  it's strange line right Michael almost [TS]

  blows it because he doesn't want to [TS]

  shoot him and he gets angry when he [TS]

  shouldn't get angry he should be making [TS]

  them feel comfortable and great [TS]

  Goodfellow style being like we're all [TS]

  friends here i'm not going to shoot you [TS]

  in the head in five minutes and [TS]

  everything is fine it's gonna go to the [TS]

  bathroom okay ask for permission to go [TS]

  to the bathroom [TS]

  it does not ask for permission just [TS]

  gotta go to the bathroom [TS]

  it's a great scene because again he's [TS]

  not he's not a super mastermind from the [TS]

  get-go he almost blows this entire thing [TS]

  it reveals his character that he doesn't [TS]

  you know he's not used to maintaining [TS]

  its cool under these kinds of pressures [TS]

  once it gets the gun that a bogota has [TS]

  correctly identify what the toilet is [TS]

  like and it's restaurant in the bronx so [TS]

  that he gets the gun he comes back out [TS]

  and that is not only incredibly tense [TS]

  scene [TS]

  scene [TS]

  but you're like just shoot him already [TS]

  just shoot them are supposed to that was [TS]

  the plan they were already planning to [TS]

  come out of the bathroom come out [TS]

  shooting he's worn drums out and we the [TS]

  audience are expecting him to come out [TS]

  shooting he does not come out shooting [TS]

  why because it's really hard to shoot [TS]

  someone if you've never done before she [TS]

  comes and sits back down you're like not [TS]

  what are you sitting back down you [TS]

  supposed to shoot you're not going to [TS]

  shoot them are you whipping out and so [TS]

  he sits there again and just the train [TS]

  starts coming and the noise starts [TS]

  building and we're not paying attention [TS]

  to anyone saying they're doing into [TS]

  space and its jaws set amazing seen it [TS]

  is and then and then so he kills them [TS]

  and then you heat that he kind of walked [TS]

  away and then kind of flings begun like [TS]

  yeah not very smooth bring your arms [TS]

  down to your side slowly and drop it [TS]

  nope it's like flailing in the air Fredo [TS]

  stop every time I see that scene i'm [TS]

  like drop it just dropped Michael drop [TS]

  it come on why you dropping every single [TS]

  time he did he never does it right [TS]

  oh and then we get spinning newspapers a [TS]

  classic ya fito goes home these [TS]

  conservative wield home in the hospital [TS]

  bed he asked where Michael is and they [TS]

  explained that he killed salat so and [TS]

  and i would say this is a the The [TS]

  Godfather you know video is sad [TS]

  hehe I I feel like this is the you know [TS]

  I i had my hopes for what Michael would [TS]

  be and now michael has been swept up [TS]

  into the into the family business and I [TS]

  I i get the sense there that you know [TS]

  that there's that that regret that that [TS]

  Michael had to do that from the the very [TS]

  ill veto in his in his bed and then [TS]

  sunny starts killing people [TS]

  yeah i really get the whole tragedy this [TS]

  is michael has to basically say goodbye [TS]

  decay and be like look go back to your [TS]

  parents in New Hampshire which is like [TS]

  the ultimate insulting destination a [TS]

  white-bread destination for the Italians [TS]

  to be telling the night go back to New [TS]

  Hampshire we're gonna do a thing here [TS]

  I'm you know when am I gonna see you [TS]

  again don't know like and and he's gotta [TS]

  go away he knows before he does this [TS]

  that afterwards he's gonna go away [TS]

  they're gonna go to the mattresses he's [TS]

  gonna go to Italy and so it is this big [TS]

  separation this big middle section where [TS]

  it's like something dramatic has [TS]

  happened and now we have the big reset [TS]

  button and you don't know where the [TS]

  movies going from here knows Michael [TS]

  spends a lot of time in Italy and does [TS]

  some significant things that [TS]

  your intermission is basically here [TS]

  right when Michael goes to Sicily you [TS]

  could just you could just uh you know [TS]

  fade out and send everybody out into the [TS]

  lobby for a snack because that's [TS]

  basically what happens in fact we watch [TS]

  this over two nights and that's where I [TS]

  stopped it was like we're just trying to [TS]

  get to win Michael go to Sicily and then [TS]

  we'll watch the next part later so now [TS]

  we've got a couple things going on in [TS]

  the in the next part so Michael [TS]

  insistently we should probably talk [TS]

  about that he's consistently he's with [TS]

  the Italians he speaking Italian he gets [TS]

  hit by the Thunderbolt which is the girl [TS]

  apollonia but her father is reluctant [TS]

  and you got the comedy relief of the two [TS]

  bodyguards who are funny even if you [TS]

  don't understand Italian even if you [TS]

  don't read the the subtitles the two of [TS]

  them are are quite a pair [TS]

  I and you know they're there just like [TS]

  what is Michael even doing there he's [TS]

  just walking around the countryside with [TS]

  his two bodyguards and seeing seeing the [TS]

  pretty girls and ghosts go to talk to [TS]

  the Father I my favorite part about [TS]

  talking to father is the power move or [TS]

  Michael decides to speak to the father [TS]

  in English like that's a power move [TS]

  amongst the provincial people they're [TS]

  like I know I'm American [TS]

  I i speak english and i'm going to [TS]

  choose to speak English and have myself [TS]

  translated because that like a certain [TS]

  elements over you to show that I'm I'm [TS]

  an American and you should be lucky I'm [TS]

  even looking at your farm girl daughter [TS]

  or whatever and he understands what they [TS]

  say right he never has a translated back [TS]

  he just like I'm going to speak English [TS]

  you can you can have to translate for [TS]

  you and uh but they but he marries her [TS]

  she marries apollonia and we see we see [TS]

  that seemed to that's a sweet section of [TS]

  the movie like when he's walking with [TS]

  her he goes to introduce himself to the [TS]

  family and when they go for a walk [TS]

  together for us to show the two that you [TS]

  know the young couple going for walking [TS]

  behind them the women are walking behind [TS]

  the bodyguard case like this train of [TS]

  the family like that and then the [TS]

  bodyguards with the rear like it's a [TS]

  supervised sort of in a more innocent [TS]

  time like you can go on a walk with my [TS]

  daughter but of course you can't go on a [TS]

  walk with my daughter alone in fact the [TS]

  entire family is going to fall behind a [TS]

  train but will be respectable distance [TS]

  you can have your private time together [TS]

  but we all go and then the bodyguards [TS]

  bringing up the rear it's like this is [TS]

  actually not at your average courtship [TS]

  here because there are bodies around [TS]

  meanwhile back in the u.s. k has showed [TS]

  up to try to find Michael and Tom's like [TS]

