The Incomparable

323: Abe Vigoda Knows All the Toilets


00:00:00   [Music] [TS]

00:00:04   the comparable number 323 October 2060 [TS]

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

00:00:14   uncomfortable i'm your host Jason smell [TS]

00:00:15   we're here to talk about a classic film [TS]

00:00:17   i've had this on my list for more than a [TS]

00:00:18   year now i really wanted to talk about [TS]

00:00:21   the Godfather from 1972 winner Best [TS]

00:00:25   Picture considered by many one of the [TS]

00:00:27   finest motion pictures ever made i [TS]

00:00:29   really like it a lot and I want to talk [TS]

00:00:31   about it with some interesting people [TS]

00:00:32   let me introduce those people to you now [TS]

00:00:34   from the heartland from indiana mr. [TS]

00:00:37   David jail or hello there someday and [TS]

00:00:41   this day may never come [TS]

00:00:42   nevermind not an Italian also joining us [TS]

00:00:45   Joe rosenstiel hello [TS]

00:00:48   I not a full-blooded Italian da coming [TS]

00:00:52   back for the first time in 315 weeks but [TS]

00:00:55   it's like it was yesterday [TS]

00:00:56   mr. John grouper hello welcome back [TS]

00:00:59   hello good to have you here [TS]

00:01:00   I don't have a don't have a joke I had [TS]

00:01:02   you on my list for the Godfather wanted [TS]

00:01:03   to talk talk with you about the [TS]

00:01:05   Godfather non-italian per se but I'm [TS]

00:01:07   glad you're here and yes full-blooded [TS]

00:01:10   Italian finally there's one it's john [TS]

00:01:13   siracusa hello I'm more than happy to [TS]

00:01:16   bring my novel olive oil voice and [TS]

00:01:18   guinea charm to this podcast even though [TS]

00:01:20   I can't say olive oil voice but it's [TS]

00:01:22   very difficult to say it is we're [TS]

00:01:24   getting out of the olive oil business [TS]

00:01:26   I I before we get started because I [TS]

00:01:28   traditionally what I'll do is I'll walk [TS]

00:01:30   through the the plot and people can [TS]

00:01:32   chime in with the things that they like [TS]

00:01:33   and don't like about it but I before we [TS]

00:01:35   get going to talking about what happens [TS]

00:01:37   in The Godfather I wonder if there's [TS]

00:01:39   anything that I that if anybody has the [TS]

00:01:42   opening statements / say about about [TS]

00:01:44   what about this film that we watched [TS]

00:01:47   this three-hour long epic about [TS]

00:01:49   organized crime in America in right [TS]

00:01:52   after the war I have a statement about [TS]

00:01:54   the opening but I don't have an opening [TS]

00:01:56   statement so if anyone has an opening [TS]

00:01:57   statement there you go first and then I [TS]

00:01:58   can do my statement about the opening [TS]

00:02:00   i'll just say I think I'm pretty good on [TS]

00:02:02   this but there's a chance that I might [TS]

00:02:04   make a mistake and a tribute to the [TS]

00:02:06   Godfather certain scenes from The [TS]

00:02:08   Godfather to simply because yeah here's [TS]

00:02:10   why twofold [TS]

00:02:12   I believe that it is the greatest like a [TS]

00:02:15   quote-unquote sequel to a movie ever [TS]

00:02:17   made because the Godfather feels like a [TS]

00:02:18   standalone movie and combined they feel [TS]

00:02:22   like two parts of a whole [TS]

00:02:24   and mess that up with like the coppola [TS]

00:02:27   restorations where were you [TS]

00:02:29   you can watch it all edited [TS]

00:02:30   chronologically and right i'm pretty [TS]

00:02:33   sure i know what's the godfather and [TS]

00:02:34   what's the godfather to but there's a [TS]

00:02:35   cheap there's a chance I might start [TS]

00:02:37   going to start talking about Las Vegas [TS]

00:02:38   or something and you'll have to correct [TS]

00:02:40   me the very first time i saw it was in [TS]

00:02:42   like 1983-84 when NBC brought the [TS]

00:02:46   Godfather's saga television and they did [TS]

00:02:49   exactly that was in chronological order [TS]

00:02:51   and it was lovely and it wasn't until a [TS]

00:02:54   few years later when it came out on on [TS]

00:02:56   DVD and I said that and just watch them [TS]

00:02:59   properly and I went ok [TS]

00:03:01   that version was really good this is a [TS]

00:03:04   masterpiece each each of the two movies [TS]

00:03:06   separately first time i saw it was the [TS]

00:03:09   complete epic i believe is what it was [TS]

00:03:11   called on via the complete not hand it [TS]

00:03:13   was uh it was great but that happy and I [TS]

00:03:17   think the movies probably you know they [TS]

00:03:19   they work better as to excellent movies [TS]

00:03:21   instead of this giant thing because you [TS]

00:03:24   get the benefit of hindsight when you [TS]

00:03:26   get to see what happens in part to [TS]

00:03:27   knowing what happens in part one and you [TS]

00:03:30   don't get that when robert de niro [TS]

00:03:31   appears for the first long part of the [TS]

00:03:33   movie before we get to see Marlon Brando [TS]

00:03:35   but it has messed up my conception of it [TS]

00:03:38   to where every time i watch The [TS]

00:03:39   Godfather I think to myself is that in [TS]

00:03:41   this movie or is it that in part two and [TS]

00:03:43   i have to remind myself [TS]

00:03:45   oh you know Moe Greene is in part one [TS]

00:03:47   but Fredo in the boat is not in part one [TS]

00:03:51   so it's it's complicated but it's not [TS]

00:03:54   just you John you which a Godfather [TS]

00:03:56   movie [TS]

00:03:56   no one's going to get confused with [TS]

00:03:58   these once my way I didn't bullying now [TS]

00:04:02   John circus would you have a statement [TS]

00:04:05   about the opening of the movie the very [TS]

00:04:07   beginning I believe in america i believe [TS]

00:04:09   is how do i do but we actually have [TS]

00:04:10   before i get onto that I'm i did get [TS]

00:04:13   exposed unfortunately at a young age to [TS]

00:04:15   the terrible chopped-up US version of [TS]

00:04:18   nautica which is called warriors of the [TS]

00:04:19   wind or something but i'm glad to say [TS]

00:04:22   that I was never exposed to any of these [TS]

00:04:23   chronological recutting of the Godfather [TS]

00:04:26   I saw the first movie is on the second [TS]

00:04:28   movie not even know these recut things [TS]

00:04:30   existed until many many years later i've [TS]

00:04:32   never watched one I can see how they [TS]

00:04:34   would work and it would be fun and kind [TS]

00:04:35   of a good response type thing [TS]

00:04:37   but i like them as two movies yeah i [TS]

00:04:40   think if I think it's worthy it's a war [TS]

00:04:42   it's a fun thing to watch as long as you [TS]

00:04:44   keep in mind that that's not that's not [TS]

00:04:46   the me know that's not the work that's [TS]

00:04:48   the special that's like the trade that [TS]

00:04:50   the big oversized Library Edition where [TS]

00:04:52   they where the author is you know [TS]

00:04:54   bundled two of their books together it's [TS]

00:04:56   like weird it's like a fan at it because [TS]

00:04:58   like they don't I mean I don't know what [TS]

00:05:00   to do with the audio and everything [TS]

00:05:01   soundtracking I know that it's this kind [TS]

00:05:03   of a sameness to them but just they're [TS]

00:05:05   just two different movies and I don't [TS]

00:05:06   see how you can cut scenes them together [TS]

00:05:08   and not have another looking like a fan [TS]

00:05:09   at it which is again a fun thing to look [TS]

00:05:11   at after you've seen the movies proper [TS]

00:05:12   yeah i agree i agree definitely watch [TS]

00:05:14   the godfather so opening statement about [TS]

00:05:17   the opening yes they were about the [TS]

00:05:18   opening so I've never taken a film class [TS]

00:05:21   or anything but I would imagine the [TS]

00:05:25   godfather is a great thing to watch for [TS]

00:05:27   film class because it's one of the few [TS]

00:05:29   sort of great movies you know these [TS]

00:05:31   movies that are always like the top 10 [TS]

00:05:32   and like you said are a lot of it is one [TS]

00:05:34   of the best you know hollywood movies [TS]

00:05:36   ever made that comes right out in the [TS]

00:05:39   very first scene in the movie and tells [TS]

00:05:41   you like for your paper later the themes [TS]

00:05:44   of the movie not in some text by [TS]

00:05:47   actually having a person can talk to you [TS]

00:05:48   the first line of the movie when the [TS]

00:05:50   screen is black there are no pictures on [TS]

00:05:52   the screen to distract you to say okay [TS]

00:05:54   class get out your pads and paper ready [TS]

00:05:56   i believe in America that's an important [TS]

00:06:00   enough line we're going to say it with [TS]

00:06:02   nobody on the screen so you can write [TS]

00:06:03   down all right I believe in America and [TS]

00:06:05   he goes through the whole thing of like [TS]

00:06:06   you know I raised my daughter that why [TS]

00:06:08   did you come to me why didn't you go to [TS]

00:06:09   the police but they just laying out for [TS]

00:06:11   you on the table and yet i think if you [TS]

00:06:13   asked the majority of the the world has [TS]

00:06:16   seen this movie [TS]

00:06:17   what are the themes of the Godfather [TS]

00:06:19   they won't be able to tell you and it's [TS]

00:06:20   so funny because yeah this is like one [TS]

00:06:23   of the few sort of high art fancy [TS]

00:06:26   highfalutin movies and everybody loves [TS]

00:06:27   it just comes out and tells you so I [TS]

00:06:29   love this opening scene for it's sort of [TS]

00:06:30   like subtle trolling of the public and [TS]

00:06:35   and it's sort of pandering to film [TS]

00:06:37   students and making it just such a [TS]

00:06:38   perfect object lesson and that it hits [TS]

00:06:41   you over the head with it but you're [TS]

00:06:42   just too wrapped up in the movie that [TS]

00:06:43   you don't even see it most of the time [TS]

00:06:44   yeah it's it's it's laying it all out [TS]

00:06:46   for you in that first thing it's a [TS]

00:06:47   breathtaking foreseen we got we've got [TS]

00:06:49   the guy [TS]

00:06:50   who is his uh his uh daughter has been [TS]

00:06:53   what it was she been with she would [TS]

00:06:56   issue assaulted was she raped before I [TS]

00:06:58   forget exactly what it was she was [TS]

00:07:00   beaten because she had refused [TS]

00:07:02   damn yeah she kept her honor but she [TS]

00:07:04   kept her honor but was beaten and will [TS]

00:07:06   never be pretty again he says they broke [TS]

00:07:07   her nose and all those things ready and [TS]

00:07:09   he's asking for for revenge he wants the [TS]

00:07:12   godfather to have his guys kill the [TS]

00:07:14   people who did this and and it's this [TS]

00:07:16   the the transaction is really [TS]

00:07:17   fascinating because he's like first off [TS]

00:07:19   you know you're kind of a shame to be [TS]

00:07:21   around me you never you don't you don't [TS]

00:07:23   call me Godfather you you do you went to [TS]

00:07:25   the police and not to me and and also [TS]

00:07:28   about you know killing them versus [TS]

00:07:31   dispensing some sort of justice and the [TS]

00:07:34   whole the whole conversation of what it [TS]

00:07:36   is to swear the oath of fealty to to to [TS]

00:07:38   kiss the ring of the godfather and call [TS]

00:07:40   him Godfather it's all laid out in this [TS]

00:07:44   in this first scene it's really pretty [TS]

00:07:46   amazing while the well but like the [TS]

00:07:48   wedding party is happening behind them [TS]

00:07:50   the cinematography of this also it lets [TS]

00:07:53   you know you're in for something a [TS]

00:07:54   little bit different than most nineteen [TS]

00:07:55   seventies period pieces because we [TS]

00:07:58   started in from black like John said [TS]

00:08:00   right on this with this character [TS]

00:08:03   talking just slightly off of the camera [TS]

00:08:06   lens and we pull back slowly over the [TS]

00:08:08   shoulder of a shadowy figure and that's [TS]

00:08:10   basically all you can see because [TS]

00:08:11   there's so little light in the scene and [TS]

00:08:14   even when he comes over to tell The [TS]

00:08:16   Godfather what is he once he gets up and [TS]

00:08:18   walks over and whispers completely out [TS]

00:08:20   of focus and then we cut away to some of [TS]

00:08:24   the other framing we barely see Brando's [TS]

00:08:26   eyes this is a shadowy dark place and [TS]

00:08:29   it's contrasted with the bright [TS]

00:08:31   exuberant exterior shots of of the [TS]

00:08:34   wedding they're taking place outside so [TS]

00:08:36   it's it's just a really let you know [TS]

00:08:37   you're not in for a something something [TS]

00:08:40   more run-of-the-mill like this is this [TS]

00:08:43   is there so there's definitely thought [TS]

00:08:44   put into the eat the staging the the [TS]

00:08:47   intensity with which things are a little [TS]

00:08:50   and exposed for like on film it's [TS]

00:08:52   beautiful yeah they really push the [TS]

00:08:53   darkness like this is the thing that [TS]

00:08:54   every modern TV shows and I assume for [TS]

00:08:56   some technical reason about and [TS]

00:08:57   understand its way easier to do in [TS]

00:08:59   digital or whatever [TS]

00:09:00   but for the most part in the area this [TS]

00:09:02   was made you either couldn't or wouldn't [TS]

00:09:05   make things as incredibly oppressively [TS]

00:09:08   dark as the inside scenes in this movie [TS]

00:09:11   are and I think the wedding scenes are [TS]

00:09:12   all blown out probably intentionally [TS]

00:09:15   just incredible contrast and that always [TS]

00:09:18   struck me about this movie like that [TS]

00:09:19   again hitting over that [TS]

00:09:21   here's the dark underbelly and here's [TS]

00:09:22   the bright outside with the family you [TS]

00:09:24   know that's it's not subtle but it's [TS]

00:09:26   it's so well done and to this day I feel [TS]

00:09:29   like maybe it's just the incredible film [TS]

00:09:31   grain on this thing you know like but [TS]

00:09:32   like the dark interiors yes everything [TS]

00:09:34   is dark and black and everything is like [TS]

00:09:36   pure black except for the part that slit [TS]

00:09:37   but the black has texture to it it's [TS]

00:09:39   like the black is like like sandpaper or [TS]

00:09:42   like that the film grain is on the black [TS]

00:09:44   minute when i think of this movie in my [TS]

00:09:45   head [TS]

00:09:46   this is one of the few movies but i [TS]

00:09:47   think my head I see film grain if anyone [TS]

00:09:50   is that was some great just watch the [TS]

00:09:51   cops question because father to when you [TS]

00:09:54   know you have to remember the time [TS]

00:09:56   Coppola was not a big giant filmmaker he [TS]

00:10:00   was he was still an experimental sort of [TS]

00:10:02   independent guy that came in and do this [TS]

00:10:05   so so he's trying stuff he's doing [TS]

00:10:08   things you wouldn't normally do you know [TS]

00:10:10   it's like the big names would not do in [TS]

00:10:11   this film which is fascinating to watch [TS]

00:10:14   and I you know I was I was kidding in [TS]

00:10:17   the introductions but one of my favorite [TS]

00:10:18   lines in the movie is someday and the [TS]

00:10:21   state may never come i will call upon [TS]

00:10:23   you to do a service for me and that is [TS]

00:10:26   that says everything about Don Corleone [TS]

00:10:29   and and the code of honor and how he [TS]

00:10:32   expects everyone to be if they ask him [TS]

00:10:35   to help them they better help him later [TS]

00:10:38   and that ties and it's just going to [TS]

00:10:40   movie making the way that ends up time [TS]

00:10:41   is a tragic way later movie because you [TS]

00:10:43   look at that point you I don't know if [TS]

00:10:45   you don't know what he does but it's [TS]

00:10:46   certainly not important about and when [TS]

00:10:48   they they connect that back later in [TS]

00:10:49   such a tragedy fashion it's a it's all [TS]

00:10:51   the more better than you know a worse [TS]

00:10:53   way to do it bc i will call you for a [TS]

00:10:55   favor in later and we have him calling [TS]

00:10:57   his favor and have it be like either [TS]

00:10:59   unrelated or as a tool of his victory [TS]

00:11:02   over is disposed or ever but instead [TS]

00:11:04   it's entirely tragic circumstances and [TS]

00:11:06   you realize like like he pitches it as [TS]

00:11:08   I'll become your friend you know and and [TS]

00:11:11   then your enemies will be my enemies and [TS]

00:11:13   for you and all the stuff but it's [TS]

00:11:14   supposed to be like why don't you come [TS]

00:11:15   to me as a friend you know like like [TS]

00:11:17   he's acting almost like and it's almost [TS]

00:11:19   like he's hurt but not a sinister way [TS]

00:11:20   you kind of get the idea that he does [TS]

00:11:22   want these friendships the godfather is [TS]

00:11:23   all about is all about personal [TS]

00:11:25   relationships [TS]

00:11:26   yeah right like that he really really [TS]

00:11:28   truly means it's not just a sinister [TS]

00:11:29   plot to put people under his thumb that [TS]

00:11:30   you really want these relationships and [TS]

00:11:33   that he is you know that again what [TS]

00:11:36   raise your daughter in the American [TS]

00:11:37   fashion going to the police and the [TS]

00:11:40   Godfather you know doesn't it is the the [TS]

00:11:43   opposite of the American Dream and [TS]

00:11:44   that's the American dream to live in a [TS]

00:11:45   civilized society and rule of law [TS]

00:11:47   I represent not that and when you don't [TS]

00:11:49   come to me and when you're ashamed to be [TS]

00:11:51   seen with me I take that as a personal [TS]

00:11:52   insult that's and that's like the the [TS]

00:11:54   transaction here is almost about hurt [TS]

00:11:56   feelings more than like a power struggle [TS]

00:11:59   around gonna go to call his favorite [TS]