  I can't tell you anything I can get you [TS]

  a letter i can take a letter because [TS]

  then it could be implied that I know [TS]

  where he is and I can't so so that [TS]

  that's that's happen [TS]

  thing but be Michaels hanging out in the [TS]

  consistently for a while he teaches his [TS]

  wife how to get some English and how to [TS]

  drive a car monday tuesday though as [TS]

  they went to fridays look there's the [TS]

  it's another it's such a subtle seen it [TS]

  plays against all like stereotypes or [TS]

  tropes that movies can fall into because [TS]

  I remember the first time I saw it I i [TS]

  remember being a little bored by the [TS]

  whole system anything and it's like [TS]

  where's this going and then he he [TS]

  decided to get married to this italian [TS]

  girl and it's like whoa where the hell [TS]

  did that come from [TS]

  and I don't know how much of it like I [TS]

  don't know how big a star Diane Keaton [TS]

  was in 1972 but by the time I saw the [TS]

  Godfather I knew she was a star and the [TS]

  fact you know by casting a star in a [TS]

  roll it it says something it is part of [TS]

  making a movie when you have somebody [TS]

  like that and and k never did anything [TS]

  wrong she never did anything that would [TS]

  make her the least bit [TS]

  it seems like wow this guy's got a great [TS]

  he has a great girlfriend she's smart [TS]

  she's pretty you know non-italian well [TS]

  but me watching the movie i can see I [TS]

  can totally see why Michael is is into [TS]

  her and I don't know if I've ever seen a [TS]

  movie where somebody just did dishes [TS]

  there their significant other without [TS]

  any kind of you know like they're it its [TS]

  it's such a shock because you never did [TS]

  anything there was never any kind of [TS]

  strife between them and what it kind of [TS]

  it says a lot about Michael ultimate [TS]

  yeah is what it does yeah well I mean [TS]

  michael has said it a big like he's at a [TS]

  crisis point is life because it this is [TS]

  what not what he spent his life to be [TS]

  either committing double murder and then [TS]

  running away to italy that's not was not [TS]

  in his game plan like his college boy [TS]

  army you know like he did all these [TS]

  things and he finds out the situation I [TS]

  feel like when he's in Italy he's kind [TS]

  of like I guess this is my life now like [TS]

  I i didn't think i would be part of this [TS]

  crime family thing and now i am and I [TS]

  guess I just should just fully embrace [TS]

  it i should have an Italian i like it [TS]

  like it i don't think he feels like he [TS]

  should be marrying a at this point [TS]

  because she was part of the life that he [TS]

  wanted to have not the life that he [TS]

  finds himself having after committing [TS]

  double murder and running away to italy [TS]

  and so he's there and he's like I you [TS]

  know maybe this is a better wife for me [TS]

  more like my mom italian wife is going [TS]

  to be traditionally time not an American [TS]

  life not a wife is part of the larger [TS]

  society the Italians aren't allowed to [TS]

  belong to i am now back down the gutter [TS]

  with my family and you know this this is [TS]

  what I should be doing and I think he's [TS]

  thinking towards the future like if this [TS]

  is going to be my life I want to do a [TS]

  good job of that I should have a good [TS]

  italian wife it turns out he's not that [TS]

  he's right but that things would have [TS]

  gone differently i think in this [TS]

  in-between in-between this movie and the [TS]

  godfather part two and for the rest of [TS]

  godfather part two [TS]

  if he had had a wife who didn't stand up [TS]

  for herself and didn't like it didn't [TS]

  want to be an actual fully actualized [TS]

  person like k did which would cause many [TS]

  problems and consternation to the [TS]

  michael and in the later movies his plan [TS]

  here in Italy make some sense to me but [TS]

  then his wife of course does blow up [TS]

  self that kind of puts a damper on that [TS]

  yeah that's the that's where this the [TS]

  story line ends is they say it's too [TS]

  dangerous here we gotta move you to a [TS]

  villa near siracusa hey with your head [TS]

  and and she was she's so proud that she [TS]

  can drive now that she wants to drive [TS]

  the car and he sees the guy running away [TS]

  to breach knows that something's wrong [TS]

  and says no stop and the car blows up [TS]

  and she dies the way they have the they [TS]

  show the reaction shot of Michael after [TS]

  the explosion they want to show him [TS]

  being blown backwards but they don't [TS]

  have like you know modern wire food [TS]

  things to make me be tumbled backward in [TS]

  slow-motion so they just have like a [TS]

  sped-up camera him falling backwards [TS]

  into a bush and it does not look great [TS]

  hit by modern standards it looks it's [TS]

  almost comical it's almost like Keystone [TS]

  Cops like it you know Buster Keaton or [TS]

  use flips backwards really quickly and [TS]

  obviously sped up piece of film and a [TS]

  non particularly dramatic way but that [TS]

  that's a great symbol and it feels [TS]

  tragic because if you are lulled into a [TS]

  sense of like Italy's nice look at the [TS]

  goats for life and and like everything [TS]

  is going well and like people in this [TS]

  like he hasn't been engaging his brain [TS]

  he engaged his brain to to get the wife [TS]

  to say here so I have to talk to the dad [TS]

  to get this time but it's low stakes [TS]

  right and everything seems to be going [TS]

  fine until he's like he he sees that the [TS]

  bodyguard walking is where are you going [TS]

  and like his brain reengage all of a [TS]

  sudden all the gears catch again and he [TS]

  immediately realizes she's gonna blow up [TS]

  he realizes that the end that that's the [TS]

  end of his life and his new life for [TS]

  himself and really that's [TS]

  the video and it's a it's a tragedy he's [TS]

  gotta snap out of this [TS]

  snap out of this daydream that he was [TS]

  living reengage all the gears and [TS]

  re-engage with what's really going on [TS]

  back over in America [TS]

  yeah so meanwhile back in america uh [TS]

  there there Sonny wants to fight to [TS]

  Talia but he goes and sees he goes and [TS]

  sees Connie and she's been beat up and [TS]

  she begs sunny not to kill her husband [TS]

  but he certainly beats him in the street [TS]

  so that that was a trashcan yeah good [TS]

  one of the the most scientists as far as [TS]

  either are beasts punches ever put into [TS]

  movies like zone it's you know you know [TS]

  stage punches we have to do with the [TS]

  camera with you can see that they're [TS]

  actually making contact and they do it [TS]

  incredible fight she might think it's [TS]

  beautifully shot but just like one long [TS]

  continuous shot of like chasing them [TS]

  into the little like fire escape area [TS]

  and like doing all this stuff him but [TS]

  there is one punch in that scene because [TS]

  it's one unbroken shot and they didn't [TS]

  have the magic of digital editing that [TS]

  is like a foot and a half away from [TS]