00:12:01   that's gonna hurt you later like this [TS]

00:12:02   favor is gonna hurt me more than it [TS]

00:12:03   hurts you but it will still be important [TS]

00:12:05   because that's our relationship because [TS]

00:12:06   it's it's not it's not a loose [TS]

00:12:08   affiliation people it's the family [TS]

00:12:10   yeah that's what society do you want to [TS]

00:12:11   live in are you living in American [TS]

00:12:12   society are you living inside the family [TS]

00:12:15   and our society that we've built and and [TS]

00:12:19   if you go to the police you're not in [TS]

00:12:21   our family [TS]

00:12:22   yeah and that's by the way did the [TS]

00:12:23   American Society the American dream for [TS]

00:12:25   italian immigrants that doesn't work [TS]

00:12:26   you're learning you know the Godfather's [TS]

00:12:28   there's wedding you'll see you'll see [TS]

00:12:29   that it doesn't work you'll have to come [TS]

00:12:31   to me because we try to go to police it [TS]

00:12:32   won't work like for Italians there is no [TS]

00:12:34   American dream later shoot again from [TS]

00:12:37   the Statue of Liberty you'll see that [TS]

00:12:38   but you mentioned uh someday I'll call [TS]

00:12:42   upon you to different do a service for [TS]

00:12:44   me but also you know you come into my [TS]

00:12:46   house on the day of my daughter's [TS]

00:12:47   wedding this is a movie that I'm struck [TS]

00:12:49   when I watch it that this this is you [TS]

00:12:52   know a lot of movies are quotable sci-fi [TS]

00:12:54   movies are quotable Comedy Store [TS]

00:12:56   quotable but the godfather is I've had [TS]

00:13:01   forgotten just how many lines in this [TS]

00:13:03   movie are in classic quotable repeated [TS]

00:13:07   in in love in the lexicon in in the [TS]

00:13:10   vernacular of everybody of of of people [TS]

00:13:14   who don't even know they're quoting The [TS]

00:13:15   Godfather and it is rife with these [TS]

00:13:18   things that we say all the time it's [TS]

00:13:21   amazing i've had to explain leave the [TS]

00:13:23   gun take the cannoli because my wife has [TS]

00:13:25   never seen the guy [TS]

00:13:26   father but we use that all the time [TS]

00:13:30   yeah yeah anytime I've got cannoli it's [TS]

00:13:32   gonna happen [TS]

00:13:33   that's just how it is so we've got that [TS]

00:13:35   we've got the dark scenes with the [TS]

00:13:37   godfather and we've got the very bright [TS]

00:13:38   seems very much like you're walking [TS]

00:13:40   outside from a darkened room and into [TS]

00:13:43   the light and made that got kind of [TS]

00:13:44   blown out outside the house but you also [TS]

00:13:46   get the sense that the Godfather you [TS]

00:13:48   know he's at his daughter's wedding but [TS]

00:13:49   he's doing business inside it's a family [TS]

00:13:51   day it's a very serious day and yet [TS]

00:13:53   everybody you know he's still conducting [TS]

00:13:56   his business while this is all going on [TS]

00:13:58   and then obligation in a burden like is [TS]

00:14:00   there like I got one more like it's not [TS]

00:14:01   like he's their like again you know [TS]

00:14:03   stroking his cattle he does have a cat [TS]

00:14:05   and being super evil about it it's [TS]

00:14:07   exhausting to have person after person [TS]

00:14:08   come in and demand things up because of [TS]

00:14:11   this tradition or whatever you would [TS]

00:14:12   like to just get out to the wedding that [TS]

00:14:13   he would like to enjoy but he's doing [TS]

00:14:15   this because this is basically his job [TS]

00:14:17   and when he very briefly goes out and to [TS]

00:14:20   take that photo and Michael isn't there [TS]

00:14:22   he just goes back to doing business [TS]

00:14:23   until Michael arrives [TS]

00:14:25   yeah that mean this is obviously as you [TS]

00:14:27   know it an easy way to set up everybody [TS]

00:14:29   and all the characters have a wedding [TS]

00:14:30   where all your characters were together [TS]

00:14:31   and you can cut back and forth it [TS]

00:14:33   establishes all the characters [TS]

00:14:34   establishes their relationships that [TS]

00:14:35   establishes Michael as the favorite it [TS]

00:14:37   establishes sunny as a hothead like it [TS]

00:14:39   just so efficient in terms of like you [TS]

00:14:41   mostly think you're just watching a [TS]

00:14:42   wedding and this is the silly scenes are [TS]

00:14:44   doing outside there but you get to know [TS]

00:14:45   every single character for their three [TS]

00:14:47   seconds there on camera and the wedding [TS]

00:14:49   is a good excuse to give these little [TS]

00:14:51   vignettes without having to have like a [TS]

00:14:53   through-line like you can you couldn't [TS]

00:14:55   do these are all in separate locations [TS]

00:14:56   because what would be the motivation to [TS]

00:14:57   interact with each other ways now [TS]

00:14:58   cutting back and forth it feels natural [TS]

00:15:00   boobs are like I'm going to see the [TS]

00:15:01   whole wedding but I'm gonna see scenes [TS]

00:15:03   from a wedding and in each of the scenes [TS]

00:15:05   from the wedding i'm going to learn who [TS]

00:15:07   the major players are and what they're [TS]

00:15:08   like in very short order and there are a [TS]

00:15:10   lot of characters in this movie is a [TS]

00:15:11   three-hour movie is a lot of characters [TS]

00:15:13   a lot of moving pieces this is like in [TS]

00:15:15   the beginning we're going to set the [TS]

00:15:16   table [TS]

00:15:17   here's the themes of the movie here's [TS]

00:15:18   all the characters involved movie here's [TS]

00:15:19   what they're like and then they can move [TS]

00:15:21   forward what is actually much more [TS]

00:15:23   leisurely pace after that without [TS]

00:15:24   throwing thousand characters actually at [TS]

00:15:26   once they pick up that all out of the [TS]

00:15:27   way in the beginning [TS]

00:15:28   and then move on to slowly going out a [TS]

00:15:31   series of slow scenes or people talk to [TS]

00:15:33   each other i think it ties in the [TS]

00:15:35   opening scene really the the seventies [TS]

00:15:37   crop of filmmakers maybe Scorsese a [TS]

00:15:40   little bit aside but Coppola for sure [TS]

00:15:43   George Lucas for sure steven spielberg [TS]

00:15:46   for sure [TS]

00:15:47   what's his name the guy who who did [TS]

00:15:49   Carrie and no diploma diploma diploma [TS]

00:15:53   for sure that this crop of filmmakers [TS]

00:15:55   that they loved movies and I think it [TS]

00:15:57   was the first to me it's the first [TS]

00:15:59   generation of filmmakers who already [TS]

00:16:02   loved movies where it's like the [TS]

00:16:03   generation before kind of had to invent [TS]

00:16:05   what movies were and because they loved [TS]

00:16:08   movies they they all of those guys i [TS]

00:16:10   listed took movies it that were in these [TS]

00:16:13   genres that would that had all these [TS]

00:16:15   tropes and and you know here's how you [TS]

00:16:18   do a gangster movie here's how you do a [TS]

00:16:19   Western that made them all feel the same [TS]

00:16:22   and they like turn them upside down and [TS]

00:16:26   and tried to make them it for lack of a [TS]

00:16:28   better word real like what you know and [TS]

00:16:30   the godfather is not realistic but in a [TS]

00:16:32   sense there's like a it doesn't feel [TS]

00:16:35   like anything like the way like James [TS]

00:16:37   Cagney era gangster movies are and the [TS]

00:16:39   opening really sets the tone of that [TS]

00:16:41   they got Italians to play Italians like [TS]

00:16:43   that's the reality is that right 70 [TS]

00:16:45   movies like that you did they said look [TS]

00:16:47   we're gonna make it authentic so get a [TS]

00:16:48   bunch of Italian people to play by even [TS]

00:16:50   if they're not great actors even if you [TS]

00:16:52   don't know them from other movies as [TS]

00:16:53   opposed to the old Hollywood butchers we [TS]

00:16:55   have a crop of stars and they can do [TS]

00:16:57   anything they can be gangster in one [TS]

00:16:58   movie they can be detective they can be [TS]

00:17:00   a singer that can be you know because [TS]

00:17:02   there they have all these talents and we [TS]

00:17:03   don't care really are we just going to [TS]

00:17:04   put them in any role we feel like [TS]

00:17:05   putting them in whereas the seventies [TS]

00:17:07   movies that you're gonna have a gangster [TS]

00:17:09   movies about Italians we're gonna get [TS]

00:17:10   all the extras are going to be Italian [TS]

00:17:12   Americans and our actors are going to be [TS]

00:17:14   Italian or italian-looking which is very [TS]

00:17:16   different from the old style which would [TS]

00:17:18   always seem to look like like a bunch of [TS]

00:17:20   your high school friends got together [TS]

00:17:21   and decided to put on a play this like [TS]

00:17:23   you expect to see your favorite actors [TS]

00:17:25   and all these roles even if they're not [TS]

00:17:27   really great for the rules i'm perfectly [TS]

00:17:28   plausible as an Italian me and see me [TS]

00:17:32   johnny dangerously nails that too [TS]

00:17:34   yeah so that's a good example of of sort [TS]

00:17:36   of playing playing up the tropes of a of [TS]

00:17:38   a traditional gangster movie and it's so [TS]

00:17:40   the whole opening scene there it is [TS]

00:17:42   whether it's it is you know it's the [TS]

00:17:43   gritty but business of being The [TS]

00:17:46   Godfather in the darkroom and it's just [TS]

00:17:49   a happy Italian family outside at the [TS]

00:17:51   wedding but there's nothing is played up [TS]

00:17:53   for over-the-top you know there's [TS]

00:17:56   nothing really sinister nobody gets [TS]

00:17:57   threatened I mean they are talking about [TS]

00:17:59   beating up a guy who beat up the guy's [TS]

00:18:00   girl but it's it's not like they're a [TS]

00:18:03   big caper is going on or anything it's [TS]

00:18:05   almost mundane and the wedding there's [TS]

00:18:08   no it's not like oh these these awful [TS]

00:18:12   mob family wives are you know what [TS]

00:18:14   terrible people they are now that's just [TS]

00:18:15   a happy Italian family [TS]

00:18:17   yeah I'm this is where we get I want you [TS]

00:18:19   talking about the the romance of it a [TS]

00:18:22   little bit I I think about what what [TS]

00:18:24   separates the Godfather for something [TS]

00:18:25   like Goodfellas and for me it's the it's [TS]

00:18:28   the family aspect of it a little bit and [TS]

00:18:30   it's the fact that this is playing a [TS]

00:18:32   little higher level that the the [TS]

00:18:33   Goodfellas is the low-level guys and so [TS]

00:18:36   that's like the the brutality not like [TS]

00:18:38   there's brutality there's personality [TS]

00:18:40   aplenty in The Godfather but it's the [TS]

00:18:43   the people on the ground just where the [TS]

00:18:45   brutality is and so moving like [TS]

00:18:46   goodfellas III which I love but it's [TS]

00:18:49   very violent and I it wants you to feel [TS]

00:18:52   I think disgusted by the the sudden [TS]

00:18:56   violence that happens in that movie The [TS]

00:18:57   Godfather it's it though it's there's [TS]

00:19:00   violence there but because it's a little [TS]

00:19:02   higher level and it's a little more [TS]

00:19:03   strategic it's the people in charge the [TS]

00:19:05   violence is more a means to an end [TS]

00:19:09   there's a little more understanding it's [TS]

00:19:10   a little bit less at the center of the [TS]

00:19:14   movie than something like Goodfellas and [TS]

00:19:16   i was struck that it's not it's not [TS]

00:19:18   super crazy romantic like we're [TS]

00:19:19   gangsters but nothing bad happens I mean [TS]

00:19:21   talk to Luca Brasi about that but it's [TS]

00:19:25   it's but it's got a very different kind [TS]

00:19:27   of feel in terms of who these that it's [TS]

00:19:29   the gangster family and it's a family [TS]

00:19:31   story in a way that Goodfellas is not [TS]

00:19:34   because they're the low-level guys who [TS]

00:19:35   have to do all the dirty work [TS]

00:19:37   let's take their stakeholders in this [TS]

00:19:39   like the reason everybody in this the [TS]

00:19:41   main characters move you're doing [TS]

00:19:42   something is because they are the [TS]

00:19:43   ultimate stakeholders they are Corleone [TS]

00:19:45   family like and so their motivation is [TS]

00:19:47   you do what's best for the family was in [TS]

00:19:49   goodfellas your motivation is I'm not [TS]

00:19:51   the ultimate stakeholders organized [TS]

00:19:53   crime family [TS]

00:19:54   I'm looking out for myself how much [TS]

00:19:55   money can i make how much you know what [TS]

00:19:58   kind of ice can I pull off or whatever [TS]

00:19:59   and they're motivated in goodfellas by [TS]

00:20:01   probably more realistic motivations in [TS]

00:20:03   terms of what happened to my childhood [TS]

00:20:05   that made me a violent person [TS]

00:20:06   what issues do i have to work out that I [TS]

00:20:08   expressed by beating on people who are [TS]

00:20:09   smaller than me you know and how does [TS]

00:20:12   that affect my ability to advance within [TS]

00:20:14   the organization / become a made man [TS]

00:20:16   right that the right is a lower level [TS]

00:20:18   but like in this movie the motivations [TS]

00:20:20   are going to say more more noble but it [TS]

00:20:24   just because this they are the ultimate [TS]

00:20:26   stakeholders in the top level of this [TS]

00:20:28   game and so they are they're motivated [TS]

00:20:30   to buy strong motivation to like the [TS]

00:20:32   goodfellas but they have much more to [TS]

00:20:34   gain a much more to lose and they can't [TS]

00:20:35   they can't afford to and generally don't [TS]

00:20:39   succeed by indulging their personal [TS]

00:20:41   impulses just a sunny [TS]

00:20:44   well it's it's also kind of the inverse [TS]

00:20:45   of Goodfellas to write the main [TS]

00:20:48   character in goodfellas is someone who [TS]

00:20:50   is who wants to be parted he's striving [TS]

00:20:52   he's trying to get ahead and he becomes [TS]

00:20:54   disillusioned by the end an Italian turn [TS]

00:20:57   not an Italian and and in this you know [TS]

00:21:00   i mean Michael isn't i mean i would call [TS]

00:21:03   them the protagonist because we kind of [TS]

00:21:04   follow him yeah so without Pacino and so [TS]

00:21:07   Delta G know that hey you know uh is [TS]

00:21:10   someone arguing that you someone arguing [TS]

00:21:12   that marlon brando is the protagonist in [TS]

00:21:14   the story the story is that is the dell [TS]

00:21:16   Pacino got bent out of shape because he [TS]

00:21:18   had nominated for Best Supporting Actor [TS]

00:21:19   and Marlon Brando got nominated for Best [TS]

00:21:21   Actor and yeah al pacino didn't [TS]

00:21:23   appreciate that very much and break a [TS]

00:21:24   one and but but you know Michael being [TS]

00:21:26   the protagonist he starts out not [TS]

00:21:29   wanting to be involved and he peed finds [TS]

00:21:32   himself slowly pulling back in because [TS]

00:21:35   of the family tie he doesn't have a [TS]

00:21:36   choice because he has to defend the [TS]

00:21:38   family and he has to step up eventually [TS]

00:21:40   I don't think it's just that has to well [TS]

00:21:41   you know it's the stories about kings [TS]

00:21:43   who are Prince's they were the second [TS]

00:21:45   line and they were going to be the king [TS]

00:21:46   and then the the older brother dies and [TS]

00:21:48   suddenly they thrust into it i mean all [TS]

00:21:50   of that is going on in here [TS]

00:21:52   he was meant to be some senator Corleone [TS]

00:21:53   right he's meant to make for a different [TS]

00:21:56   path and he ends up not going down that [TS]

00:21:57   path and not only z is Michael the main [TS]

00:22:00   character Michael is the title character [TS]

00:22:01   write this this is a movie about him [TS]

00:22:03   becoming the Godfather more than it is [TS]

00:22:06   about [TS]

00:22:07   about Marlon Brando being The Godfather [TS]

00:22:09   it's about this transfer that's that's [TS]

00:22:11   the trick that the title plays on you as [TS]

00:22:13   you think it's about Marlon Brando and [TS]

00:22:15   you very slowly begin to realize no no [TS]

00:22:18   this is about Al Pacino becoming the [TS]

00:22:20   godfather and that's where the sequel is [TS]

00:22:22   called The Godfather to t.o.o the sun's [TS]

00:22:26   controls the all my past hours podcast [TS]

00:22:29   but i'll say it again on the Godfather [TS]

00:22:30   one as well like every time I think of [TS]

00:22:32   Star Wars prequels I think of this movie [TS]

00:22:34   is that is what they should have been [TS]

00:22:35   modeled on because this is not the only [TS]

00:22:38   but I think the best movie that shows [TS]

00:22:41   how a good person can end up especially [TS]

00:22:44   by the end of the godfather part two end [TS]

00:22:47   up in a bad place to a series of things [TS]

00:22:50   that both he and the audience watching [TS]

00:22:52   the movie believes are the right thing [TS]

00:22:53   to do which is an incredibly hard thing [TS]

00:22:55   to pull off many movies have the [TS]

00:22:57   downfall of the character but at a [TS]

00:22:58   certain point the audience starts to [TS]

00:22:59   agree [TS]

00:23:00   all right guy what you're doing here is [TS]

00:23:01   wrong and Michael didn't want to be [TS]

00:23:03   involved in his family that's my family [TS]

00:23:04   k that's not me right [TS]

00:23:06   yeah and it's not it's not as if he had [TS]

00:23:08   to because that family obligation here's [TS]

00:23:09   the problem he's kind of like 10 seconds [TS]

00:23:11   but he's kind of like a what's-his-name [TS]