  Carlos space and they just left it in [TS]

  the movie and it's like what can you do [TS]

  you're gonna do that whole scene again [TS]

  this they probably did 20 takes and [TS]

  visit the best of what we got we cannot [TS]

  digitally move his hand closer to his [TS]

  face just one scene where they were [TS]

  sidelong to the camera all the other [TS]

  ones they were front to back or back to [TS]

  front and you can see that they're not [TS]

  landing in the fully covers it but [TS]

  that's a big with and you never you know [TS]

  at the time in 1972 the idea maybe maybe [TS]

  if this is as good as we hope it is [TS]

  maybe somebody will see it twice yeah [TS]

  right i'm gonna watch it over and over [TS]

  again keep seeing that punch that land [TS]

  then Connie Elena in a little bit later [TS]

  scene after k has showed up trying to [TS]

  look for Michael she she gets a call [TS]

  from her husband's mistress she totally [TS]

  loses it they fight she breaks a lot of [TS]

  stuff and throws a lot of stuff on the [TS]

  floor the babies the babies are crying a [TS]

  lot of crying loud crying babies in this [TS]

  movie I guess that says something about [TS]

  family but I i noticed it like there's a [TS]

  lot of aggressive baby crying in this [TS]

  movie we like I can't hear the babies [TS]

  crying and it went together but they [TS]

  call the mothers like I can't hear can't [TS]

  nobody say and it baby's grave is gonna [TS]

  be fun to someone else she's the mother [TS]

  vetoes wife is so not engaged in this [TS]

  world at all the point where it's like [TS]

  she can't even talk to you on the phone [TS]

  about this important thing is the baby [TS]

  screaming but you know they they have [TS]

  this fight and you know Sonny freaks out [TS]

  again and he he's gonna run right over [TS]

  there and kill that kill kill that [TS]

  husband and so he gets in the car and [TS]

  they're like oh you got to deal with [TS]

  bodyguards chase after me and he's gonna [TS]

  go and Andrea here we go Sonny's gonna [TS]

  take that guy out and what happens well [TS]

  he's on the it's on the he's gonna paint [TS]

  the toes away [TS]

  he's on the causeway is going to pay the [TS]

  toll booth and there's guys with guns [TS]

  waiting at the toll booth he didn't have [TS]

  exact change that's no easy Patrick and [TS]

  so they take them out which is a that's [TS]

  it that's a shock moment I think if [TS]

  you're if you're not if you haven't seen [TS]

  this movie before you you don't expect [TS]

  that Sonny is gonna get waylaid on the [TS]

  way to the tip to beat up Connie's [TS]

  husband but that's what happens is that [TS]

  a nice little thing where they close the [TS]

  door like how do you know when he's [TS]

  gonna get hit they take his money they [TS]

  just slide the door closed and the guy [TS]

  goes away and you're like wait so what's [TS]

  like it's another one of those with [TS]

  troops to be picked up or like a normal [TS]

  scene [TS]

  everything seems to be going fine until [TS]

  all of a sudden the normalcy disappears [TS]

  and then remember the guns up here and I [TS]

  feel like this entire scene and maybe [TS]

  the entire movie was sponsored by the [TS]

  squib union because the number of [TS]

  squares we go off on his chest like [TS]

  shooting with tommy guns or whatever and [TS]

  it is like they don't just shooting with [TS]

  your time so they cut away [TS]

  it's just like let me show you him being [TS]

  shot like dozens and dozens of times and [TS]

  even when he's dead with a million [TS]

  exploded squibs on we're going to do one [TS]

  more sweep across them just to make sure [TS]

  like it is it is a brutal killing [TS]

  probably not matched by anything that's [TS]

  not a b-movie maybe robocop when they [TS]

  they should shoot him in the alleyway [TS]

  I'm seen that new years is closed but [TS]

  like the unflinching this of like the [TS]

  camera is going to show you him being [TS]

  shot the whole way through so you really [TS]

  get that he's dead dead dead [TS]

  it's it's only a couple years after [TS]

  Bonnie and Clyde which is a very similar [TS]

  yeah machine-gun killing multiple [TS]

  killing at the end the scream union is [TS]

  very strong [TS]

  yeah they're good they got they got [TS]

  people on it this is a point i forget [TS]

  about so did tires husband [TS]

  what's-his-name Carla so was he he was [TS]

  in on it like the slot to the salon [TS]

  because he yeah he wanted it that this [TS]

  is that this took me this is one of [TS]

  those points that took me like like the [TS]

  seventh time I saw the movie [TS]

  I was like oh I'm stupid I got it [TS]

  because he wanted to be in the Corleone [TS]

  family and they're there they kept [TS]

  pushing them out and they're like you're [TS]

  just started sister's husband you know [TS]

  you're not in and give them a living but [TS]

  he'll never be going to different part [TS]

  of it was never really part of the [TS]

  family and then the salaat so people get [TS]

  you know hehe you know because that's [TS]

  what he wants to be he wants to be a big [TS]

  shot gangster and so they're gonna give [TS]

  him a shot and all you gotta do it they [TS]

  say look just you know beat up your wife [TS]

  little Sonny's gonna come right over and [TS]

  we'll take care of the rest [TS]

  yeah and-and-and you get that line much [TS]

  later on right after Tessio gets it they [TS]

  they say you gotta answer for Santino [TS]

  Carl that's when they say it like that's [TS]

  but that's not all ending of the movie [TS]

  where is Michael given the ticket [TS]

  another you know where everything is [TS]

  fine here until I get the piece of [TS]

  information I want from you and then [TS]

  yeah so son is gone [TS]

  uh Vito has to ask Tom what it is he [TS]

  says I just I just heard I was gonna [TS]

  come and tell you and my wife is my wife [TS]

  is crying and all those things happen [TS]

  that that Sonny is dead [TS]

  it's another luxurious nothing luxurious [TS]

  scene because again like we know this [TS]

  information has to be communicated from [TS]

  you know that eventually the government [TS]

  has to find out and you could have a [TS]

  scene with him telling it but they they [TS]

  spend the extra time to say we've got [TS]

  three are run by mere spend the extra [TS]

  time showing Tom prepared to tell him [TS]

  showing video finding and preparing [TS]

  having them discuss about the fact that [TS]

  he's preparing and then finally tell him [TS]

  with a very you know very concise [TS]

  writing shot Sonny on the causeway he's [TS]

  dead [TS]

  yeah lots of short sentence in this [TS]