00:23:13   in Game of Thrones where the the the [TS]

00:23:16   gifts of strategy and determination and [TS]

00:23:20   you know wisdom that marlon brando's [TS]

00:23:23   character has obviously skip sunny and [TS]

00:23:27   went to Michael that he has the raw [TS]

00:23:29   skills in the same way that tyrion [TS]

00:23:30   lannister Syrian yeah [TS]

00:23:32   Tyrion has the same raw skills this [TS]

00:23:34   Tywin and right and so Michael doesn't [TS]

00:23:36   want to be involved in that [TS]

00:23:38   um but when the time comes he doesn't [TS]

00:23:41   feel like all I have to go save my [TS]

00:23:42   family he eventually and very quickly [TS]

00:23:44   realizes I'm the best-equipped yes save [TS]

00:23:47   my family I am the i have my father's [TS]

00:23:50   skills and and he and his his emotional [TS]

00:23:53   he's angry he loves his family wants to [TS]

00:23:54   do those things but but you know we're [TS]

00:23:56   going to cover part 2 and eventually [TS]

00:23:58   realize like this is my core skill set [TS]

00:24:00   him i was born to be a godfather [TS]

00:24:02   everything I'm doing is I'm protecting [TS]

00:24:04   my father I'm protecting my family and [TS]

00:24:06   then on eventually just like my protect [TS]

00:24:08   my family or my just trying to win or [TS]

00:24:10   you know like through two movies [TS]

00:24:12   Michael Corleone with us reading from [TS]

00:24:15   essentially the whole time right up [TS]

00:24:16   until maybe efficient crap happens [TS]

00:24:18   like that he's he's trying to do the [TS]

00:24:22   right thing and we want him to win and [TS]

00:24:24   it's just through a series of those [TS]

00:24:25   small steps by the end of it he's Darth [TS]

00:24:27   Vader and that's what the prequels could [TS]

00:24:29   never do [TS]

00:24:30   there's a breathtaking moment later in [TS]

00:24:31   this movie we'll jump around a little [TS]

00:24:32   bit but breathtaking moment is when [TS]

00:24:35   they're trying to figure out how to kill [TS]

00:24:39   the you know the cop and the and and the [TS]

00:24:43   the guy who's behind this is a lot so [TS]

00:24:46   the Turk and and Michael just says [TS]

00:24:50   here's what here's what we're gonna do [TS]

00:24:52   I'll have you know I have dinner with [TS]

00:24:54   him in and you know you gave me a gun [TS]

00:24:55   not kill him just like that it's like [TS]

00:24:58   wow just ok at and that's not working [TS]

00:25:01   that out they show i'm sitting in the [TS]

00:25:02   chair like silently and you get like you [TS]

00:25:04   see the gears turning he's working out [TS]

00:25:06   is it this is realizing these guys are [TS]

00:25:08   all talking they don't want to do [TS]

00:25:09   eventually he's like you know what I [TS]

00:25:11   know what to do and then he's going to [TS]

00:25:12   think about what am I gonna do that [TS]

00:25:14   inventors got venison look company this [TS]

00:25:16   is the solution to the problem [TS]

00:25:18   do this do this do this and he's not [TS]

00:25:19   good at it it's not like he will get to [TS]

00:25:21   that seen eventually it's not like he's [TS]

00:25:22   a super expert you know for but he knows [TS]

00:25:24   what to do yeah let's talk about the the [TS]

00:25:27   the family here but since we're at the [TS]

00:25:28   wedding I feel like this is maybe a good [TS]

00:25:30   time to talk about the family we get [TS]

00:25:32   obviously Mike Michael is there it comes [TS]

00:25:35   in his uniform to the wedding [TS]

00:25:36   there-there's are Al Pacino Diane Keaton [TS]

00:25:39   is there as k his girlfriend [TS]

00:25:41   we know your Italian not an Italian we [TS]

00:25:44   Tom Tom Hagen was Robert to fall was [TS]

00:25:47   there too [TS]

00:25:48   who else is there tell your shower is [TS]

00:25:49   there is Connie Carlo Rizzo's there but [TS]

00:25:52   were not introduced to him yet right [TS]

00:25:53   Sonny James Caan so it's cool i wanted [TS]

00:25:58   an amazing cast here but we get to meet [TS]

00:26:00   all the all the characters and and it [TS]

00:26:02   did we meet [TS]

00:26:03   it's fredo do we see Freddie no here I [TS]

00:26:05   don't yes we drunk at the wedding [TS]

00:26:07   he's drunk at the wedding comes up it [TS]

00:26:08   gets too close to ke to go in for the [TS]

00:26:10   kiss oh yeah that's right establishes [TS]

00:26:11   himself as a you know not not altogether [TS]

00:26:14   not to put the other kind of guy [TS]

00:26:16   SEO SEO is there right SEO was there [TS]

00:26:19   commences then [TS]

00:26:20   men's that you know Michael's mom is [TS]

00:26:22   there at the wedding and everybody's [TS]

00:26:25   there Johnny Fontane Luca Brasi is there [TS]

00:26:27   he has a any others in a really truly [TS]

00:26:30   hilarious and weird scene where he [TS]

00:26:32   insists he insists on seeing the [TS]

00:26:34   godfather and and and Marlon Brando very [TS]

00:26:37   much like it's a great little moment of [TS]

00:26:39   like do I really need to see him and [TS]

00:26:41   like you how you need to see him like I [TS]

00:26:43   right away just want to say thank you [TS]

00:26:44   like that's it yes he's got a spray tan [TS]

00:26:46   line to say thank you see didn't expect [TS]

00:26:48   to get invited to the wedding and it's [TS]

00:26:50   such a fascinating thing because he's [TS]

00:26:51   this big lug and he is completely unable [TS]

00:26:54   to even sort of Express he's he's [TS]

00:26:57   reading rehearsed he's we see no cursing [TS]

00:27:00   his work [TS]

00:27:01   it's amazing and it's hilarious and [TS]

00:27:03   weird and I don't know in a in a movie [TS]

00:27:06   it was a tone and I didn't expect it how [TS]

00:27:08   funny it was I'd forgotten how funny it [TS]

00:27:11   is that Luca Brasi a is so beside [TS]

00:27:14   himself meeting meeting the Godfather [TS]

00:27:16   it's amazing and may your first child be [TS]

00:27:18   a masculine child [TS]

00:27:20   oh well he's a useful tool right you [TS]

00:27:23   look at process is there to be a you [TS]

00:27:26   know to be a thug that's but he's very [TS]

00:27:27   loyal it's um it's a fascinating [TS]

00:27:30   character and we get a story about him [TS]

00:27:32   at the same time by the way that's what [TS]

00:27:33   the story Michael tells k about like you [TS]

00:27:35   know how do you get out of his deal or [TS]

00:27:37   whatever you know looking brothy held a [TS]

00:27:39   gun to his head [TS]

00:27:40   you know said get your signature your [TS]

00:27:41   brains gonna be on my contract that [TS]

00:27:42   we're getting that story more or less in [TS]

00:27:44   the same section of the movie as he's [TS]

00:27:46   this sort of sweet bumbling yeah who [TS]

00:27:48   wants to say thank you so you see you [TS]

00:27:50   see the cross over there between these [TS]

00:27:51   two worlds that guy is the guy who is [TS]

00:27:53   threatening to do that [TS]

00:27:54   that's my family k that's not me its [TS]

00:27:55   fine and that's what that's why you say [TS]

00:27:57   Michael tells us start with such [TS]

00:27:58   incredible disdain at the end of it he [TS]

00:28:00   goes that's true story like you can tell [TS]

00:28:02   he's not proud of that story he's not [TS]

00:28:04   saying it to impress his girlfriend it's [TS]

00:28:06   like you want to know what the deal is [TS]

00:28:07   this is what the deal is and she's like [TS]

00:28:09   good and he's like to but he's been done [TS]

00:28:12   about it also that piece of exposition [TS]

00:28:14   not only sets up that for Luca Brasi but [TS]

00:28:16   we also get the back story about what [TS]

00:28:18   happened to people who have crossed [TS]

00:28:20   Johnny Fontane in the the past because [TS]

00:28:23   that gets reference again we move on [TS]

00:28:25   later to the film here and heard about [TS]

00:28:27   that band leader [TS]

00:28:28   is this the point where Johnny Fontane [TS]

00:28:29   asks the yeah he's one of the people [TS]

00:28:32   comes in and says I want i got to get in [TS]

00:28:34   this movie I want to be in the movie any [TS]

00:28:36   cries and he gets it he gets chastised [TS]

00:28:38   we get slapped around he does [TS]

00:28:40   be a man so you're gonna come on my [TS]

00:28:45   godfather imitate some crying toxic [TS]

00:28:47   masculinity the movie back that I was [TS]

00:28:50   the seventies is different sunny is busy [TS]

00:28:53   my note my notes just as Sony's banging [TS]

00:28:56   a girl that's what's happening not [TS]

00:28:57   talking while you're behind [TS]

00:28:59   sunny is being sunny welcome this is [TS]

00:29:02   sunny curly I don't do people inches of [TS]

00:29:04   cheek which is his main pic of movies [TS]

00:29:06   yeah finishing as an unfortunate angle [TS]

00:29:08   though of course of a is his wife [TS]

00:29:11   turning around and seeing that he is [TS]

00:29:12   absent from the table and then she turns [TS]

00:29:15   around and act like everything's normal [TS]

00:29:17   chichi unfortunately to do that couple [TS]

00:29:19   times the film and it is that everything [TS]

00:29:20   happens at the wedding i mean this is [TS]

00:29:22   this is the it's a huge download i wrote [TS]

00:29:24   down [TS]

00:29:24   it's like 20 it's like almost 30 minutes [TS]

00:29:27   is the wedding [TS]

00:29:29   it's a day long stretch of the film is [TS]

00:29:32   is the wedding and meeting all the [TS]

00:29:34   characters and how they relate to each [TS]

00:29:35   other and what what you know what we [TS]

00:29:38   need to know about them [TS]

00:29:39   there's a whole it's just doing [TS]

00:29:41   incredible you are you are given time to [TS]

00:29:43   understand who is who in this complex [TS]

00:29:46   Italian family before we move on to [TS]

00:29:49   other you know to LA basically and and [TS]

00:29:52   the film spans 10 years so taking 30 [TS]

00:29:55   minutes for a few one day is kind of [TS]

00:29:58   amazing very important day [TS]

00:30:00   you also have the establishment of how [TS]

00:30:02   the rest of the world views this family [TS]

00:30:04   they were watching because you have the [TS]

00:30:05   paparazzi outside yet and the FBI right [TS]

00:30:08   during the people like writing down [TS]

00:30:09   license plate numbers and sunny goes out [TS]

00:30:11   smash the guy camera throws bills on the [TS]

00:30:13   ground was away which is a classic move [TS]

00:30:15   that has also been copied in so many [TS]

00:30:16   movies [TS]

00:30:17   yeah kind of a hothead seems like hope [TS]

00:30:20   that doesn't get the better of him [TS]

00:30:22   Oh surely not now no definitely not [TS]

00:30:26   so what if we leave the wedding wewe I [TS]

00:30:28   end up in California [TS]

00:30:31   oh yeah Tom Hagen goes out to LA to did [TS]

00:30:33   get basically get this part in the movie [TS]

00:30:35   for Johnny Fontane and is told lots of [TS]

00:30:42   lots of bad things even though even [TS]

00:30:46   though it's great [TS]

00:30:47   robert duvall admire your pictures very [TS]

00:30:49   much is a great just a great line when [TS]

00:30:52   he meets him before he knows he's part [TS]

00:30:54   of iCarly on how is like it is these you [TS]

00:30:56   know he goes through the series of [TS]

00:30:57   Italian slurs and he's like actually I'm [TS]

00:30:59   german-irish just let me tell you [TS]

00:31:01   something my crop make friends with you [TS]

00:31:02   because you're ready with you ready with [TS]

00:31:04   the ethnic slurs for any set of [TS]

00:31:06   nationalities I got all the slurs you [TS]

00:31:08   just just say and then it's like almost [TS]

00:31:10   like smash cut too apologetic [TS]

00:31:12   oh why didn't you say Don Corleone [TS]

00:31:14   doesn't know but he says I'm not going [TS]

00:31:18   to give him apart he ruined my starlet [TS]

00:31:20   and then like you know [TS]

00:31:22   okay well Don Corleone doesn't [TS]

00:31:24   appreciate people saying no and but but [TS]

00:31:27   hey let me show you this great horse i [TS]

00:31:29   have in my stable that's important is an [TS]

00:31:31   important part and at this point Lauren [TS]

00:31:33   turned to me and was like wow the horse [TS]

00:31:35   head in the bed is this early i'm like [TS]

00:31:36   yes it is really it's like you again a [TS]

00:31:40   piece of pop culture that is known by [TS]

00:31:44   all even if they have not seen this [TS]

00:31:45   movie The the scene where he wakes up [TS]

00:31:48   and you know he's just kind of rolling [TS]

00:31:49   around and then he realizes there's [TS]

00:31:51   something feels kind of funny and then [TS]

00:31:53   it's like it's blood and sweat there's [TS]

00:31:55   more blood [TS]

00:31:56   there's more blood and it's nice and [TS]

00:31:58   then to put the horse head like down [TS]

00:31:59   like down by his feet so we have to like [TS]

00:32:02   search around a little bit before he [TS]

00:32:03   gets that the head of his his prized [TS]

00:32:05   racehorses that he's putting out to stud [TS]

00:32:07   and Johnny Fontane get the part after [TS]

00:32:11   that the kid stays in the picture the [TS]

00:32:13   framing of that shot to where we don't [TS]

00:32:16   know if the punishment for refusing this [TS]

00:32:18   favor is maybe he died or something [TS]

00:32:20   because the cameras just moving slowly [TS]

00:32:22   over a bed and it's not until we start [TS]

00:32:25   to see some movement that's like okay [TS]

00:32:26   well he's not dead and then we see just [TS]

00:32:29   a little bit of the blood as the camera [TS]

00:32:31   rounds up over his shoulder and then we [TS]

00:32:33   pull down the sheets and slowly go [TS]

00:32:36   through all the blood until we finally [TS]

00:32:38   get to that horse head so it's a great [TS]

00:32:39   way to shoot that and then of course the [TS]

00:32:40   reaction shot where at [TS]

00:32:42   you're just seeing the enormous [TS]

00:32:45   Hollywood villa that he has and just [TS]

00:32:48   shouting it's you know is this is really [TS]

00:32:51   nicely put together a piece of film it's [TS]

00:32:54   pretty amazing [TS]

00:32:55   did Tom Higgins character I mean there's [TS]

00:32:58   a bunch of great i mean we're talking it [TS]

00:33:00   sounds stupid but there's a bunch of [TS]

00:33:01   great characters in this way but Tom [TS]

00:33:02   Higgins character is so unusual for this [TS]

00:33:05   genre film because he's he's just a [TS]

00:33:09   smart businessman that's you know smart [TS]

00:33:12   attorney and he acts like a smart [TS]

00:33:14   attorney and he's confident and he knows [TS]

00:33:15   he knows as he's dealing with this guy [TS]

00:33:18   the entire time he knows he's going to [TS]

00:33:20   get what he wants because ultimately he [TS]

00:33:21   could take it to that level that he [TS]

00:33:23   eventually goes to but he's not [TS]

00:33:25   threatening the guy at 1st he's being [TS]

00:33:27   these bending over backwards that to let [TS]

00:33:30   this cook to get this guy to make the [TS]

00:33:31   right decision [TS]

00:33:32   you know like it and there's no you know [TS]

00:33:34   I don't think I think Hagen would have [TS]

00:33:36   loved it if this guy could have just [TS]

00:33:37   been ok yes i'll give them apart and [TS]

00:33:40   then Hagen would have been that's great [TS]

00:33:41   and he would have been very nice but [TS]

00:33:43   it's so unusual for this genre film is [TS]

00:33:46   is a guy Tom Hagen doesn't even carry a [TS]

00:33:47   gun he's not there to threaten the guy [TS]

00:33:49   that's so unusual [TS]

00:33:50   it's a great character to become so he's [TS]

00:33:52   not Italian he was adopted [TS]

00:33:53   basically he he's a lawyer so he's the [TS]

00:33:57   family lawyer he's the constantly area [TS]

00:33:58   but not not a wartime constantly area [TS]

00:34:01   and they get a full-blooded Italian and [TS]

00:34:02   how well does that go to do that to do [TS]

00:34:05   that job and it's fast because he's in [TS]

00:34:06   the family close and yet he's also sort [TS]

00:34:09   of not of the family and the the things [TS]

00:34:12   he's good at are different from the [TS]

00:34:14   things that other people are good at is [TS]

00:34:16   almost like the ambassador to the [TS]

00:34:18   outside world to the respectable society [TS]

00:34:20   Italians are respectable he can he can [TS]

00:34:23   pass and regular society and he's got an [TS]

00:34:25   Irish Annie navigate the laws of love [TS]

00:34:28   the legal society and he can he can be [TS]

00:34:30   that for them but that also means he's [TS]

00:34:32   an outsider to a certain degree even as [TS]

00:34:34   Insider is he is he's not full-blooded [TS]

00:34:37   Italian he's not actually part of the [TS]

00:34:39   family even though he might as well be [TS]

00:34:41   because he was raised with them but his [TS]

00:34:43   loyalty is unwavering us another nice [TS]

00:34:44   exactly like oh because I'm not part of [TS]

00:34:46   the family I feel on the outside and i [TS]

00:34:48   have a resentment no peace a hundred [TS]

00:34:49   percent loyal all the time is willing to [TS]

00:34:51   do I mean he's gonna say why am I out of [TS]

00:34:53   my out Mike likes just but still he is [TS]

00:34:55   loyal to the end forever yeah and he [TS]

00:34:58   knows he knows what's going on i mean he [TS]

00:35:00   he you get the sense at that time that [TS]

00:35:03   he has a pretty much all the answers [TS]

00:35:06   like he knows what's what's up and [TS]

00:35:07   sometimes it takes some other people [TS]

00:35:09   little bit of time to get there but Tom [TS]

00:35:10   Hagen I think super-sharp he knows [TS]

00:35:13   what's going on and he's and he's loyal [TS]

00:35:15   and and you know and he's aware the [TS]

00:35:18   other thing is i think there will be a [TS]

00:35:19   cliché way of doing this character [TS]

00:35:21   where he's a little bit naive and Tom [TS]

00:35:26   Hagen is not naive like he's well aware [TS]

00:35:29   of the consequences of the of the [TS]

00:35:32   producer turning him down he's [TS]

00:35:33   absolutely perfectly aware and he's very [TS]

00:35:36   a school is a cool character like wow [TS]

00:35:37   you know they're having that dinner and [TS]

00:35:39   he's all like oh I didn't you tell me [TS]

00:35:40   that you were from the Corleone blonde [TS]

00:35:42   is all being nice finish moves in or [TS]

00:35:44   whatever and as you know as he [TS]

00:35:45   eventually get to the heart of it why [TS]

00:35:47   won't you give Johnny this party started [TS]

00:35:49   telling a story and it's more angry and [TS]

00:35:50   more angry when she gets up out of the [TS]

00:35:52   water gets up out of his seat he walks [TS]

00:35:54   over to him he's looming over and he's [TS]

00:35:55   like him just tell him not a [TS]

00:35:56   hard-hearted man she was beautiful may [TS]

00:35:58   also says she was the best piece is ever [TS]

00:36:00   had so much for his uh yeah classiness [TS]

00:36:02   yeah all over the world during that [TS]

00:36:04   whole scene [TS]

00:36:05   Tom higgenson is dinner he's eating his [TS]

00:36:07   dinner he's just a beauty keeps eating [TS]

00:36:09   dinner is eating dinner when the guys [TS]

00:36:11   done yelling says thank you for a lovely [TS]

00:36:12   meal and leaves like he doesn't even [TS]

00:36:13   stop is amelia is just the coolest [TS]

00:36:15   customer during this whole thing even [TS]

00:36:17   though he knows how it's gonna end like [TS]

00:36:18   you said he's you know gonna finish this [TS]

00:36:20   meal there's a great scene that they [TS]

00:36:23   obviously you know for for cinematic [TS]

00:36:25   purposes don't show it you did they cut [TS]

00:36:27   right to the morning and areas the guys [TS]

00:36:29   in bed with the Horsehead but if you [TS]

00:36:31   imagine how they got the horse head [TS]

00:36:33   there it's because first you gotta kill [TS]

00:36:36   the horse and that's not too are you get [TS]

00:36:38   to shoot the horse but you don't want to [TS]

00:36:39   wake this guy out like that the whole [TS]

00:36:40   point was they wanted to have a nice [TS]

00:36:42   surprise form so you don't want allowed [TS]

00:36:43   gunshot so somehow you got to kill the [TS]

00:36:45   horse easy enough but then you gotta cut [TS]

00:36:47   the horse head off yeah that's that's a [TS]

00:36:50   lot of cut a lot of manpower even on the [TS]

00:36:52   west coast you can find some Union folks [TS]

00:36:54   get that done for you and then you gotta [TS]

00:36:55   get the horse head into his bed without [TS]

00:36:57   waking them up and I just imagine like a [TS]

00:37:00   couple of crooks with his horse and gosh [TS]

00:37:02   she's a sound sleeper luckily and are [TS]

00:37:06   they giggling maybe they're like maybe [TS]

00:37:08   there's like one feather just going up [TS]

00:37:09   and down [TS]

00:37:10   can you believe he's still asleep I mean [TS]

00:37:12   normally you're breaking people's [TS]

00:37:13   fingers or their legs are you know [TS]

00:37:14   collecting this is a novel and exciting [TS]

00:37:16   gig the Horsehead gig [TS]

00:37:18   that's the charity gig and I imagine [TS]

00:37:20   that it's a guy like that Tommy from [TS]

00:37:23   Goodfellas yeah like the west coast [TS]

00:37:25   version and Tommy is there and he's just [TS]

00:37:27   he's like shut up will laugh about this [TS]

00:37:29   later when best dismemberment guy on the [TS]

00:37:31   west coast [TS]

00:37:32   you gotta take pride in your work even [TS]

00:37:33   if its leading a horse head in [TS]

00:37:34   somebody's beds stealthily and also [TS]

00:37:37   likely before they get to that stage [TS]

00:37:39   what is that you know Tom comes there [TS]

00:37:41   with with things to offer besides do [TS]

00:37:43   this role do something bad to you things [TS]

00:37:45   offer you got your gonna have Union [TS]

00:37:46   problem soon we can make those go away [TS]

00:37:47   like there he has connections he has [TS]

00:37:49   things to offer which under any other [TS]

00:37:51   circumstance would have worked but it's [TS]

00:37:52   a personal vendetta here with the whole [TS]

00:37:54   starlet you know that that's that's why [TS]

00:37:56   he has to go out that's why there's a [TS]

00:37:57   problem doing everybody tries all [TS]

00:37:59   conventional means first because it's [TS]

00:38:00   just much more efficient to do it that [TS]

00:38:01   way and it yeah it doesn't just [TS]

00:38:03   alternately the the family's authority [TS]

00:38:05   rests on their willingness to resort to [TS]

00:38:08   violence that's ultimately what the [TS]

00:38:10   authority goes to and the producer makes [TS]

00:38:12   the mistake of thinking that the [TS]

00:38:13   authority is ultimately the the in the [TS]

00:38:16   legal sense and in a sense that we [TS]

00:38:17   respect civil society that he owns the [TS]

00:38:21   studio it's his picture [TS]

00:38:22   therefore whatever you know if he says [TS]

00:38:25   no to Johnny Fontane that's it that's [TS]

00:38:26   the bottom line he's is just doesn't see [TS]

00:38:28   that there's another level that this [TS]

00:38:30   could be taken to you don't buy me out i [TS]

00:38:31   buy you out if but the family and but [TS]

00:38:34   it's the way that they you know and in [TS]

00:38:35   ultimately that they do resort to [TS]

00:38:37   violence shows that there's you know [TS]

00:38:39   there's there is something morally wrong [TS]

00:38:41   with with the Corleone family but until [TS]

00:38:44   they get there they really are acting [TS]

00:38:46   like good guys you know they're not that [TS]

00:38:48   they don't go to violence first they [TS]

00:38:49   don't just say threatened they're trying [TS]

00:38:50   they're like hey look will be with your [TS]

00:38:51   Union problems we can you know do this [TS]

00:38:54   we can do that you know and enters also [TS]

00:38:56   like with with Hagen is sort of like he [TS]

00:38:59   acknowledges look I know you don't want [TS]

00:39:00   to do this but it's gotta be done [TS]

00:39:02   yeah and violence as a way for them to a [TS]

00:39:04   mass power because they want power they [TS]

00:39:06   want to have politicians they want to [TS]

00:39:07   control the unions or whatever and all [TS]

00:39:09   its not violence's is about [TS]

00:39:10   this is an end as if they want to be [TS]

00:39:11   known as this thing that will kill you [TS]

00:39:13   they want to use violence as needed to [TS]

00:39:16   amass power they would much rather say [TS]

00:39:17   because we have done all these small [TS]

00:39:19   violent things and captured the unions [TS]

00:39:22   and we have the judges in your we want [TS]

00:39:24   we can use that to get what we want [TS]

00:39:25   which way better than using violence [TS]

00:39:27   violence is a problem we don't want to [TS]

00:39:28   kill police officer because i know it'll [TS]

00:39:30   bring stuff down and it's like small [TS]

00:39:32   acts of violence to you know maintain [TS]

00:39:34   their gambling business and and you know [TS]

00:39:36   the prostitution all of the stuff and to [TS]

00:39:39   a mass power to have the politicians who [TS]

00:39:40   you have something on because they've [TS]

00:39:42   been with your prostitutes because they [TS]

00:39:43   are they are indebted to you for [TS]

00:39:44   gambling or whatever and to use that [TS]

00:39:46   power to get your things done like it [TS]

00:39:48   it's all about a massive power is just [TS]

00:39:50   that when when your power is [TS]

00:39:52   insufficient because you don't have [TS]

00:39:54   enough leverage over this particular guy [TS]

00:39:55   that of the gear you can go up into it [TS]

00:39:57   we got Horsehead one of the things that [TS]

00:39:59   happens here I mean he's saying no to [TS]

00:40:00   Don Corleone and you don't say don't [TS]

00:40:02   know Don Corleone but part of this is i [TS]

00:40:06   would say that the main plot of the [TS]

00:40:08   movie is because Don Corleone says no to [TS]

00:40:11   the other families and this is you know [TS]

00:40:13   when you say no and and that's just it [TS]

00:40:16   and in and you can have the this art of [TS]

00:40:18   persuasion or horse trading or you let [TS]

00:40:20   us do this and we'll take care of this [TS]

00:40:22   problem and all of that [TS]

00:40:23   that's when they're the the violence [TS]

00:40:26   becomes the recourse and you see it in [TS]

00:40:28   the very next scene so they meet with [TS]

00:40:29   with a lot so the Turk and this is it's [TS]

00:40:32   fascinating because this is about about [TS]

00:40:35   narcotics it's about it's about getting [TS]

00:40:37   into the drug trade and I I think tom [TS]

00:40:39   says narcotics is the future through the [TS]

00:40:42   night [TS]

00:40:43   he's a man with a vision one word for [TS]

00:40:45   you narcotics yea and perhaps only but [TS]

00:40:48   video does not does not like that and he [TS]

00:40:51   and he says finally after you know all [TS]

00:40:52   of this talk he says I must say I must [TS]

00:40:55   say no to you because and that that [TS]

00:40:57   kicks off this whole the all the [TS]

00:40:59   violence that happens between the [TS]

00:41:01   families but it's not just that he says [TS]

00:41:03   no like that is that is one part of it [TS]

00:41:05   but the real the real key stone too i [TS]

00:41:07   think the the entire particular conflict [TS]

00:41:08   miss movies during this meeting they [TS]

00:41:10   have the pre-meeting we're all it's like [TS]

00:41:11   sunny and [TS]

00:41:13   and the Godfather they're all in and Tom [TS]

00:41:15   and they're all talking about what [TS]

00:41:16   they're gonna do and they say you know a [TS]

00:41:18   lot of money in that white powder i [TS]

00:41:19   don't know we should definitely meet [TS]

00:41:20   with him he's a serious person here's [TS]

00:41:21   the deal like they're all doing the [TS]

00:41:22   background on them then they they set [TS]

00:41:24   the meet [TS]

00:41:25   they do the meet there's a lot of [TS]

00:41:26   talking back and forth i was very polite [TS]

00:41:28   talks about things [TS]

00:41:29   sunny has one tiny outpost like what you [TS]

00:41:32   mean you're gonna guarantee our [TS]

00:41:33   investment that one tiny outpost which [TS]

00:41:35   wasn't against the Godfather wasn't like [TS]

00:41:37   he went against the family right as [TS]

00:41:39   Michael school someone for doing later [TS]

00:41:40   he merely was incredulous that the [TS]

00:41:42   supposed guarantees that were being [TS]

00:41:44   offered and it showed that he was more [TS]

00:41:46   open to the deal than his father and [TS]

00:41:49   that was the thing that sets off this [TS]

00:41:51   entire conflict because if the families [TS]

00:41:53   had been loyal [TS]

00:41:54   I think the Corleone family as a unit [TS]

00:41:56   they they wouldn't have gone up against [TS]

00:41:59   them like there was there was a reason [TS]

00:42:00   they were having this meeting why didn't [TS]

00:42:01   they just forced it like they they can't [TS]

00:42:03   go up against a unified fan but once [TS]

00:42:05   they see a crack in the armor lock up [TS]

00:42:06   all you gotta do is kill the old man get [TS]

00:42:08   rid of the end man and sunny your shady [TS]

00:42:09   dishonest because Sonny is is more [TS]

00:42:11   amenable to this deal and so here is it [TS]

00:42:13   here is an efficient way to get what we [TS]

00:42:15   want with us again another small act of [TS]

00:42:18   violence to make these things go for if [TS]

00:42:19   they had presented unified front [TS]

00:42:21   I don't think there was this whole movie [TS]

00:42:23   wouldn't play out there wouldn't have [TS]

00:42:24   been this violence because it the [TS]

00:42:25   impression I get from the first [TS]

00:42:27   Godfather is that the Corleone family [TS]

00:42:28   was if not the most powerful family in [TS]

00:42:31   New York one of the most powerful and it [TS]

00:42:33   is certainly in political power because [TS]

00:42:34   they have complained that he had all the [TS]

00:42:35   politicians yeah and so no they're the [TS]

00:42:38   most powerful i think that's that's very [TS]

00:42:39   clear mean they can't you know it's one [TS]

00:42:41   of those subjective things that maybe [TS]

00:42:43   the other families would disagree but I [TS]

00:42:44   think the movie clearly presents them as [TS]

00:42:46   the you know the equivalent of like the [TS]

00:42:48   Gambino's you know that they're there [TS]

00:42:50   the barzinis bad a table the end though [TS]

00:42:52   so I don't know like why does he have to [TS]

00:42:53   sit at the head and the Godfather's [TS]

00:42:55   gotta sit in the middle but either way I [TS]

00:42:56   feel like if they had a unified front [TS]

00:42:57   there it would they wouldn't have gone [TS]

00:43:00   to war over it because this definitely [TS]

00:43:01   these you know that to tell you and [TS]

00:43:03   everything that they were these were [TS]

00:43:05   lesser smaller families which is why you [TS]

00:43:07   know they weren't really concerned about [TS]

00:43:08   them but one outburst from sunny one [TS]

00:43:10   sentence 1 introjection and then that's [TS]

00:43:12   it then they get the twinkle in their [TS]

00:43:14   eye and they hang a lantern on that [TS]

00:43:16   right because he gets dressed down he [TS]

00:43:17   says never tell anyone outside the [TS]

00:43:18   family what you think righty The [TS]

00:43:20   Godfather immediately says you can't do [TS]

00:43:21   it right and it wasn't [TS]

00:43:23   never go against the family it was just [TS]

00:43:24   just don't tell them what you're [TS]

00:43:25   thinking because by revealing your [TS]

00:43:27   thinking now we're not a unified front [TS]

00:43:28   also this situation is misread by a lot [TS]

00:43:32   so in a very unfortunate way because he [TS]

00:43:34   assumed that that Sonny will go along [TS]

00:43:37   with this he doesn't realize that she [TS]

00:43:39   doesn't care what he wanted to kill you [TS]

00:43:40   yeah you heard his father that is the [TS]

00:43:42   only thing he'll see red for the rest of [TS]

00:43:44   the movie [TS]

00:43:45   yeah then he realizes oh maybe Sonny is [TS]

00:43:48   a bit of a hothead and not reasonable [TS]

00:43:50   this was a miscalculation right Michael [TS]

00:43:53   you could argue I I think again the [TS]

00:43:55   loyalty to their fathers probably but i [TS]

00:43:56   think so wats was making me cold [TS]

00:43:58   calculation that the sons are going to [TS]

00:44:00   want to seize power and that will that [TS]

00:44:04   will be enough that that even other [TS]

00:44:06   father is it is dead that they're going [TS]

00:44:08   to be so happy to be in charge gonna [TS]

00:44:10   make the cold calculation likes alot so [TS]

00:44:12   perhaps would do and that's not what [TS]

00:44:13   happens because Sonny is a hothead we [TS]

00:44:16   get so look at Brasi sleeps with the [TS]

00:44:18   fishes which we find out a little bit [TS]

00:44:20   later because he they send Luca Brasi to [TS]

00:44:22   talk to them and they kill him probably [TS]

00:44:24   not a great plan by the way look abroad [TS]

00:44:25   see maybe not your most savvy spy under [TS]

00:44:28   him yes it is a great enforcer he's got [TS]

00:44:31   at least he's the most loyal henchman [TS]

00:44:33   why would he be the one that you send [TS]

00:44:35   and being like I don't know maybe he'll [TS]

00:44:36   switch sides looking process [TS]

00:44:37   consultations on tomorrow it's like the [TS]

00:44:39   most you know the big lies better than [TS]

00:44:41   the small I'm just saying I don't have [TS]

00:44:42   faith in his ability to act like him act [TS]

00:44:44   like he's not loyal he does a pretty [TS]

00:44:45   good job is very stone-faced or whatever [TS]

00:44:47   but that's what look at roxy is like so [TS]

00:44:50   he gets he gets carotid do you know it's [TS]

00:44:53   it's bad and that's a brutal murder that [TS]

00:44:56   happens and that's the end of the [TS]

00:44:57   prostate but then the oranges oh the [TS]

00:44:59   oranges so many things happen with [TS]

00:45:01   oranges around 44 feet oh but he's [TS]

00:45:04   buying some oranges and fruit stand and [TS]

00:45:06   shoot him [TS]

00:45:06   like many times we and it's it's quite [TS]

00:45:11   shocking [TS]

00:45:11   the thing that really struck me though [TS]

00:45:13   and this is just the world of this movie [TS]

00:45:15   and also when this movie was made and [TS]

00:45:17   our modern world Michael Corleone finds [TS]

00:45:20   out that his father has been shot from [TS]

00:45:22   the newspaper yet by walking past a [TS]

00:45:24   newsstand and seeing it in the papers [TS]

00:45:27   it's amazing come on a cellphone and [TS]

00:45:29   then he runs to a phone booth [TS]

00:45:30   yeah it's just like they have time to [TS]

00:45:32   that time to write the story print the [TS]

00:45:35   paper ready with his [TS]

00:45:36   additionally front shows along i think [TS]

00:45:38   he was yeah I think he was out you know [TS]

00:45:40   out on the town for many hours and you [TS]

00:45:42   know you don't have a phone or anything [TS]

00:45:43   like that but it's just and they [TS]