  movie which is a refreshing change from [TS]

  a lot of the movies these days where [TS]

  everyone is shucking and jiving about [TS]

  everything so that the call in a favor [TS]

  to the guy from the first scene at the [TS]

  funeral parlor [TS]

  it's it's chicos favor and a good slow [TS]

  zoom down because of this one again [TS]

  people have been keeping track of like [TS]

  what was that guy's profession on the [TS]

  first thing like this point you don't [TS]

  remember that it is kind of reveal when [TS]

  they come in down the stairs you see him [TS]

  there sitting there is weight like it's [TS]

  in the middle of the night but he's got [TS]

  dressed up all on a student is ready to [TS]

  receive the Godfather what is this favor [TS]

  that you want to manually think he's [TS]

  thinking the worst like what do I need [TS]

  to do whatever turns out we just need [TS]

  you to do your profession in extremely [TS]

  dire circumstances and he's there and [TS]

  he's ready to do it look how they [TS]

  massacred my boy home and [TS]

  its mother seemed like this so the five [TS]

  the five families they have a meeting [TS]

  and we here [TS]

  I believe this drug business will [TS]

  destroy us it's a line in the seam which [TS]

  i I just I really like the idea that [TS]

  this is the thing that's really driving [TS]

  a wedge between the the mob families in [TS]

  New York is do we get into drugs or not [TS]

  it's like no this is bad the police [TS]

  aren't gonna go look at the look away at [TS]

  some stuff but the you know we're not [TS]

  going to be able to do this but they cut [TS]

  a deal [TS]

  they cut a deal to allow drugs to [TS]

  forswear vengeance keep you know keep [TS]

  the hands off of michael is a challenge [TS]

  lost a son like I mean this marlon [TS]

  brando and Vito Corleone says like look [TS]

  this has gone too far [TS]

  Sony's dead i need to settle this so [TS]

  he's pulling out his skills and his [TS]

  skills as a user peacemakers and [TS]

  negotiator he's gonna come in there he's [TS]

  gonna do think that Sonny couldn't i [TS]

  forgo the Vengeance of my son is unusual [TS]

  son everything is fine [TS]

  we're going to the deal drugs will be [TS]

  allowed limited it like he is he's a [TS]

  politician he's making the deals that [TS]

  have to be made but it you know and [TS]

  again barzinis up at the head of the [TS]

  table kind of watching us all that's how [TS]

  that's how we do figures out his party [TS]

  go very a very next thing is it was [TS]

  partying all along but like The [TS]

  Godfather after this whole thing we all [TS]

  agree you know oh you've got all the [TS]

  positives your pocket when have I ever [TS]

  refused an accommodation I'm a [TS]

  reasonable person you know maybe like [TS]

  does all the thing and he ends with and [TS]

  this is the deal but by the way if [TS]

  anything happens to Michael he gets it [TS]

  you know hit by car struck by a bolt of [TS]

  lightning that I will not forgive like [TS]

  he's asserting his dominance is like [TS]

  look there's a limit here this is what [TS]

  i'm going for we're gonna do this deal [TS]

  but if he trips and Falls and scrapes [TS]

  his nose going to kill everybody right [TS]

  struck by a bolt of lightning so case [TS]

  shows up and Michael or i should say [TS]

  Michael shows up after being back for a [TS]

  year with k and it's like hey uh we [TS]

  should go we should get married when you [TS]

  get back [TS]

  about a year ago yeah that's it so it's [TS]

  so weird I how Michael deals with k mean [TS]

  k is useful to have to have his his wife [TS]

  and be you know and he needs one and so [TS]

  he kind of drops her and goes to Italy [TS]

  and marry somebody and all of that but [TS]

  now he needs someone and he know [TS]

  as her and it's a it's it's it's very [TS]

  hard for me to watch the scene because [TS]

  it's just so calculated like oh i love [TS]

  you i need you and all that marry me and [TS]

  it's just you know come on Michael but [TS]

  that you know Jesus she's sort of a [TS]

  sucker for it and he says oh I'm going [TS]

  legit we're gonna get out of the bed [TS]

  businesses don't worry about it and uh [TS]

  oh that's difficult and dangerous as you [TS]

  know what about your father's business [TS]

  about this wasn't gonna be you and me [TS]

  and he he goes to bat for his father and [TS]

  he's already fully converted this point [TS]

  he's going to bat first followed the [TS]

  case is looking listen my father's no [TS]

  different than any other powerful man [TS]

  right and then she's like Michael you [TS]

  know yea high senator president you know [TS]

  the center of the friends I have people [TS]

  killed you know you know how naive you [TS]

  said you know it's such a great scene [TS]

  where they both call each other on their [TS]

  BS and sort of come to an understanding [TS]

  because a she still loves him and her [TS]

  prospects as a spinster New Hampshire [TS]

  don't look too great right and be key [TS]

  plays on table I need a wife to give me [TS]

  children and I want to be a family man [TS]

  like my father which is not the most [TS]

  romantic pitch and you kind of see [TS]

  Michael ghetto through your gritted [TS]

  teeth it's like I this is the thing I [TS]

  need to him by so let's let's make this [TS]

  happen you know [TS]

  yeah that's it it's it's like it's all [TS]

  business essentially we have a weird a [TS]

  weird little uh thing that we get more [TS]

  of Nevada and the second movie but we [TS]

  have this letter now now here before the [TS]

  big finale we get our little diversion [TS]

  to Vegas because they're going to get [TS]

  into the casino business this is where [TS]

  michael says we're going to make Carlo [TS]

  the constantly airy that is the that is [TS]

  Connie's abusive husband and tom is [TS]

  going to be our lawyer in vegas vegas [TS]

  Fredo is mr. vegas he is partying with [TS]

  Johnny cocktail waitress at a time he's [TS]

  been hanging out with no green they set [TS]

  up that whole thing for Michael with all [TS]

  the girls all that was like who are [TS]

  these girls would get it all out of here [TS]

  get the band out of here you know get it [TS]

  get it all out of here [TS]

  he has a great speech with no green wear [TS]

  green else rocko great [TS]

  that's right now so great is not wanted [TS]

  here is crap at all [TS]

  and he goes through this whole thing [TS]

  it's like you know your casinos money is [TS]

  what you trying to say trying to say I'm [TS]

  skimming off the top and michael has one [TS]

  of the best most cutting lines the [TS]

  entire thing when he's talking to a [TS]

  casino honor who is losing money [TS]

  who said you trying to say I'm skimming [TS]

  off the top michael says you're unlucky [TS]

  is the most the worst thing you could [TS]

  say to a casino owner was just so-so [TS]

  like he is so brutal it in this scene [TS]

  and you don't know if he hasn't done [TS]

  anything to back it up with this one [TS]

  because at this point might start to [TS]

  feel like he's overconfidence like we [TS]

  saw you perform with the whole cop thing [TS]

  and you got the job done but not [TS]

  particularly smoothly and here you are [TS]

  sort of pumping yourself up and acting [TS]

  all serious you know I'm afraid all [TS]

  comes down so you don't come to Las [TS]