00:45:44   couldn't reach him and that they do say [TS]

00:45:46   when he finally calls and like where [TS]

00:45:47   where the hell have you been [TS]

00:45:49   but it's pretty amazing that like you [TS]

00:45:51   can go you can go so long that you find [TS]

00:45:53   about your about your dad being shot by [TS]

00:45:55   seeing it on a newsstand in a newspaper [TS]

00:45:57   that's amazing [TS]

00:45:59   the world we live in doesn't say if he's [TS]

00:46:01   alive or dead and Tom Hagen is uh has [TS]

00:46:04   kidnapped as well as part of this plan [TS]

00:46:06   and they're gonna release him but they [TS]

00:46:09   want to talk to him first and this is [TS]

00:46:10   this is against lots of trying to trying [TS]

00:46:12   to make a make an offer i make a deal [TS]

00:46:15   about about this with the family about [TS]

00:46:17   what that what they want to do anyone's [TS]

00:46:18   Tom Hagen to be the the person two weeks [TS]

00:46:20   to lay it all out because he's got the [TS]

00:46:22   he's got the clear legal mind and he [TS]

00:46:24   they think it's a good a good emissary [TS]

00:46:26   here but video doesn't die five shots [TS]

00:46:28   but he's still alive [TS]

00:46:30   yeah and they didn't have a [TS]

00:46:31   miscalculation with Tom like Tom you're [TS]

00:46:33   right tom is the person who listen to [TS]

00:46:34   reason everything but Tom's loyalty is [TS]

00:46:36   just as big as they're all he's gonna do [TS]

00:46:37   is take everything you told him and use [TS]

00:46:38   it against you and he gets back there's [TS]

00:46:40   never any inkling in this movie that [TS]

00:46:41   he's going to like never once the family [TS]

00:46:43   and be persuaded the entire time he's [TS]

00:46:45   talking to slot so you can tell he's [TS]

00:46:47   like everything you say to me i will use [TS]

00:46:49   against you as soon as I get back to my [TS]

00:46:51   family [TS]

00:46:51   tell them what the deal is we will use [TS]

00:46:52   the potty you know like so-and-so thinks [TS]

00:46:55   maybe there's a chance and he is very [TS]

00:46:56   wrong [TS]

00:46:57   yeah and this is a the oranges I just I [TS]

00:47:00   can't get hung up on that we realized [TS]

00:47:02   it's playing with oranges and get shot [TS]

00:47:04   and then later he's playing with your [TS]

00:47:05   inches when he dies at the end of the [TS]

00:47:06   movie just gonna buy gonna buy some [TS]

00:47:08   fruit my poli calls in sick [TS]

00:47:10   Fredo is the driver Fredo is not leaping [TS]

00:47:13   into action some real gun handling that [TS]

00:47:15   radio has some amazing like what is this [TS]

00:47:19   gun will at any and he's crushed by day [TS]

00:47:22   like you can see that he you know he [TS]

00:47:23   realizes he fails use Lisicki he knows [TS]

00:47:26   yeah he knows this vault and he feels [TS]

00:47:28   terrible [TS]

00:47:28   alright the next set of scenes that we [TS]

00:47:31   get our amazing which is when we get [TS]

00:47:34   leave we really the gun take the cannoli [TS]

00:47:36   here to put the hospital the hospital [TS]

00:47:38   but deserted hospital is so amazing that [TS]

00:47:42   like what [TS]

00:47:44   where is everybody and it's just veto [TS]

00:47:46   there and the one nurse that there [TS]

00:47:48   jumpscares a jump-scare on the Godfather [TS]

00:47:50   the nervous twitch becomes in like the [TS]

00:47:53   quiet scene where is creeping in looking [TS]

00:47:55   for his father finds a nurse comes what [TS]

00:47:57   are you doing here it's a jump-scare [TS]

00:47:58   with a whisper but probably the feet [TS]

00:48:00   never achieved in a regular non our [TS]

00:48:02   movie yeah well it also it's amazing how [TS]

00:48:04   this particular scene shot because it's [TS]

00:48:06   very tense the camera's not moving at [TS]

00:48:08   all [TS]

00:48:09   we have sort of a fixed position very [TS]

00:48:11   low to the ground on that top floor of [TS]

00:48:13   the hospital where there's a very clear [TS]

00:48:15   the hallway that goes on one way to the [TS]

00:48:17   room now the hallway that goes down to [TS]

00:48:18   the place where they they take a video [TS]

00:48:21   later on when will the card out in a [TS]

00:48:24   takes place very slowly we get another a [TS]

00:48:27   momentary disturbance with Enzo and they [TS]

00:48:29   go downstairs and they just stand there [TS]

00:48:31   while the car drives by and it's not a [TS]

00:48:34   there's nothing crazy happening in terms [TS]

00:48:36   of quick cuts and camera moves or [TS]

00:48:39   anything like that in it just allows [TS]

00:48:40   this very slow tension to build over the [TS]

00:48:42   scene because there's effectively no one [TS]

00:48:45   there who can help him and and you you [TS]

00:48:47   see the isolation there I use any uses [TS]

00:48:50   brains to get out of it and I think the [TS]

00:48:52   key thing about the pacing the scene [TS]

00:48:53   that always struck me as so they do that [TS]

00:48:55   whole thing is it's tense and those [TS]

00:48:57   comes out [TS]

00:48:57   n0 you know he's got the flowers were in [TS]

00:48:59   his end will come over here put your [TS]

00:49:01   hand in your pocket you got a gun behind [TS]

00:49:02   really they did they do the whole bluff [TS]

00:49:04   right but it's very tense right don't [TS]

00:49:06   forget the one of my favorite things in [TS]

00:49:07   the in this whole set is when he turns [TS]

00:49:09   the nurses we need to move him men are [TS]

00:49:11   coming here to kill him [TS]

00:49:12   yeah yeah is it now the line is you you [TS]

00:49:14   know my father men are coming here comes [TS]

00:49:16   Michael effective communication in [TS]

00:49:17   crisis is it you know my father [TS]

00:49:19   it's only a second to say you understand [TS]

00:49:21   my father's part of organized crime [TS]

00:49:22   bosses you know my father [TS]

00:49:24   it's a question a statement men are [TS]

00:49:26   coming here to kill him that comes right [TS]

00:49:27   to the point we need emotions but maybe [TS]

00:49:29   like after after they put the collar up [TS]

00:49:31   and they do they're bluffing it works [TS]

00:49:32   they have what seems like a luxurious [TS]

00:49:35   amount of time showing Enzo trying to [TS]

00:49:37   light a cigarette and his hands are [TS]

00:49:39   shaking you so nervous like we don't [TS]

00:49:40   need we already got the attention but [TS]

00:49:42   somehow having the scene where you see [TS]

00:49:44   how shaken up he is afterwards like [TS]

00:49:47   ripples backwards movie and makes it [TS]

00:49:49   even more tense up and they spend time [TS]

00:49:51   on it like they're not saying anything [TS]

00:49:53   that didn't already say before like in [TS]

00:49:54   other words it's almost like they're [TS]

00:49:55   putting had a hat there but it's [TS]

00:49:58   important because it's like the [TS]

00:49:59   audience's decompressing and then [TS]

00:50:01   realizing how to [TS]

00:50:02   here's what they did was and then it [TS]

00:50:03   leads into the you know the pitch the [TS]

00:50:04   police chief coming and knocking Michael [TS]

00:50:06   in the face so it doesn't actually do [TS]

00:50:08   something it's not like we go to that [TS]

00:50:09   and I cut to something entirely [TS]

00:50:10   different but that always struck me as [TS]

00:50:12   it as a tiny luxury that most movies [TS]

00:50:14   don't take because like all right we've [TS]

00:50:15   already done that everyone knows his [TS]

00:50:16   tents next scene but the Godfather has [TS]

00:50:19   that has this area lighting and I think [TS]

00:50:20   it's important you can you because you [TS]

00:50:21   can see that it's that that's what's [TS]

00:50:24   happening is a it's all spinning out of [TS]

00:50:26   control they come by and they they they [TS]

00:50:31   see that they're there with their hands [TS]

00:50:32   in their pockets and then they move on [TS]

00:50:35   yeah it's a and then the cops come and [TS]

00:50:38   it's it's still close thing right like I [TS]

00:50:41   mean they're gonna try a few things to [TS]

00:50:43   get to veto and then they finally kind [TS]

00:50:46   of have the beat at the end when Tom [TS]

00:50:48   Hagen toss-up is a private detective so [TS]

00:50:51   I just carry firearms blah blah blah and [TS]

00:50:53   please like I legalese scraping it [TS]

00:50:56   yeah I also would argue that the that [TS]

00:50:59   the the shaking hands I mean the great [TS]

00:51:00   thing about the shaking hands is that it [TS]

00:51:03   gets it across that this guy that [TS]

00:51:06   Michael has conscripted is essentially [TS]

00:51:08   is a civilian and you need to show like [TS]

00:51:11   this is not normal [TS]

00:51:12   this is terrifying they are standing out [TS]

00:51:14   there with a hitman coming by and acting [TS]

00:51:18   like they've got guns in order to do [TS]

00:51:21   this and yeah it is terrifying this is [TS]

00:51:22   not normal [TS]

00:51:23   this is not every day for four Enzo he's [TS]

00:51:25   terrified and it's it's great that we [TS]

00:51:28   see that the Indians I'm rewinding a [TS]

00:51:30   little bit to the before we move on to [TS]

00:51:32   the running a little bit to the poly [TS]

00:51:34   business [TS]

00:51:34   I think I mean this is for me this [TS]

00:51:36   establishes maybe this is an old [TS]

00:51:37   gangster movie trope but i think is one [TS]

00:51:39   of the first ones I saw Polly you know [TS]

00:51:42   called in sick quote-unquote you know [TS]

00:51:44   that day the the video got shot and [TS]

00:51:46   everything right so he is with people [TS]

00:51:48   who are going to kill him we kind of [TS]

00:51:49   know that we kind of know that's what [TS]

00:51:51   they're for business I Polly I don't [TS]

00:51:52   want to see him again like you know so [TS]

00:51:53   they're there to do that they all get [TS]

00:51:55   into the car together to go with their [TS]

00:51:56   cannolis and everything [TS]

00:51:57   Paulie doesn't want someone sitting [TS]

00:52:00   directly behind him and make some excuse [TS]

00:52:02   about being able to see in the rearview [TS]

00:52:03   mirror because he no like why does he [TS]

00:52:05   not want someone sitting behind his is [TS]

00:52:06   this kind of seeing that the godfather [TS]

00:52:08   is full of where Paulie is there with [TS]

00:52:10   people who are ostensibly his friends [TS]

00:52:11   they all have to pretend like a billy [TS]

00:52:13   budd dope fashion that I know that you [TS]

00:52:15   so that i know but i can't let on that i [TS]

00:52:16   know that you're there to kill me that [TS]

00:52:18   vibe Godfather's entire movie is that [TS]

00:52:20   vibe and this one seems clear that [TS]

00:52:22   paulinho's there to kill but what can [TS]

00:52:23   you do he's got to play along with and [TS]

00:52:25   hope that maybe he's wrong about it but [TS]

00:52:26   he also doesn't want the guy sitting [TS]

00:52:27   behind them and that's that adds to the [TS]

00:52:29   tension that scene and also i think the [TS]

00:52:31   great scene where he kicks it gets [TS]

00:52:33   strangled from behind and kicks out the [TS]

00:52:34   windshield which is another dramatic [TS]

00:52:36   moment mostly not copies i think you [TS]

00:52:39   don't have the strength to kick out a [TS]

00:52:40   windshield on a modern car but those old [TS]

00:52:41   cars and the forties remember this most [TS]

00:52:44   no problem and that of course they [TS]

00:52:46   should they should inform the Statue of [TS]

00:52:47   Liberty again are you getting the [TS]

00:52:48   picture here American dream [TS]

00:52:50   gone head but alright what's also [TS]

00:52:52   interesting about that i didn't know [TS]

00:52:54   until relatively recently can't remember [TS]

00:52:56   what this was but a 4x4 couple wrote in [TS]

00:52:59   the line for the wife telling Clemenza [TS]

00:53:03   that she won't want into you know don't [TS]

00:53:07   forget the cannoli and then when the [TS]

00:53:09   actor who plays comenta Clemente later [TS]

00:53:11   on is saying you know take the gun he [TS]

00:53:13   improvised the line now leave the gun [TS]

00:53:16   take the cannoli for that scene it [TS]

00:53:18   wasn't exactly written that way but you [TS]

00:53:20   know it really embodies a lot of what we [TS]

00:53:23   think of when we think of this film I [TS]

00:53:24   would say because it you know it's about [TS]

00:53:26   family and don't cross the family and [TS]

00:53:27   you know that year's ears you know the [TS]

00:53:30   food we should come to my wife and I'm [TS]

00:53:32   gonna shoot this guy who crosses a [TS]

00:53:33   little bit of food business in this [TS]

00:53:34   movie as well like that they make the [TS]

00:53:36   sauce later and they talk about the [TS]

00:53:37   cannoli and it's going probably no way [TS]

00:53:39   onto the temple is they doing the [TS]

00:53:40   Godfather but it's there like the food [TS]

00:53:42   is an important part of the so you [TS]

00:53:43   mentioned some so uh the the dirty cop [TS]

00:53:46   shows up and and Michael Michael is gets [TS]

00:53:51   a gets really mad how much are they [TS]

00:53:53   paying you captain he says he mouths off [TS]

00:53:55   a little bit you put get punched in the [TS]

00:53:57   John gets his jaw broken for that but uh [TS]

00:54:01   this leads into the big the scene where [TS]

00:54:05   that the Turk wants to meet with Michael [TS]

00:54:07   and Tom Hagen says we need to listen to [TS]

00:54:11   them and sunny is just angry and he [TS]

00:54:12   doesn't care and then michael says I can [TS]

00:54:16   do this I can kill both of them if you [TS]

00:54:17   can get me a gun they want to meet with [TS]

00:54:19   me because they think I'm a reasonable [TS]

00:54:21   person that's going to be the go-between [TS]

00:54:22   but if you can get a gun if you can [TS]

00:54:25   figure out where the restaurant is and [TS]

00:54:26   you can get a gun there [TS]

00:54:27   we you know we can take them out and at [TS]

00:54:30   this point my notes I wrote a bogota [TS]

00:54:33   knows all the toilets in the bronx [TS]

00:54:34   because I gotta go to me is like they [TS]

00:54:38   got that old pull chain toilet and I can [TS]

00:54:40   put it behind the take their and so many [TS]

00:54:42   things in this movie would have to be [TS]

00:54:43   explained to younger people like in the [TS]

00:54:44   hospital have a skipping record which [TS]

00:54:46   i'm not sure people watching it today [TS]

00:54:47   who don't know what the record is not [TS]

00:54:49   skipping record atmosphere doesn't work [TS]

00:54:50   and that he call someone and get on the [TS]

00:54:52   phone and says like Long Beach 4 5 6 21 [TS]

00:54:55   or whatever [TS]

00:54:56   why didn't you just dial the number and [TS]

00:54:57   what is that skipping thing and what [TS]

00:54:59   does he mean like a water closet with a [TS]

00:55:01   chain [TS]

00:55:02   I've never even seen anything like that [TS]

00:55:03   but you'll see it now I grew up with one [TS]

00:55:05   of those pull chain toilets myself [TS]

00:55:06   actually but there was never a gun taped [TS]

00:55:08   behind forgot you don't know did you [TS]

00:55:09   check i didn't just hard to find time to [TS]

00:55:11   check generally no gun there you gotta [TS]

00:55:13   keep lookin pretty sure we're gonna find [TS]

00:55:14   it might be up in the middle part was [TS]

00:55:16   there a cannoli I there was no can only [TS]

00:55:18   either another family on this from my [TS]

00:55:20   toilet now and that's seen by the way [TS]

00:55:23   where they're where they're all talking [TS]

00:55:24   about like what they're supposed to do [TS]

00:55:25   you think we should be there before [TS]

00:55:26   Michael comes out with before the gears [TS]

00:55:28   turning Michael said me realize like [TS]

00:55:29   this is what we're going to do [TS]

00:55:31   sunny is frustrated me at home because [TS]

00:55:33   tom is all about like we do this or [TS]

00:55:35   whatever and it's one point Sonny yells [TS]

00:55:37   at Tom just help me win like this is all [TS]

00:55:39   Sonny's concerned about is like it's now [TS]

00:55:41   just a game of army men like we need to [TS]

00:55:43   kill them before they kill us [TS]

00:55:45   Thomas give me the idea Sonny don't want [TS]

00:55:46   to hear your damn ideas just just help [TS]

00:55:48   me win and his version of winning is [TS]

00:55:50   other everyone else dead in me alive [TS]

00:55:51   which is why is it better to Tom's not [TS]

00:55:53   even saying you know let's give up or [TS]

00:55:55   something he's like let's listen to what [TS]

00:55:56   they have to say he wants to collect [TS]

00:55:57   more information he's crying for that [TS]

00:55:59   whole collective sunny and Sonny does [TS]

00:56:01   not care right because he wants revenge [TS]

00:56:03   he's he's angry and that's though that's [TS]

00:56:06   those characters in a nutshell right but [TS]

00:56:08   Michael steps happens like I got a plan [TS]

00:56:10   i'm gonna I you know this visit is going [TS]

00:56:12   to get us our revenge but it's also kind [TS]

00:56:15   of a cool logical constructed plan and [TS]

00:56:18   several accidents funny laughs Adam you [TS]

00:56:20   know like he's lasted this is proud that [TS]

00:56:21   he's like gosto and willing to sale my [TS]

00:56:23   friends like I'm Michael you're not [TS]

00:56:25   going to do you know there's not a thing [TS]

00:56:26   that you do you know we're proud of you [TS]

00:56:27   i love you but just forget it but [TS]

00:56:29   Michael eventually prevailed [TS]

00:56:31   who's the guy who teaches Michael how to [TS]