  Vegas talk to mo green like that we kind [TS]

  of belief radio it's like yeah Michael [TS]

  like you're not that you're not the king [TS]

  here and you know as most says things [TS]

  aren't going well for your family you're [TS]

  on the downswing you can't come here and [TS]

  strong army you wonder how this is gonna [TS]

  end [TS]

  turns out both the I yeah it's not gonna [TS]

  go well for remote from Oh green and [TS]

  Fredo course gets also lecture here [TS]

  don't don't ever take sides against the [TS]

  family like don't forget who you who you [TS]

  are [TS]

  you got to be with the family Fredo [TS]

  don't don't turn Vegas here you gotta be [TS]

  you gotta be with the family friend [TS]

  you're my brother and I love you but [TS]

  he'll never make that mistake again [TS]

  no how about the shot we're motoring [TS]

  gets the bullet right through the [TS]

  glasses know yet a very brutal more [TS]

  squibs well it's it's a little little [TS]

  tube of blood that goes through the [TS]

  glasses and sprays up the back so yeah [TS]

  you've spoiled their you ruined [TS]

  everything Joe now you'd be really [TS]

  strange magic yeah you can kind of see [TS]

  that the way they didn't like my [TS]

  favorite part of that scene is hairy [TS]

  back [TS]

  that's like back in the seventies when [TS]

  you read show men's bodies that did not [TS]

  look like Adonis is it's just alex Rocco [TS]

  was just too just a guy getting his [TS]

  massage you know [TS]

  honest Harry back it looks up with [TS]

  what's going on so the of the vehicle [TS]

  retirement plan one of the things I [TS]

  really love so he you know he said we [TS]

  get the scene where he's like look [TS]

  Michael charge you listen to Michael I [TS]

  don't wanna hear about it now we get we [TS]

  get the scene where he's he's a in his [TS]

  he's in his yard where we saw the [TS]

  wedding earlier and he says I like to [TS]

  drink wine more than I used to [TS]

  I never want you know I never was [TS]

  did this for you he says and then and [TS]

  and he does some so all this stuff with [TS]

  Marlon Brando here at the end is really [TS]

  great so so he says it is an amazing [TS]

  scene he's like here's what they'll do [TS]

  they will come to you and someone will [TS]

  come to you and say we want to broker a [TS]

  meeting in a neutral location and that's [TS]

  where they'll assassinate you and [TS]

  associate trust someone you trust [TS]

  implicitly will come to you and the [TS]

  person who comes is the traitor is like [TS]

  that I tell you that already thank you [TS]

  told me pop like if you get a little [TS]

  repeating himself and his age he's just [TS]

  trying to go through he still got he [TS]

  still knows the movie still got the [TS]

  strategy to be slow and drinking a lot [TS]

  of wine so my cousin my cousin Mike [TS]

  loves he loves online and his told me on [TS]

  more than one occasion I want to go out [TS]

  like veto in The Godfather I want to be [TS]

  drinking wine not entirely sure where I [TS]

  am playing with my grandchildren and I [TS]

  just want to fall over in kindergarten [TS]

  get long island was pretty beautiful my [TS]

  kids and my grandkids are running around [TS]

  i'm happy i got wine and then I just lay [TS]

  down and it's over like that was his [TS]

  goal Michael probably die exactly the [TS]

  same way right now sure the very similar [TS]

  circumstances the orange he puts the [TS]

  oranges in the mouth is like be right [TS]

  and that's the oranges or death man come [TS]

  on oranges are def did you not and [TS]

  that's and that's it for The Godfather [TS]

  and it would be such a great ending to [TS]

  the movie but it's not the end of the [TS]

  movie it's just the end devito Corleone [TS]

  the records using a protagonist he's not [TS]

  the protagonist that's right you can see [TS]

  it right that he falls over and then the [TS]

  music comes up dunno and that's the end [TS]

  of movie but I couldn't ended there [TS]

  because again the families on the down [TS]

  exactly how Michaels how Michael is [TS]

  going to be able you haven't resolved [TS]

  the inherent conflict the movie you just [TS]

  taken one of the big players off the [TS]

  board and given him a farewell that will [TS]

  stand that that farewell and his death [TS]

  will stand as like that sets up the [TS]

  godfather part two like yeah that that [TS]

  is always there is the contrast [TS]

  everything Michael does going forward it [TS]

  to show how how he is diverging from [TS]

  that path despite the fact that video [TS]

  you know it's not a perfect person and [TS]

  we know all his flaws and you know we [TS]

  know what kind of man [TS]

  he actually was and we learn more about [TS]

  it but it's just that's why they get me [TS]

  a little while the godfather part two is [TS]

  so great where they show the contrast [TS]

  like it while you're watching all the [TS]

  bark to you just have to keep thinking [TS]

  back to what was videos family like was [TS]

  videos house like what was because death [TS]

  like what was videos relationship with [TS]

  his siblings in a wife like and just [TS]

  compared to michaels attempts to to fill [TS]

  his father's shoes and finding himself [TS]

  wanting and every spread my name mean [TS]

  that's the beauty of the second one is [TS]

  that you're seeing Michael trying to [TS]

  become veto and you're also seeing video [TS]

  becoming veto yeah which is just that's [TS]

  a lovely balance and that takes us to [TS]

  the amazing final set of scenes for this [TS]

  movie in which we in which we discover [TS]

  Oh a bogota Tessio Tessio was always [TS]

  smarter and smarter and oh he's the [TS]

  traitor and I've decided to be godfather [TS]

  to Connie's baby so we're gonna have the [TS]

  scene where we have the baptism and and [TS]

  Michael is being named God for father [TS]

  and it is also now he is literally the [TS]

  vanity father and it's all crosscut with [TS]

  settling all family business and it is [TS]

  it is just amazing do you renounce Satan [TS]

  I do it's so amazing and I really do [TS]

  love when they get a pagoda i love his [TS]

  line which is tell Michael it was only [TS]

  business always liked him like yeah I [TS]

  get it and they put in the middle tries [TS]

  one last can you get me off for old [TS]

  times sake and Tom goes can't do you [TS]

  know I can't do it [TS]

  nope told it's this out it has to be and [TS]

  he knows it and Carlo gets it you gotta [TS]

  answer for Santino that a and it's like [TS]

  don't know you you'll be fine we're [TS]

  going we're going to send you to Vegas [TS]

  it'll be fine yeah he reassures him [TS]

  because he needs but since that this is [TS]

  a quirk of Michael you need to know am i [TS]

  killing you is still am i killing this [TS]

  percent unjustified like I think he had [TS]

  something to it but he really didn't he [TS]

  needs to know whether it's true so he's [TS]

  like everything's fine i bought your [TS]

  plane ticket i truly believe Michael [TS]

  bought him a plane yeah he's paid money [TS]

  for a real plane ticket like you're [TS]

  going to go here this is you're out of [TS]

  the family business that's your [TS]

  punishment [TS]

  got to make it sound plausible so he [TS]

  will open up and he will admit or [TS]

  whatever and then my cloak and I are [TS]

  close the door now we're going to kind [TS]

  of work until he mimicked in that car is [TS]

  like that's you know we broke that [TS]

  yeah that was the windshield when I got [TS]

  confused with a little broken broken [TS]

  windshield of my car you should kill him [TS]

  like I don't know somewhere else don't [TS]

  waste the windshield of the car but he's [TS]

  gone and and yeah so everybody everybody [TS]

  gets it while the baptism is going on [TS]

  and it's all just intercut and it's a [TS]

  it's amazing it's masterful i think a [TS]

  lot of people who like The Godfather [TS]

  take from this which is unfortunate and [TS]

  plays out into a lot of lesser gangster [TS]

  movies is that to win the world of [TS]

  organized crime you just have to be like [TS]

  tougher than the other guy killed like [TS]

  people come away from it with a sunny [TS]

  strategy like Oh Michael one because he [TS]

  killed all the other guys before they [TS]

  could kill him like it was just a little [TS]

  game of army men it's like I'm bigger [TS]

  and tougher and I kill you [TS]

  that's the sunny strategy that's not why [TS]

  he won the reason he won is because he [TS]

  realized that in this position where he [TS]

  is but the family is going down and he [TS]

  is not seen as a threat he can't win a [TS]

  war against these people the only way [TS]

  you can win is if he gets himself off [TS]

  the playing field he spent the whole [TS]

  time of the baptism right and [TS]

  simultaneously surgically strikes the [TS]

  few key points he needs to hit [TS]

  simultaneously is important because he [TS]

  needs to get them all at once it gets [TS]

  one or two everything will crash down on [TS]

  him and the only reason he gets away [TS]

  with it is because they have a false [TS]

  sense of confidence that the the [TS]

  Corleone family is on the way out they [TS]

  just attended vetoes funeral they're all [TS]

  their views funeral glad-handing each [TS]

  other like they're smiling and shaking [TS]

  hands like barzinis like this is great [TS]

  like we've done it we've won [TS]

  that's why Michael wins not because he's [TS]

  like you know like all the other movies [TS]

  like I'm gonna be the toughest bosses [TS]

  are gonna kill all the other guys that's [TS]

  not the strategy strategy is essentially [TS]

  surgical strike sneak attack [TS]

  simultaneity plausible deniability [TS]

  looking like i'm not a threat because [TS]

  i'm at a baptism so it's it's a genius [TS]

  strategy not a that because again this [TS]

  into your announcing areas like Oh [TS]

  Michael so tough that's not it he's [TS]

  wanting to be smart not because he is [TS]

  killing everything John at the cost of [TS]

  his soul [TS]

  let's see it's entirely subtle but i do [TS]

  love that this lady we have Satan and [TS]

  you look like a Mac that the massive [TS]

  stone latin [TS]

  together throwback yeah well and i want [TS]

  what i love about that is the the organ [TS]

  this it's not something nobody argued [TS]

  the organized everything on Brandi [TS]

  that's what I love about it is not [TS]

  subtle at all but it's so as the last [TS]

  that the final piece of this film three [TS]

  hours we spent and here it is he is [TS]

  completely becoming the godfather of [TS]

  this family [TS]

  he is finishing the family business the [TS]

  organ is playing wherein the we're in [TS]

  the Catholic Church he's being asked to [TS]

  renounce Satan there's Latin it's all [TS]

  just you know heightened and that's what [TS]

  makes it so great i think is that it is [TS]

  so operatic and and huge that this is [TS]

  all happening simultaneously so many of [TS]

  the small of the other moments in the [TS]

  three hours preceding were so small like [TS]

  we said like the opening is just a guy [TS]

  listening to a local Undertaker ask him [TS]

  for help with his daughters abusive [TS]

  boyfriend or whatever and and a scene [TS]

  like the most exciting scene in the [TS]

  movie up until now is a guy in a nurse [TS]

  in a hospital moving an old man's bed [TS]

  right but it's super exciting but it's [TS]

  all these little things and then it just [TS]

  all pays off with true you know i truly [TS]

  fired its fireworks at the end of the [TS]

  day at disneyland and Moe Greene is in [TS]

  the sequence by the way we got a secret [TS]

  ceremony green is one of the ones that [TS]

  get that gets wax again it's got to be [TS]

  simultaneous all I was going and every [TS]

  one of the little assassinations is [TS]

  clever and interesting is not just like [TS]

  you know they have the guy disguise as a [TS]

  cop who like pick them off from a [TS]

  distance he's got his best market on [TS]

  that one he got the guy who traps them [TS]

  in the revolving door yeah i got the [TS]

  people on the elevator you got Clemenza [TS]

  going up the stairs and often it because [TS]

  he's got a breath going up the stairs [TS]

  you got the guy shot in bed with the the [TS]

  woman like everyone dies in a different [TS]

  specific appropriate way then you know [TS]

  the a-team is on this job everyone needs [TS]

  to be you know all the best people are [TS]

  getting the people i don't they didn't [TS]

  synchronize their watches that we saw [TS]

  but I feel like they should have [TS]

  synchronized our watches in clemente [TS]

  plays a huge role in this film in in [TS]

  Polly's death and in part of this [TS]

  execution of the events here but also it [TS]

  when he says hi Carlo and and puts the [TS]

  garrote around Carlos necks out of the [TS]

  car [TS]

  I you know it is easy and effective [TS]

  member of the family even though he had [TS]

  tried to this [TS]

  just that he was going to willing to [TS]

  pull away because he didn't agree with [TS]