00:56:33   do a hit is it tests you notice my name [TS]

00:56:36   is in command commander commander right [TS]

00:56:38   I love that says one of my favorite [TS]

00:56:39   little scenes in the movie because it's [TS]

00:56:41   more interesting to me them then the [TS]

00:56:43   scenery actually shoots the guys it's [TS]

00:56:45   the scene you know and and it's just one [TS]

00:56:47   of those things that to me feels [TS]

00:56:48   realistic because it i don't know if [TS]

00:56:49   that's actually the advice you want if [TS]

00:56:51   you're going to shoot a guy in a [TS]

00:56:52   restaurant but it sounds to me like good [TS]

00:56:54   advice right it doesn't matter if it [TS]

00:56:56   actually is gonna be like cereals like [TS]

00:56:58   I've got shot 50 people in restaurants [TS]

00:57:00   are you doing yeah yeah and it it's like [TS]

00:57:02   it was just what he said that he says [TS]

00:57:04   like and then whatever is going to be [TS]

00:57:06   looking at you don't worry about you [TS]

00:57:07   know no one's gonna be looking to go on [TS]

00:57:08   everyone to me staring at your face so [TS]

00:57:09   just put your hand down to your side and [TS]

00:57:11   drop the gun and like the best thing I [TS]

00:57:13   like buzz there in a basement in the [TS]

00:57:14   basement firing the gun and they have [TS]

00:57:16   the sound so loud like the sound of a [TS]

00:57:18   gun going off in a cement basement just [TS]

00:57:20   rings out and in the movie that you [TS]

00:57:22   realize it's gonna be super loud and [TS]

00:57:24   probably the hole in his wallet [TS]

00:57:25   this is the the conversation they have [TS]

00:57:27   in the in the restaurant is the we're [TS]

00:57:30   gonna we're gonna speak Italian now and [TS]

00:57:32   they end and then they speak Italian for [TS]

00:57:35   a while with no subtitles with no [TS]

00:57:37   subtitles for all of me out there but [TS]

00:57:40   like we're supposed to be it helps the [TS]

00:57:41   reason I think the reason without [TS]

00:57:42   subtitles is worth looking at Michael's [TS]

00:57:44   face [TS]

00:57:45   yeah we know right Michael is there to [TS]

00:57:46   do is the mom under the chair thing the [TS]

00:57:47   audience knows and Michael knows and [TS]

00:57:49   we're looking at his face and we realize [TS]

00:57:51   Michael's not listening to him speaking [TS]

00:57:52   Italian either because he's not thinking [TS]

00:57:54   about that you know you wouldn't be you [TS]

00:57:55   be thinking about how to shoot this guy [TS]

00:57:57   not hearing a word he's saying [TS]

00:57:58   so you might as well be speaking a [TS]

00:57:59   different language we didn't understand [TS]

00:58:01   the tension like he asked to go to the [TS]

00:58:02   bathroom and they're like they patted [TS]

00:58:04   down a couple of times the way he asked [TS]

00:58:07   to go to the bathroom like so that they [TS]

00:58:08   say speaking Italian back-and-forth [TS]

00:58:10   Michael's not listening and at a certain [TS]

00:58:12   point Michael who you can tell his cuz [TS]

00:58:15   he understands Italian but he's more [TS]

00:58:16   comfortable in English and so eventually [TS]

00:58:18   Michael starts to get frustrated at this [TS]

00:58:20   litany of like you know come on that [TS]

00:58:21   he's saying and he goes the other famous [TS]

00:58:23   line with this jar wiretap what I want [TS]

00:58:25   what's most important to me because he's [TS]

00:58:27   frustrated look just listen this is what [TS]

00:58:29   I want I just want you know my fault you [TS]

00:58:31   know [TS]

00:58:31   no further attempts are father's life or [TS]

00:58:33   whatever and he's like well who can say [TS]

00:58:35   like you know things happen or whatever [TS]

00:58:37   and Michael's like all right I'm going [TS]

00:58:39   to the bathroom like he's so pissed off [TS]

00:58:41   that he wouldn't even listen to reason [TS]

00:58:43   he was supposed to be like asked to go [TS]

00:58:45   to write in the cities like I'm going to [TS]

00:58:46   the bathroom that ok i'm going to go to [TS]

00:58:48   the bathroom and they [TS]

00:58:49   and the other guys eye twitches yes the [TS]

00:58:51   great seeing like he realizes that [TS]

00:58:53   something like he realized that as far [TS]

00:58:55   as Michaels concern like he gave it you [TS]

00:58:57   know because he doesn't want to shoot [TS]

00:58:58   the guy is not a thing he's done before [TS]

00:59:00   he's crying a bit about you listen just [TS]

00:59:02   I no more attempts on my father's life [TS]

00:59:03   is here now is like a good the bathroom [TS]

00:59:06   and get guys I switch and they want to [TS]

00:59:09   check them again and he says you know [TS]

00:59:10   he's going first them my friends first [TS]

00:59:12   play young punks or whatever he says [TS]

00:59:14   it's strange line right Michael almost [TS]

00:59:17   blows it because he doesn't want to [TS]

00:59:18   shoot him and he gets angry when he [TS]

00:59:20   shouldn't get angry he should be making [TS]

00:59:22   them feel comfortable and great [TS]

00:59:23   Goodfellow style being like we're all [TS]

00:59:25   friends here i'm not going to shoot you [TS]

00:59:27   in the head in five minutes and [TS]

00:59:28   everything is fine it's gonna go to the [TS]

00:59:29   bathroom okay ask for permission to go [TS]

00:59:31   to the bathroom [TS]

00:59:32   it does not ask for permission just [TS]

00:59:34   gotta go to the bathroom [TS]

00:59:35   it's a great scene because again he's [TS]

00:59:37   not he's not a super mastermind from the [TS]

00:59:39   get-go he almost blows this entire thing [TS]

00:59:41   it reveals his character that he doesn't [TS]

00:59:44   you know he's not used to maintaining [TS]

00:59:47   its cool under these kinds of pressures [TS]

00:59:48   once it gets the gun that a bogota has [TS]

00:59:51   correctly identify what the toilet is [TS]

00:59:54   like and it's restaurant in the bronx so [TS]

00:59:56   that he gets the gun he comes back out [TS]

00:59:57   and that is not only incredibly tense [TS]

00:59:59   scene [TS]

00:59:59   scene [TS]

01:00:00   but you're like just shoot him already [TS]

01:00:01   just shoot them are supposed to that was [TS]

01:00:02   the plan they were already planning to [TS]

01:00:05   come out of the bathroom come out [TS]

01:00:06   shooting he's worn drums out and we the [TS]

01:00:08   audience are expecting him to come out [TS]

01:00:10   shooting he does not come out shooting [TS]

01:00:11   why because it's really hard to shoot [TS]

01:00:12   someone if you've never done before she [TS]

01:00:14   comes and sits back down you're like not [TS]

01:00:16   what are you sitting back down you [TS]

01:00:17   supposed to shoot you're not going to [TS]

01:00:18   shoot them are you whipping out and so [TS]

01:00:20   he sits there again and just the train [TS]

01:00:22   starts coming and the noise starts [TS]

01:00:24   building and we're not paying attention [TS]

01:00:25   to anyone saying they're doing into [TS]

01:00:26   space and its jaws set amazing seen it [TS]

01:00:29   is and then and then so he kills them [TS]

01:00:32   and then you heat that he kind of walked [TS]

01:00:34   away and then kind of flings begun like [TS]

01:00:36   yeah not very smooth bring your arms [TS]

01:00:38   down to your side slowly and drop it [TS]

01:00:40   nope it's like flailing in the air Fredo [TS]

01:00:42   stop every time I see that scene i'm [TS]

01:00:44   like drop it just dropped Michael drop [TS]

01:00:45   it come on why you dropping every single [TS]

01:00:47   time he did he never does it right [TS]

01:00:50   oh and then we get spinning newspapers a [TS]

01:00:52   classic ya fito goes home these [TS]

01:00:57   conservative wield home in the hospital [TS]

01:01:00   bed he asked where Michael is and they [TS]

01:01:04   explained that he killed salat so and [TS]

01:01:06   and i would say this is a the The [TS]

01:01:09   Godfather you know video is sad [TS]

01:01:11   hehe I I feel like this is the you know [TS]

01:01:14   I i had my hopes for what Michael would [TS]

01:01:16   be and now michael has been swept up [TS]

01:01:19   into the into the family business and I [TS]

01:01:21   I i get the sense there that you know [TS]

01:01:23   that there's that that regret that that [TS]

01:01:25   Michael had to do that from the the very [TS]

01:01:27   ill veto in his in his bed and then [TS]

01:01:31   sunny starts killing people [TS]

01:01:33   yeah i really get the whole tragedy this [TS]

01:01:35   is michael has to basically say goodbye [TS]

01:01:37   decay and be like look go back to your [TS]

01:01:39   parents in New Hampshire which is like [TS]

01:01:40   the ultimate insulting destination a [TS]

01:01:42   white-bread destination for the Italians [TS]

01:01:44   to be telling the night go back to New [TS]

01:01:46   Hampshire we're gonna do a thing here [TS]

01:01:49   I'm you know when am I gonna see you [TS]

01:01:51   again don't know like and and he's gotta [TS]

01:01:54   go away he knows before he does this [TS]

01:01:55   that afterwards he's gonna go away [TS]

01:01:57   they're gonna go to the mattresses he's [TS]

01:01:58   gonna go to Italy and so it is this big [TS]

01:02:01   separation this big middle section where [TS]

01:02:03   it's like something dramatic has [TS]

01:02:04   happened and now we have the big reset [TS]

01:02:06   button and you don't know where the [TS]

01:02:07   movies going from here knows Michael [TS]

01:02:09   spends a lot of time in Italy and does [TS]

01:02:11   some significant things that [TS]

01:02:13   your intermission is basically here [TS]

01:02:14   right when Michael goes to Sicily you [TS]

01:02:16   could just you could just uh you know [TS]

01:02:18   fade out and send everybody out into the [TS]

01:02:20   lobby for a snack because that's [TS]

01:02:22   basically what happens in fact we watch [TS]

01:02:23   this over two nights and that's where I [TS]

01:02:24   stopped it was like we're just trying to [TS]

01:02:26   get to win Michael go to Sicily and then [TS]

01:02:27   we'll watch the next part later so now [TS]

01:02:30   we've got a couple things going on in [TS]

01:02:31   the in the next part so Michael [TS]

01:02:33   insistently we should probably talk [TS]

01:02:34   about that he's consistently he's with [TS]

01:02:36   the Italians he speaking Italian he gets [TS]

01:02:40   hit by the Thunderbolt which is the girl [TS]

01:02:42   apollonia but her father is reluctant [TS]

01:02:45   and you got the comedy relief of the two [TS]

01:02:47   bodyguards who are funny even if you [TS]

01:02:49   don't understand Italian even if you [TS]

01:02:50   don't read the the subtitles the two of [TS]

01:02:52   them are are quite a pair [TS]

01:02:54   I and you know they're there just like [TS]

01:02:56   what is Michael even doing there he's [TS]

01:02:58   just walking around the countryside with [TS]

01:02:59   his two bodyguards and seeing seeing the [TS]

01:03:01   pretty girls and ghosts go to talk to [TS]

01:03:02   the Father I my favorite part about [TS]

01:03:04   talking to father is the power move or [TS]

01:03:07   Michael decides to speak to the father [TS]

01:03:09   in English like that's a power move [TS]

01:03:10   amongst the provincial people they're [TS]

01:03:12   like I know I'm American [TS]

01:03:13   I i speak english and i'm going to [TS]

01:03:16   choose to speak English and have myself [TS]

01:03:17   translated because that like a certain [TS]

01:03:20   elements over you to show that I'm I'm [TS]

01:03:22   an American and you should be lucky I'm [TS]

01:03:23   even looking at your farm girl daughter [TS]

01:03:25   or whatever and he understands what they [TS]

01:03:27   say right he never has a translated back [TS]

01:03:29   he just like I'm going to speak English [TS]

01:03:31   you can you can have to translate for [TS]

01:03:33   you and uh but they but he marries her [TS]

01:03:35   she marries apollonia and we see we see [TS]

01:03:37   that seemed to that's a sweet section of [TS]

01:03:39   the movie like when he's walking with [TS]

01:03:41   her he goes to introduce himself to the [TS]

01:03:42   family and when they go for a walk [TS]

01:03:43   together for us to show the two that you [TS]

01:03:45   know the young couple going for walking [TS]

01:03:47   behind them the women are walking behind [TS]

01:03:49   the bodyguard case like this train of [TS]

01:03:51   the family like that and then the [TS]

01:03:52   bodyguards with the rear like it's a [TS]

01:03:54   supervised sort of in a more innocent [TS]

01:03:57   time like you can go on a walk with my [TS]

01:03:58   daughter but of course you can't go on a [TS]

01:04:00   walk with my daughter alone in fact the [TS]

01:04:01   entire family is going to fall behind a [TS]

01:04:03   train but will be respectable distance [TS]

01:04:04   you can have your private time together [TS]

01:04:06   but we all go and then the bodyguards [TS]

01:04:07   bringing up the rear it's like this is [TS]

01:04:10   actually not at your average courtship [TS]

01:04:12   here because there are bodies around [TS]

01:04:14   meanwhile back in the u.s. k has showed [TS]

01:04:16   up to try to find Michael and Tom's like [TS]

01:04:18   I can't tell you anything I can get you [TS]

01:04:20   a letter i can take a letter because [TS]

01:04:21   then it could be implied that I know [TS]

01:04:23   where he is and I can't so so that [TS]

01:04:25   that's that's happen [TS]

01:04:26   thing but be Michaels hanging out in the [TS]

01:04:28   consistently for a while he teaches his [TS]

01:04:30   wife how to get some English and how to [TS]

01:04:32   drive a car monday tuesday though as [TS]

01:04:34   they went to fridays look there's the [TS]

01:04:36   it's another it's such a subtle seen it [TS]

01:04:39   plays against all like stereotypes or [TS]

01:04:42   tropes that movies can fall into because [TS]

01:04:44   I remember the first time I saw it I i [TS]

01:04:46   remember being a little bored by the [TS]

01:04:48   whole system anything and it's like [TS]

01:04:49   where's this going and then he he [TS]

01:04:51   decided to get married to this italian [TS]

01:04:53   girl and it's like whoa where the hell [TS]

01:04:55   did that come from [TS]

01:04:56   and I don't know how much of it like I [TS]

01:04:58   don't know how big a star Diane Keaton [TS]

01:04:59   was in 1972 but by the time I saw the [TS]

01:05:01   Godfather I knew she was a star and the [TS]

01:05:03   fact you know by casting a star in a [TS]

01:05:06   roll it it says something it is part of [TS]

01:05:09   making a movie when you have somebody [TS]

01:05:11   like that and and k never did anything [TS]

01:05:13   wrong she never did anything that would [TS]

01:05:15   make her the least bit [TS]

01:05:16   it seems like wow this guy's got a great [TS]

01:05:18   he has a great girlfriend she's smart [TS]

01:05:20   she's pretty you know non-italian well [TS]

01:05:23   but me watching the movie i can see I [TS]

01:05:25   can totally see why Michael is is into [TS]

01:05:28   her and I don't know if I've ever seen a [TS]

01:05:30   movie where somebody just did dishes [TS]

01:05:31   there their significant other without [TS]

01:05:34   any kind of you know like they're it its [TS]

01:05:39   it's such a shock because you never did [TS]

01:05:41   anything there was never any kind of [TS]

01:05:43   strife between them and what it kind of [TS]

01:05:45   it says a lot about Michael ultimate [TS]

01:05:48   yeah is what it does yeah well I mean [TS]

01:05:49   michael has said it a big like he's at a [TS]

01:05:51   crisis point is life because it this is [TS]

01:05:53   what not what he spent his life to be [TS]

01:05:54   either committing double murder and then [TS]

01:05:56   running away to italy that's not was not [TS]

01:05:59   in his game plan like his college boy [TS]

01:06:01   army you know like he did all these [TS]

01:06:02   things and he finds out the situation I [TS]

01:06:05   feel like when he's in Italy he's kind [TS]

01:06:07   of like I guess this is my life now like [TS]

01:06:09   I i didn't think i would be part of this [TS]

01:06:12   crime family thing and now i am and I [TS]

01:06:16   guess I just should just fully embrace [TS]

01:06:17   it i should have an Italian i like it [TS]

01:06:19   like it i don't think he feels like he [TS]

01:06:21   should be marrying a at this point [TS]

01:06:22   because she was part of the life that he [TS]

01:06:24   wanted to have not the life that he [TS]

01:06:26   finds himself having after committing [TS]

01:06:28   double murder and running away to italy [TS]

01:06:29   and so he's there and he's like I you [TS]

01:06:32   know maybe this is a better wife for me [TS]

01:06:34   more like my mom italian wife is going [TS]

01:06:37   to be traditionally time not an American [TS]

01:06:38   life not a wife is part of the larger [TS]

01:06:40   society the Italians aren't allowed to [TS]

01:06:42   belong to i am now back down the gutter [TS]

01:06:44   with my family and you know this this is [TS]

01:06:47   what I should be doing and I think he's [TS]

01:06:49   thinking towards the future like if this [TS]

01:06:50   is going to be my life I want to do a [TS]

01:06:51   good job of that I should have a good [TS]

01:06:52   italian wife it turns out he's not that [TS]

01:06:54   he's right but that things would have [TS]

01:06:57   gone differently i think in this [TS]

01:06:59   in-between in-between this movie and the [TS]

01:07:00   godfather part two and for the rest of [TS]

01:07:01   godfather part two [TS]

01:07:02   if he had had a wife who didn't stand up [TS]

01:07:05   for herself and didn't like it didn't [TS]

01:07:08   want to be an actual fully actualized [TS]

01:07:09   person like k did which would cause many [TS]

01:07:11   problems and consternation to the [TS]