  Michael part of the way to film and that [TS]

  all that leaves us is the this last [TS]

  scene where I i had forgotten this but [TS]

  the there they've sold the estate to [TS]

  developers [TS]

  there's a there's a for sale and sold [TS]

  sign and the movers in there and the & [TS]

  vito's a state where we where we started [TS]

  this movie is now being everything is [TS]

  being removed from it and it's going to [TS]

  be presumably it's going to be destroyed [TS]

  turned into higher density housing or [TS]

  something a developer has bonded and so [TS]

  it's the end of an era it really is and [TS]

  we see Connie and she's mad at Mike and [TS]

  because her you know because her husband [TS]

  who was awful but he's dead he's dead [TS]

  now and k is there and it's like that's [TS]

  your husband [TS]

  that's your husband and we get the that [TS]

  amazing moment where he's like I don't [TS]

  talk business with UK i'm not going to [TS]

  talk this with you with you and then he [TS]

  says ok one time this one time you can [TS]

  ask me and she says is it true he says [TS]

  no it's not true you like this three [TS]

  races he raises his voice to her before [TS]

  that the first time he raised his voice [TS]

  star he gets he gets angry in a way that [TS]

  we will see more of in the next movie [TS]

  and then comes down to this one time is [TS]

  it because he's smart because he knows i [TS]

  I don't I can't sustain this line of [TS]

  questioning indefinitely [TS]

  I need to make it go away in a way that [TS]

  she will consider plausible so he's [TS]

  gotta convince her before he says [TS]

  anything that I'm gonna tell you the [TS]

  truth is one time sets the precedent for [TS]

  the future that i'm not going to talk to [TS]

  you about this but for now I just want [TS]

  to let you know and of course by the [TS]

  second movie that is that strategy is [TS]

  totally falling apart and corroded and [TS]

  eating the heart of their marriage so [TS]

  maybe had a good play but yeah it it [TS]

  plays out as the as the final tragedy of [TS]

  of Michael K in this movie is that's the [TS]

  end of the movie the door closing on [TS]

  Harriet is it is a fairly dark ending [TS]

  and we have they're not ending by saying [TS]

  and Michael is victorious and he's [TS]

  become the new Godfather and everything [TS]

  will be okay that movie ends with the [TS]

  door closing on k is face this is saying [TS]

  things are going to be okay and if you [TS]

  were rooting for this guy for the whole [TS]

  movie you may have another thing coming [TS]

  stay tuned for part till now and he's in [TS]

  the dark room where we started in right [TS]

  he's in the darkroom doing the business [TS]

  while the family's outside even though [TS]

  they're moving out of this place and the [TS]

  last line of the movie is [TS]

  Don Corleone to Michael yeah they'll [TS]

  they'll kiss the ring yeah and that said [TS]

  he has now assumed the the role of his [TS]

  father and and he's the Godfather now [TS]

  wow yeah it's a great ending its it's [TS]

  just the whole thing really from when [TS]

  Vito dies on is just one thing after [TS]

  another for that last whatever it is 20 [TS]

  minutes 30 minutes amazing [TS]

  alright well that's the end of the [TS]

  Godfather Godfather will return in the [TS]

  pic for your eyes know so I before we [TS]

  before we go [TS]

  just some it i'm going to go around ask [TS]

  anybody for some final thoughts about [TS]

  this i assume everybody loves this movie [TS]

  it's pretty amazing movie i'm reminded [TS]

  every time i watch it about how great a [TS]

  movie it is its people talk about it is [TS]

  a great movie but it and then I watching [TS]

  I'm like yeah okay yeah [TS]

  hey guy don't come away thinking why do [TS]

  people like this movie but no i see i [TS]

  see why people like this movie but i'll [TS]

  go around asking my panelists for one [TS]

  last last set of thoughts about the [TS]

  Godfather David what do you what do you [TS]

  have [TS]

  it's you know I mean I guess it's ok now [TS]

  it's you know you usually you'll see [TS]

  like those those surveys of film critics [TS]

  or surveys of film buffs and you know [TS]

  sometimes Citizen Kane is number one [TS]

  sometimes the godfather is number one [TS]

  you know it fluctuates it's usually in [TS]

  the top five at least of of just [TS]

  greatest films ever made and that's that [TS]

  is legitimate it is operatic but not [TS]

  oppressively so you really get to know [TS]

  these people and that's what makes the [TS]

  tragedy hit home [TS]

  I mean it's not it's not like watching a [TS]

  real opera with you know these outside [TS]

  things these are these are human beings [TS]

  and it's just it's so well made and i [TS]

  don't i don't know that like i said you [TS]

  know he was he was an experimental [TS]

  filmmaker at that point I don't know [TS]

  that a more traditional Hollywood [TS]

  director of the period would have been [TS]

  able to pull it off this way Joe what do [TS]

  you think I also really liked it and [TS]

  like david says it's one of those movies [TS]

  it's always on list of great movies and [TS]

  fortunately it's one of the ones that [TS]

  I'm like oh yes i like watching that one [TS]

  because they're sticking listen great [TS]

  movies that have [TS]

  have some real things that can hold my [TS]

  interest point as well as this movie can [TS]

  it is a long film so I don't usually [TS]

  partake in watching it several times [TS]

  throughout the year but it is it is [TS]

  nonetheless a masterpiece and I gotta [TS]

  praise again [TS]

  Gordon Alice's cinematography his [TS]

  choices in his decision-making in this [TS]

  if anyone's interested just go back [TS]

  through and watch it and just pause on [TS]

  any frame and just we'll just watch how [TS]

  the shot is composed like you know [TS]

  what's dinner where we get that shot [TS]

  from the staircase down through the [TS]

  doorway and so it's not quite centered [TS]

  but you just frames the shot with [TS]

  another frame it it it's it's really [TS]

  great just to deconstruct the film you [TS]

  just sit there and watch it but I'm glad [TS]

  that I got the chance to talk about it [TS]

  with everybody else [TS]

  it's a it's a really fantastic film John [TS]

  Gruber what what what are your final [TS]

  thoughts about the Godfather we haven't [TS]

  even mentioned the music my whole yeah [TS]

  amazing you know wrote it so it every [TS]

  time I mean there are so many different [TS]

  themes that are that are so notable from [TS]

  this but it's just you know it's another [TS]

  one of these things that ties so many of [TS]

  these seventies area this that whole [TS]

  group of filmmakers together you know [TS]

  with with Spielberg and they all the [TS]

  great collaborations with john williams [TS]

  just you name the Spielberg movie with [TS]

  the Star Wars theme with you know [TS]

  eventually the Raiders of the Lost Ark [TS]

  theme and the Godfather the the music [TS]

  the theme song all the music through the [TS]

  movie it's it's just inextricable from [TS]

  the II can't even imagine what the movie [TS]

  would be like without it it's it's so it [TS]

  it's just essential I mean it just get [TS]

  into white iconic right it's just like [TS]

  you said it like goes Davis said that [TS]

  you know you just list the reasons to [TS]

  like a movie is that the story is that [TS]

  the characters is it the acting is that [TS]

  the cinematography is that the editing [TS]

  is that the music you just name all of [TS]

  these various art forms that go into [TS]

  making a movie and they're all like a [TS]

  plus [TS]

  yeah this is unbelievable and it always [TS]

  every time I watch it every single time [TS]