01:07:13   michael and in the later movies his plan [TS]

01:07:17   here in Italy make some sense to me but [TS]

01:07:19   then his wife of course does blow up [TS]

01:07:21   self that kind of puts a damper on that [TS]

01:07:23   yeah that's the that's where this the [TS]

01:07:24   story line ends is they say it's too [TS]

01:07:26   dangerous here we gotta move you to a [TS]

01:07:28   villa near siracusa hey with your head [TS]

01:07:31   and and she was she's so proud that she [TS]

01:07:34   can drive now that she wants to drive [TS]

01:07:35   the car and he sees the guy running away [TS]

01:07:38   to breach knows that something's wrong [TS]

01:07:40   and says no stop and the car blows up [TS]

01:07:42   and she dies the way they have the they [TS]

01:07:44   show the reaction shot of Michael after [TS]

01:07:46   the explosion they want to show him [TS]

01:07:47   being blown backwards but they don't [TS]

01:07:49   have like you know modern wire food [TS]

01:07:51   things to make me be tumbled backward in [TS]

01:07:53   slow-motion so they just have like a [TS]

01:07:55   sped-up camera him falling backwards [TS]

01:07:57   into a bush and it does not look great [TS]

01:07:58   hit by modern standards it looks it's [TS]

01:08:01   almost comical it's almost like Keystone [TS]

01:08:03   Cops like it you know Buster Keaton or [TS]

01:08:04   use flips backwards really quickly and [TS]

01:08:06   obviously sped up piece of film and a [TS]

01:08:08   non particularly dramatic way but that [TS]

01:08:11   that's a great symbol and it feels [TS]

01:08:13   tragic because if you are lulled into a [TS]

01:08:15   sense of like Italy's nice look at the [TS]

01:08:18   goats for life and and like everything [TS]

01:08:22   is going well and like people in this [TS]

01:08:23   like he hasn't been engaging his brain [TS]

01:08:25   he engaged his brain to to get the wife [TS]

01:08:28   to say here so I have to talk to the dad [TS]

01:08:30   to get this time but it's low stakes [TS]

01:08:31   right and everything seems to be going [TS]

01:08:33   fine until he's like he he sees that the [TS]

01:08:35   bodyguard walking is where are you going [TS]

01:08:37   and like his brain reengage all of a [TS]

01:08:39   sudden all the gears catch again and he [TS]

01:08:41   immediately realizes she's gonna blow up [TS]

01:08:43   he realizes that the end that that's the [TS]

01:08:45   end of his life and his new life for [TS]

01:08:48   himself and really that's [TS]

01:08:49   the video and it's a it's a tragedy he's [TS]

01:08:51   gotta snap out of this [TS]

01:08:52   snap out of this daydream that he was [TS]

01:08:54   living reengage all the gears and [TS]

01:08:56   re-engage with what's really going on [TS]

01:08:58   back over in America [TS]

01:08:59   yeah so meanwhile back in america uh [TS]

01:09:01   there there Sonny wants to fight to [TS]

01:09:05   Talia but he goes and sees he goes and [TS]

01:09:08   sees Connie and she's been beat up and [TS]

01:09:11   she begs sunny not to kill her husband [TS]

01:09:14   but he certainly beats him in the street [TS]

01:09:16   so that that was a trashcan yeah good [TS]

01:09:20   one of the the most scientists as far as [TS]

01:09:22   either are beasts punches ever put into [TS]

01:09:24   movies like zone it's you know you know [TS]

01:09:26   stage punches we have to do with the [TS]

01:09:28   camera with you can see that they're [TS]

01:09:29   actually making contact and they do it [TS]

01:09:30   incredible fight she might think it's [TS]

01:09:32   beautifully shot but just like one long [TS]

01:09:34   continuous shot of like chasing them [TS]

01:09:36   into the little like fire escape area [TS]

01:09:38   and like doing all this stuff him but [TS]

01:09:39   there is one punch in that scene because [TS]

01:09:41   it's one unbroken shot and they didn't [TS]

01:09:42   have the magic of digital editing that [TS]

01:09:44   is like a foot and a half away from [TS]

01:09:45   Carlos space and they just left it in [TS]

01:09:47   the movie and it's like what can you do [TS]

01:09:49   you're gonna do that whole scene again [TS]

01:09:50   this they probably did 20 takes and [TS]

01:09:52   visit the best of what we got we cannot [TS]

01:09:53   digitally move his hand closer to his [TS]

01:09:55   face just one scene where they were [TS]

01:09:56   sidelong to the camera all the other [TS]

01:09:58   ones they were front to back or back to [TS]

01:09:59   front and you can see that they're not [TS]

01:10:00   landing in the fully covers it but [TS]

01:10:02   that's a big with and you never you know [TS]

01:10:05   at the time in 1972 the idea maybe maybe [TS]

01:10:08   if this is as good as we hope it is [TS]

01:10:09   maybe somebody will see it twice yeah [TS]

01:10:11   right i'm gonna watch it over and over [TS]

01:10:13   again keep seeing that punch that land [TS]

01:10:15   then Connie Elena in a little bit later [TS]

01:10:18   scene after k has showed up trying to [TS]

01:10:21   look for Michael she she gets a call [TS]

01:10:22   from her husband's mistress she totally [TS]

01:10:26   loses it they fight she breaks a lot of [TS]

01:10:29   stuff and throws a lot of stuff on the [TS]

01:10:30   floor the babies the babies are crying a [TS]

01:10:34   lot of crying loud crying babies in this [TS]

01:10:36   movie I guess that says something about [TS]

01:10:37   family but I i noticed it like there's a [TS]

01:10:40   lot of aggressive baby crying in this [TS]

01:10:44   movie we like I can't hear the babies [TS]

01:10:46   crying and it went together but they [TS]

01:10:48   call the mothers like I can't hear can't [TS]

01:10:50   nobody say and it baby's grave is gonna [TS]

01:10:52   be fun to someone else she's the mother [TS]

01:10:53   vetoes wife is so not engaged in this [TS]

01:10:57   world at all the point where it's like [TS]

01:10:59   she can't even talk to you on the phone [TS]

01:11:00   about this important thing is the baby [TS]

01:11:01   screaming but you know they they have [TS]

01:11:03   this fight and you know Sonny freaks out [TS]

01:11:05   again and he he's gonna run right over [TS]

01:11:09   there and kill that kill kill that [TS]

01:11:11   husband and so he gets in the car and [TS]

01:11:15   they're like oh you got to deal with [TS]

01:11:16   bodyguards chase after me and he's gonna [TS]

01:11:19   go and Andrea here we go Sonny's gonna [TS]

01:11:22   take that guy out and what happens well [TS]

01:11:25   he's on the it's on the he's gonna paint [TS]

01:11:28   the toes away [TS]

01:11:29   he's on the causeway is going to pay the [TS]

01:11:30   toll booth and there's guys with guns [TS]

01:11:33   waiting at the toll booth he didn't have [TS]

01:11:35   exact change that's no easy Patrick and [TS]

01:11:40   so they take them out which is a that's [TS]

01:11:41   it that's a shock moment I think if [TS]

01:11:43   you're if you're not if you haven't seen [TS]

01:11:44   this movie before you you don't expect [TS]

01:11:47   that Sonny is gonna get waylaid on the [TS]

01:11:48   way to the tip to beat up Connie's [TS]

01:11:50   husband but that's what happens is that [TS]

01:11:52   a nice little thing where they close the [TS]

01:11:54   door like how do you know when he's [TS]

01:11:55   gonna get hit they take his money they [TS]

01:11:57   just slide the door closed and the guy [TS]

01:11:58   goes away and you're like wait so what's [TS]

01:12:00   like it's another one of those with [TS]

01:12:01   troops to be picked up or like a normal [TS]

01:12:03   scene [TS]

01:12:03   everything seems to be going fine until [TS]

01:12:04   all of a sudden the normalcy disappears [TS]

01:12:06   and then remember the guns up here and I [TS]

01:12:08   feel like this entire scene and maybe [TS]

01:12:09   the entire movie was sponsored by the [TS]

01:12:10   squib union because the number of [TS]

01:12:12   squares we go off on his chest like [TS]

01:12:14   shooting with tommy guns or whatever and [TS]

01:12:17   it is like they don't just shooting with [TS]

01:12:18   your time so they cut away [TS]

01:12:20   it's just like let me show you him being [TS]

01:12:21   shot like dozens and dozens of times and [TS]

01:12:24   even when he's dead with a million [TS]

01:12:26   exploded squibs on we're going to do one [TS]

01:12:27   more sweep across them just to make sure [TS]

01:12:29   like it is it is a brutal killing [TS]

01:12:31   probably not matched by anything that's [TS]

01:12:33   not a b-movie maybe robocop when they [TS]

01:12:35   they should shoot him in the alleyway [TS]

01:12:38   I'm seen that new years is closed but [TS]

01:12:39   like the unflinching this of like the [TS]

01:12:41   camera is going to show you him being [TS]

01:12:43   shot the whole way through so you really [TS]

01:12:46   get that he's dead dead dead [TS]

01:12:47   it's it's only a couple years after [TS]

01:12:49   Bonnie and Clyde which is a very similar [TS]

01:12:51   yeah machine-gun killing multiple [TS]

01:12:54   killing at the end the scream union is [TS]

01:12:55   very strong [TS]

01:12:56   yeah they're good they got they got [TS]

01:12:58   people on it this is a point i forget [TS]

01:13:00   about so did tires husband [TS]

01:13:02   what's-his-name Carla so was he he was [TS]

01:13:04   in on it like the slot to the salon [TS]

01:13:07   because he yeah he wanted it that this [TS]

01:13:09   is that this took me this is one of [TS]

01:13:11   those points that took me like like the [TS]

01:13:12   seventh time I saw the movie [TS]

01:13:14   I was like oh I'm stupid I got it [TS]

01:13:18   because he wanted to be in the Corleone [TS]

01:13:20   family and they're there they kept [TS]

01:13:21   pushing them out and they're like you're [TS]

01:13:23   just started sister's husband you know [TS]

01:13:24   you're not in and give them a living but [TS]

01:13:26   he'll never be going to different part [TS]

01:13:27   of it was never really part of the [TS]

01:13:28   family and then the salaat so people get [TS]

01:13:31   you know hehe you know because that's [TS]

01:13:33   what he wants to be he wants to be a big [TS]

01:13:34   shot gangster and so they're gonna give [TS]

01:13:35   him a shot and all you gotta do it they [TS]

01:13:37   say look just you know beat up your wife [TS]

01:13:39   little Sonny's gonna come right over and [TS]

01:13:41   we'll take care of the rest [TS]

01:13:42   yeah and-and-and you get that line much [TS]

01:13:45   later on right after Tessio gets it they [TS]

01:13:48   they say you gotta answer for Santino [TS]

01:13:50   Carl that's when they say it like that's [TS]

01:13:53   but that's not all ending of the movie [TS]

01:13:55   where is Michael given the ticket [TS]

01:13:56   another you know where everything is [TS]

01:13:58   fine here until I get the piece of [TS]

01:13:59   information I want from you and then [TS]

01:14:00   yeah so son is gone [TS]

01:14:02   uh Vito has to ask Tom what it is he [TS]

01:14:06   says I just I just heard I was gonna [TS]

01:14:08   come and tell you and my wife is my wife [TS]

01:14:10   is crying and all those things happen [TS]

01:14:12   that that Sonny is dead [TS]

01:14:14   it's another luxurious nothing luxurious [TS]

01:14:16   scene because again like we know this [TS]

01:14:18   information has to be communicated from [TS]

01:14:19   you know that eventually the government [TS]

01:14:21   has to find out and you could have a [TS]

01:14:22   scene with him telling it but they they [TS]

01:14:25   spend the extra time to say we've got [TS]

01:14:26   three are run by mere spend the extra [TS]

01:14:28   time showing Tom prepared to tell him [TS]

01:14:30   showing video finding and preparing [TS]

01:14:32   having them discuss about the fact that [TS]

01:14:34   he's preparing and then finally tell him [TS]

01:14:36   with a very you know very concise [TS]

01:14:38   writing shot Sonny on the causeway he's [TS]

01:14:40   dead [TS]

01:14:40   yeah lots of short sentence in this [TS]

01:14:42   movie which is a refreshing change from [TS]

01:14:44   a lot of the movies these days where [TS]

01:14:45   everyone is shucking and jiving about [TS]

01:14:47   everything so that the call in a favor [TS]

01:14:49   to the guy from the first scene at the [TS]

01:14:51   funeral parlor [TS]

01:14:52   it's it's chicos favor and a good slow [TS]

01:14:55   zoom down because of this one again [TS]

01:14:57   people have been keeping track of like [TS]

01:14:59   what was that guy's profession on the [TS]

01:15:00   first thing like this point you don't [TS]

01:15:01   remember that it is kind of reveal when [TS]

01:15:04   they come in down the stairs you see him [TS]

01:15:05   there sitting there is weight like it's [TS]

01:15:07   in the middle of the night but he's got [TS]

01:15:08   dressed up all on a student is ready to [TS]

01:15:09   receive the Godfather what is this favor [TS]

01:15:11   that you want to manually think he's [TS]

01:15:12   thinking the worst like what do I need [TS]

01:15:13   to do whatever turns out we just need [TS]

01:15:15   you to do your profession in extremely [TS]

01:15:17   dire circumstances and he's there and [TS]

01:15:19   he's ready to do it look how they [TS]

01:15:20   massacred my boy home and [TS]

01:15:22   its mother seemed like this so the five [TS]

01:15:24   the five families they have a meeting [TS]

01:15:26   and we here [TS]

01:15:28   I believe this drug business will [TS]

01:15:30   destroy us it's a line in the seam which [TS]

01:15:33   i I just I really like the idea that [TS]

01:15:34   this is the thing that's really driving [TS]

01:15:36   a wedge between the the mob families in [TS]

01:15:39   New York is do we get into drugs or not [TS]

01:15:42   it's like no this is bad the police [TS]

01:15:43   aren't gonna go look at the look away at [TS]

01:15:45   some stuff but the you know we're not [TS]

01:15:48   going to be able to do this but they cut [TS]

01:15:50   a deal [TS]

01:15:51   they cut a deal to allow drugs to [TS]

01:15:54   forswear vengeance keep you know keep [TS]

01:15:56   the hands off of michael is a challenge [TS]

01:15:59   lost a son like I mean this marlon [TS]

01:16:01   brando and Vito Corleone says like look [TS]

01:16:03   this has gone too far [TS]

01:16:04   Sony's dead i need to settle this so [TS]

01:16:05   he's pulling out his skills and his [TS]

01:16:07   skills as a user peacemakers and [TS]

01:16:09   negotiator he's gonna come in there he's [TS]

01:16:10   gonna do think that Sonny couldn't i [TS]

01:16:12   forgo the Vengeance of my son is unusual [TS]

01:16:15   son everything is fine [TS]

01:16:16   we're going to the deal drugs will be [TS]

01:16:18   allowed limited it like he is he's a [TS]

01:16:20   politician he's making the deals that [TS]

01:16:22   have to be made but it you know and [TS]

01:16:24   again barzinis up at the head of the [TS]

01:16:25   table kind of watching us all that's how [TS]

01:16:27   that's how we do figures out his party [TS]

01:16:29   go very a very next thing is it was [TS]

01:16:31   partying all along but like The [TS]

01:16:33   Godfather after this whole thing we all [TS]

01:16:35   agree you know oh you've got all the [TS]

01:16:37   positives your pocket when have I ever [TS]

01:16:38   refused an accommodation I'm a [TS]

01:16:40   reasonable person you know maybe like [TS]

01:16:42   does all the thing and he ends with and [TS]

01:16:44   this is the deal but by the way if [TS]

01:16:47   anything happens to Michael he gets it [TS]

01:16:49   you know hit by car struck by a bolt of [TS]

01:16:51   lightning that I will not forgive like [TS]

01:16:54   he's asserting his dominance is like [TS]

01:16:56   look there's a limit here this is what [TS]

01:16:58   i'm going for we're gonna do this deal [TS]

01:16:59   but if he trips and Falls and scrapes [TS]

01:17:02   his nose going to kill everybody right [TS]

01:17:03   struck by a bolt of lightning so case [TS]

01:17:06   shows up and Michael or i should say [TS]

01:17:09   Michael shows up after being back for a [TS]

01:17:11   year with k and it's like hey uh we [TS]

01:17:14   should go we should get married when you [TS]

01:17:15   get back [TS]

01:17:16   about a year ago yeah that's it so it's [TS]

01:17:18   so weird I how Michael deals with k mean [TS]

01:17:21   k is useful to have to have his his wife [TS]

01:17:24   and be you know and he needs one and so [TS]

01:17:27   he kind of drops her and goes to Italy [TS]

01:17:30   and marry somebody and all of that but [TS]

01:17:32   now he needs someone and he know [TS]

01:17:34   as her and it's a it's it's it's very [TS]

01:17:37   hard for me to watch the scene because [TS]

01:17:38   it's just so calculated like oh i love [TS]

01:17:40   you i need you and all that marry me and [TS]

01:17:43   it's just you know come on Michael but [TS]

01:17:45   that you know Jesus she's sort of a [TS]

01:17:48   sucker for it and he says oh I'm going [TS]

01:17:50   legit we're gonna get out of the bed [TS]

01:17:52   businesses don't worry about it and uh [TS]

01:17:55   oh that's difficult and dangerous as you [TS]

01:17:58   know what about your father's business [TS]

01:17:59   about this wasn't gonna be you and me [TS]

01:18:01   and he he goes to bat for his father and [TS]

01:18:03   he's already fully converted this point [TS]

01:18:05   he's going to bat first followed the [TS]

01:18:06   case is looking listen my father's no [TS]

01:18:07   different than any other powerful man [TS]

01:18:09   right and then she's like Michael you [TS]

01:18:10   know yea high senator president you know [TS]

01:18:12   the center of the friends I have people [TS]

01:18:14   killed you know you know how naive you [TS]