  I see especially for if it happened to [TS]

  be on TV or something it's like it just [TS]

  sucks you in that the the channel up [TS]

  button brakes on your remote two three [TS]

  go past it doesn't matter it doesn't [TS]

  matter what part you get into it yeah [TS]

  just throw the remote behind the couch [TS]

  and forget it right we're watching this [TS]

  yeah John siracusa me [TS]

  types of movies these gangster movies [TS]

  set in this error with the filled with [TS]

  the you know an italian-american [TS]

  organized crime have a special place in [TS]

  my heart for the seemingly silly but [TS]

  absolutely real reason that the people [TS]

  in the movie look like people in my [TS]

  family talk like them do the things that [TS]

  they did they're there they are [TS]

  where I grew up essentially on Long [TS]

  Island and it feels all feels like home [TS]

  but obviously i'm not from organized [TS]

  crime family so it is a it is a is a [TS]

  fantasy version of things that I'm [TS]

  familiar with and so it it always is [TS]

  close to my heart and I feel like [TS]

  sometimes I think it's just making me [TS]

  like this movie more than someone who [TS]

  doesn't share exactly the heritage of [TS]

  all these people in the movie like is [TS]

  their connection on making that they're [TS]

  not and maybe maybe not but in this case [TS]

  because of the Godfather I think [TS]

  Goodfellas as well these are just great [TS]

  movies flat out and I feel like I'm [TS]

  getting like the extra boosted enjoyment [TS]

  of it because it is so familiar and I [TS]

  remember being excited as a kid to see [TS]

  not that you know you see every movie [TS]

  just had a bunch of white guys in it [TS]

  right but specifically see people from [TS]

  it's like when you're excited than a [TS]

  movie set in Cleveland because you're [TS]

  from cleveland right and lots of movies [TS]

  aren't this these movies always spoke to [TS]

  me on some sort of a deep level and made [TS]

  me think about like like this movie is [TS]

  the more romantic version and then good [TS]

  fellows like you think it's all romantic [TS]

  like The Godfather which by the way the [TS]

  Godfather isn't all that romantic once [TS]

  you actually think about the Goodfellas [TS]

  is like actually it's pretty horrible [TS]

  and like so many movies has spoken to [TS]

  this experience this experience that I [TS]

  never had but I'm some way connected to [TS]

  and watching this movie every time i [TS]

  watch it this is my main problem with [TS]

  when i watch this movie is I can never [TS]

  decide whether the godfather of the [TS]

  godfather part two are better or which [TS]

  one is my favorite which are two [TS]

  different things which one is better [TS]

  which is my favorite is it occurred to [TS]

  me today when i was looking at my [TS]

  letterbox thing where they make [TS]

  you pick your favorite movies which is [TS]

  brutal right now and it's some of them [TS]

  are easy right [TS]

  but then we get to the slot where I have [TS]

  to pick one of the Godfather movies [TS]

  there's only one slot left like I've [TS]

  used the other slots for Empire Strikes [TS]

  Back and kiki's delivery service in [TS]

  goodfellas right and maybe I'm [TS]

  overloaded on gangster movies but I feel [TS]

  like that is that is an appropriate [TS]

  reflection of my top 10 movies or [TS]

  whatever [TS]

  I've got to pick one for the slot and [TS]

  for like me I couldn't remember whether [TS]

  I had picked one or two [TS]

  I went back to the page and turns out i [TS]

  picked one and I think the reason I pic [TS]

  1 i'm thinking about it is because as we [TS]

  said at the beginning this is a sealed [TS]

  complete unit this movie stands alone on [TS]

  its own as a beautiful perfect movie if [TS]

  they had never made a part two we would [TS]

  still be talking about this movie is an [TS]

  amazing movie but on the other hand part [TS]

  2 gets to build on what came before and [TS]

  like Empire Strikes Back doesn't have to [TS]

  waste time establishing who all these [TS]

  things are and is itself a fantastic [TS]

  movie on top of that so I i go back and [TS]

  forth on it constantly and watching it [TS]

  again [TS]

  I feel like I'm going back forth as well [TS]

  like a little bit after i got the end of [TS]

  this movie I said you know what [TS]

  godfather part two is more accomplished [TS]

  it is a higher degree of difficulty and [TS]

  what it has to do and it is more [TS]

  slightly more sophisticated moviemaking [TS]

  but then i say but not this is just a [TS]

  beautiful perfect gem and so that that's [TS]

  what I feel like I come back to NY [TS]

  didn't change what i have on my [TS]

  letterbox page Godfather Part 1 because [TS]

  despite the increased sophistication and [TS]

  degree of difficulty and excitement and [TS]

  robert de niro honest of part two [TS]

  it may be a better movie but I feel like [TS]

  part one part 1 justice is just this [TS]

  tiny perfect jewel and always will be [TS]

  now if you had five slots I would just [TS]

  put added and I wouldn't have a problem [TS]

  but i don't have three gangster movies [TS]

  and I say something about me [TS]

  alright well that's been great thanks to [TS]

  all of my guests david and john and john [TS]

  and jo for being here and thanks [TS]

  everybody out there for listening [TS]

  go watch the godfather if you haven't [TS]

  lately forever [TS]

  I can't even imagine that because it is [TS]

  a justify classic and this has been [TS]

  comfortable I've been Jason cell and we [TS]

  will see you next week everybody [TS]

  [Music] [TS]

  I've never heard of kiki's delivery [TS]

  service all over it [TS]

  oh wow this is on gas we talk about yeah [TS]

  it's great that's a great moving there's [TS]

  no there's no bad guy and it's very it's [TS]

  not it's definitely not a gangster movie [TS]

  i'll put it that way [TS]

  kiki is not delivering cannoli that's [TS]

  what i'm saying i'm not sure be up your [TS]

  alley but it is definitely one of my [TS]

  favorites [TS]

  yeah i was shocked that you said that it [TS]

  was a gangster movie that I've never [TS]

  heard of it and that's great but then I [TS]

  found out that it's Japanese it and then [TS]

  get your delivery service will be held [TS]

  in for a mob movie it would be right [TS]

  there is the working title for the [TS]

  sopranos [TS]