01:18:15   said you know it's such a great scene [TS]

01:18:17   where they both call each other on their [TS]

01:18:19   BS and sort of come to an understanding [TS]

01:18:20   because a she still loves him and her [TS]

01:18:23   prospects as a spinster New Hampshire [TS]

01:18:25   don't look too great right and be key [TS]

01:18:28   plays on table I need a wife to give me [TS]

01:18:30   children and I want to be a family man [TS]

01:18:31   like my father which is not the most [TS]

01:18:33   romantic pitch and you kind of see [TS]

01:18:34   Michael ghetto through your gritted [TS]

01:18:37   teeth it's like I this is the thing I [TS]

01:18:39   need to him by so let's let's make this [TS]

01:18:42   happen you know [TS]

01:18:43   yeah that's it it's it's like it's all [TS]

01:18:45   business essentially we have a weird a [TS]

01:18:49   weird little uh thing that we get more [TS]

01:18:52   of Nevada and the second movie but we [TS]

01:18:54   have this letter now now here before the [TS]

01:18:56   big finale we get our little diversion [TS]

01:18:59   to Vegas because they're going to get [TS]

01:19:00   into the casino business this is where [TS]

01:19:04   michael says we're going to make Carlo [TS]

01:19:07   the constantly airy that is the that is [TS]

01:19:10   Connie's abusive husband and tom is [TS]

01:19:13   going to be our lawyer in vegas vegas [TS]

01:19:15   Fredo is mr. vegas he is partying with [TS]

01:19:19   Johnny cocktail waitress at a time he's [TS]

01:19:21   been hanging out with no green they set [TS]

01:19:23   up that whole thing for Michael with all [TS]

01:19:25   the girls all that was like who are [TS]

01:19:26   these girls would get it all out of here [TS]

01:19:28   get the band out of here you know get it [TS]

01:19:31   get it all out of here [TS]

01:19:32   he has a great speech with no green wear [TS]

01:19:34   green else rocko great [TS]

01:19:36   that's right now so great is not wanted [TS]

01:19:38   here is crap at all [TS]

01:19:40   and he goes through this whole thing [TS]

01:19:41   it's like you know your casinos money is [TS]

01:19:44   what you trying to say trying to say I'm [TS]

01:19:45   skimming off the top and michael has one [TS]

01:19:46   of the best most cutting lines the [TS]

01:19:48   entire thing when he's talking to a [TS]

01:19:49   casino honor who is losing money [TS]

01:19:51   who said you trying to say I'm skimming [TS]

01:19:52   off the top michael says you're unlucky [TS]

01:19:54   is the most the worst thing you could [TS]

01:19:56   say to a casino owner was just so-so [TS]

01:20:00   like he is so brutal it in this scene [TS]

01:20:03   and you don't know if he hasn't done [TS]

01:20:04   anything to back it up with this one [TS]

01:20:05   because at this point might start to [TS]

01:20:07   feel like he's overconfidence like we [TS]

01:20:09   saw you perform with the whole cop thing [TS]

01:20:11   and you got the job done but not [TS]

01:20:12   particularly smoothly and here you are [TS]

01:20:14   sort of pumping yourself up and acting [TS]

01:20:16   all serious you know I'm afraid all [TS]

01:20:18   comes down so you don't come to Las [TS]

01:20:19   Vegas talk to mo green like that we kind [TS]

01:20:21   of belief radio it's like yeah Michael [TS]

01:20:23   like you're not that you're not the king [TS]

01:20:25   here and you know as most says things [TS]

01:20:27   aren't going well for your family you're [TS]

01:20:28   on the downswing you can't come here and [TS]

01:20:30   strong army you wonder how this is gonna [TS]

01:20:32   end [TS]

01:20:33   turns out both the I yeah it's not gonna [TS]

01:20:35   go well for remote from Oh green and [TS]

01:20:37   Fredo course gets also lecture here [TS]

01:20:39   don't don't ever take sides against the [TS]

01:20:41   family like don't forget who you who you [TS]

01:20:43   are [TS]

01:20:44   you got to be with the family Fredo [TS]

01:20:46   don't don't turn Vegas here you gotta be [TS]

01:20:48   you gotta be with the family friend [TS]

01:20:51   you're my brother and I love you but [TS]

01:20:52   he'll never make that mistake again [TS]

01:20:55   no how about the shot we're motoring [TS]

01:20:56   gets the bullet right through the [TS]

01:20:58   glasses know yet a very brutal more [TS]

01:21:01   squibs well it's it's a little little [TS]

01:21:03   tube of blood that goes through the [TS]

01:21:04   glasses and sprays up the back so yeah [TS]

01:21:07   you've spoiled their you ruined [TS]

01:21:09   everything Joe now you'd be really [TS]

01:21:10   strange magic yeah you can kind of see [TS]

01:21:12   that the way they didn't like my [TS]

01:21:14   favorite part of that scene is hairy [TS]

01:21:15   back [TS]

01:21:16   that's like back in the seventies when [TS]

01:21:18   you read show men's bodies that did not [TS]

01:21:20   look like Adonis is it's just alex Rocco [TS]

01:21:24   was just too just a guy getting his [TS]

01:21:26   massage you know [TS]

01:21:28   honest Harry back it looks up with [TS]

01:21:29   what's going on so the of the vehicle [TS]

01:21:31   retirement plan one of the things I [TS]

01:21:34   really love so he you know he said we [TS]

01:21:36   get the scene where he's like look [TS]

01:21:38   Michael charge you listen to Michael I [TS]

01:21:40   don't wanna hear about it now we get we [TS]

01:21:41   get the scene where he's he's a in his [TS]

01:21:45   he's in his yard where we saw the [TS]

01:21:47   wedding earlier and he says I like to [TS]

01:21:49   drink wine more than I used to [TS]

01:21:51   I never want you know I never was [TS]

01:21:53   did this for you he says and then and [TS]

01:21:57   and he does some so all this stuff with [TS]

01:22:00   Marlon Brando here at the end is really [TS]

01:22:02   great so so he says it is an amazing [TS]

01:22:04   scene he's like here's what they'll do [TS]

01:22:06   they will come to you and someone will [TS]

01:22:09   come to you and say we want to broker a [TS]

01:22:11   meeting in a neutral location and that's [TS]

01:22:13   where they'll assassinate you and [TS]

01:22:14   associate trust someone you trust [TS]

01:22:16   implicitly will come to you and the [TS]

01:22:17   person who comes is the traitor is like [TS]

01:22:19   that I tell you that already thank you [TS]

01:22:21   told me pop like if you get a little [TS]

01:22:22   repeating himself and his age he's just [TS]

01:22:24   trying to go through he still got he [TS]

01:22:26   still knows the movie still got the [TS]

01:22:27   strategy to be slow and drinking a lot [TS]

01:22:29   of wine so my cousin my cousin Mike [TS]

01:22:32   loves he loves online and his told me on [TS]

01:22:36   more than one occasion I want to go out [TS]

01:22:38   like veto in The Godfather I want to be [TS]

01:22:40   drinking wine not entirely sure where I [TS]

01:22:43   am playing with my grandchildren and I [TS]

01:22:45   just want to fall over in kindergarten [TS]

01:22:48   get long island was pretty beautiful my [TS]

01:22:50   kids and my grandkids are running around [TS]

01:22:52   i'm happy i got wine and then I just lay [TS]

01:22:55   down and it's over like that was his [TS]

01:22:57   goal Michael probably die exactly the [TS]

01:22:59   same way right now sure the very similar [TS]

01:23:02   circumstances the orange he puts the [TS]

01:23:04   oranges in the mouth is like be right [TS]

01:23:07   and that's the oranges or death man come [TS]

01:23:09   on oranges are def did you not and [TS]

01:23:12   that's and that's it for The Godfather [TS]

01:23:13   and it would be such a great ending to [TS]

01:23:15   the movie but it's not the end of the [TS]

01:23:17   movie it's just the end devito Corleone [TS]

01:23:19   the records using a protagonist he's not [TS]

01:23:21   the protagonist that's right you can see [TS]

01:23:23   it right that he falls over and then the [TS]

01:23:24   music comes up dunno and that's the end [TS]

01:23:28   of movie but I couldn't ended there [TS]

01:23:29   because again the families on the down [TS]

01:23:31   exactly how Michaels how Michael is [TS]

01:23:33   going to be able you haven't resolved [TS]

01:23:34   the inherent conflict the movie you just [TS]

01:23:36   taken one of the big players off the [TS]

01:23:37   board and given him a farewell that will [TS]

01:23:41   stand that that farewell and his death [TS]

01:23:43   will stand as like that sets up the [TS]

01:23:45   godfather part two like yeah that that [TS]

01:23:47   is always there is the contrast [TS]

01:23:48   everything Michael does going forward it [TS]

01:23:51   to show how how he is diverging from [TS]

01:23:53   that path despite the fact that video [TS]

01:23:55   you know it's not a perfect person and [TS]

01:23:57   we know all his flaws and you know we [TS]

01:23:58   know what kind of man [TS]

01:23:59   he actually was and we learn more about [TS]

01:24:01   it but it's just that's why they get me [TS]

01:24:03   a little while the godfather part two is [TS]

01:24:04   so great where they show the contrast [TS]

01:24:05   like it while you're watching all the [TS]

01:24:07   bark to you just have to keep thinking [TS]

01:24:09   back to what was videos family like was [TS]

01:24:11   videos house like what was because death [TS]

01:24:13   like what was videos relationship with [TS]

01:24:14   his siblings in a wife like and just [TS]

01:24:16   compared to michaels attempts to to fill [TS]

01:24:20   his father's shoes and finding himself [TS]

01:24:22   wanting and every spread my name mean [TS]

01:24:24   that's the beauty of the second one is [TS]

01:24:25   that you're seeing Michael trying to [TS]

01:24:28   become veto and you're also seeing video [TS]

01:24:30   becoming veto yeah which is just that's [TS]

01:24:32   a lovely balance and that takes us to [TS]

01:24:35   the amazing final set of scenes for this [TS]

01:24:41   movie in which we in which we discover [TS]

01:24:44   Oh a bogota Tessio Tessio was always [TS]

01:24:48   smarter and smarter and oh he's the [TS]

01:24:50   traitor and I've decided to be godfather [TS]

01:24:53   to Connie's baby so we're gonna have the [TS]

01:24:55   scene where we have the baptism and and [TS]

01:24:59   Michael is being named God for father [TS]

01:25:01   and it is also now he is literally the [TS]

01:25:04   vanity father and it's all crosscut with [TS]

01:25:08   settling all family business and it is [TS]

01:25:12   it is just amazing do you renounce Satan [TS]

01:25:14   I do it's so amazing and I really do [TS]

01:25:20   love when they get a pagoda i love his [TS]

01:25:23   line which is tell Michael it was only [TS]

01:25:25   business always liked him like yeah I [TS]

01:25:27   get it and they put in the middle tries [TS]

01:25:29   one last can you get me off for old [TS]

01:25:31   times sake and Tom goes can't do you [TS]

01:25:33   know I can't do it [TS]

01:25:34   nope told it's this out it has to be and [TS]

01:25:37   he knows it and Carlo gets it you gotta [TS]

01:25:40   answer for Santino that a and it's like [TS]

01:25:44   don't know you you'll be fine we're [TS]

01:25:46   going we're going to send you to Vegas [TS]

01:25:47   it'll be fine yeah he reassures him [TS]

01:25:50   because he needs but since that this is [TS]

01:25:52   a quirk of Michael you need to know am i [TS]

01:25:55   killing you is still am i killing this [TS]

01:25:56   percent unjustified like I think he had [TS]

01:25:59   something to it but he really didn't he [TS]

01:26:01   needs to know whether it's true so he's [TS]

01:26:02   like everything's fine i bought your [TS]

01:26:04   plane ticket i truly believe Michael [TS]

01:26:05   bought him a plane yeah he's paid money [TS]

01:26:07   for a real plane ticket like you're [TS]

01:26:09   going to go here this is you're out of [TS]

01:26:11   the family business that's your [TS]

01:26:12   punishment [TS]

01:26:12   got to make it sound plausible so he [TS]

01:26:14   will open up and he will admit or [TS]

01:26:16   whatever and then my cloak and I are [TS]

01:26:17   close the door now we're going to kind [TS]

01:26:19   of work until he mimicked in that car is [TS]

01:26:20   like that's you know we broke that [TS]

01:26:22   yeah that was the windshield when I got [TS]

01:26:23   confused with a little broken broken [TS]

01:26:25   windshield of my car you should kill him [TS]

01:26:27   like I don't know somewhere else don't [TS]

01:26:29   waste the windshield of the car but he's [TS]

01:26:30   gone and and yeah so everybody everybody [TS]

01:26:35   gets it while the baptism is going on [TS]

01:26:36   and it's all just intercut and it's a [TS]

01:26:38   it's amazing it's masterful i think a [TS]

01:26:41   lot of people who like The Godfather [TS]

01:26:42   take from this which is unfortunate and [TS]

01:26:44   plays out into a lot of lesser gangster [TS]

01:26:46   movies is that to win the world of [TS]

01:26:49   organized crime you just have to be like [TS]

01:26:50   tougher than the other guy killed like [TS]

01:26:53   people come away from it with a sunny [TS]

01:26:55   strategy like Oh Michael one because he [TS]

01:26:57   killed all the other guys before they [TS]

01:26:58   could kill him like it was just a little [TS]

01:27:00   game of army men it's like I'm bigger [TS]

01:27:02   and tougher and I kill you [TS]

01:27:04   that's the sunny strategy that's not why [TS]

01:27:05   he won the reason he won is because he [TS]

01:27:08   realized that in this position where he [TS]

01:27:10   is but the family is going down and he [TS]

01:27:13   is not seen as a threat he can't win a [TS]

01:27:15   war against these people the only way [TS]

01:27:17   you can win is if he gets himself off [TS]

01:27:19   the playing field he spent the whole [TS]

01:27:20   time of the baptism right and [TS]

01:27:23   simultaneously surgically strikes the [TS]

01:27:25   few key points he needs to hit [TS]

01:27:27   simultaneously is important because he [TS]

01:27:29   needs to get them all at once it gets [TS]

01:27:30   one or two everything will crash down on [TS]

01:27:32   him and the only reason he gets away [TS]

01:27:34   with it is because they have a false [TS]

01:27:35   sense of confidence that the the [TS]

01:27:37   Corleone family is on the way out they [TS]

01:27:38   just attended vetoes funeral they're all [TS]

01:27:40   their views funeral glad-handing each [TS]

01:27:42   other like they're smiling and shaking [TS]

01:27:43   hands like barzinis like this is great [TS]

01:27:45   like we've done it we've won [TS]

01:27:46   that's why Michael wins not because he's [TS]

01:27:48   like you know like all the other movies [TS]

01:27:50   like I'm gonna be the toughest bosses [TS]

01:27:52   are gonna kill all the other guys that's [TS]

01:27:53   not the strategy strategy is essentially [TS]

01:27:55   surgical strike sneak attack [TS]

01:27:56   simultaneity plausible deniability [TS]

01:27:59   looking like i'm not a threat because [TS]

01:28:01   i'm at a baptism so it's it's a genius [TS]

01:28:03   strategy not a that because again this [TS]

01:28:05   into your announcing areas like Oh [TS]

01:28:06   Michael so tough that's not it he's [TS]

01:28:08   wanting to be smart not because he is [TS]

01:28:10   killing everything John at the cost of [TS]

01:28:12   his soul [TS]

01:28:13   let's see it's entirely subtle but i do [TS]

01:28:16   love that this lady we have Satan and [TS]

01:28:18   you look like a Mac that the massive [TS]

01:28:20   stone latin [TS]

01:28:21   together throwback yeah well and i want [TS]

01:28:23   what i love about that is the the organ [TS]

01:28:25   this it's not something nobody argued [TS]

01:28:28   the organized everything on Brandi [TS]

01:28:30   that's what I love about it is not [TS]

01:28:31   subtle at all but it's so as the last [TS]

01:28:33   that the final piece of this film three [TS]

01:28:35   hours we spent and here it is he is [TS]

01:28:38   completely becoming the godfather of [TS]

01:28:39   this family [TS]

01:28:40   he is finishing the family business the [TS]

01:28:42   organ is playing wherein the we're in [TS]

01:28:45   the Catholic Church he's being asked to [TS]

01:28:47   renounce Satan there's Latin it's all [TS]

01:28:49   just you know heightened and that's what [TS]

01:28:53   makes it so great i think is that it is [TS]

01:28:54   so operatic and and huge that this is [TS]

01:28:57   all happening simultaneously so many of [TS]

01:28:59   the small of the other moments in the [TS]

01:29:01   three hours preceding were so small like [TS]

01:29:02   we said like the opening is just a guy [TS]

01:29:05   listening to a local Undertaker ask him [TS]

01:29:07   for help with his daughters abusive [TS]

01:29:09   boyfriend or whatever and and a scene [TS]

01:29:11   like the most exciting scene in the [TS]

01:29:13   movie up until now is a guy in a nurse [TS]

01:29:16   in a hospital moving an old man's bed [TS]

01:29:18   right but it's super exciting but it's [TS]

01:29:20   all these little things and then it just [TS]

01:29:21   all pays off with true you know i truly [TS]

01:29:25   fired its fireworks at the end of the [TS]

01:29:27   day at disneyland and Moe Greene is in [TS]

01:29:29   the sequence by the way we got a secret [TS]

01:29:31   ceremony green is one of the ones that [TS]

01:29:32   get that gets wax again it's got to be [TS]

01:29:34   simultaneous all I was going and every [TS]

01:29:36   one of the little assassinations is [TS]

01:29:38   clever and interesting is not just like [TS]

01:29:40   you know they have the guy disguise as a [TS]

01:29:41   cop who like pick them off from a [TS]

01:29:43   distance he's got his best market on [TS]

01:29:44   that one he got the guy who traps them [TS]

01:29:46   in the revolving door yeah i got the [TS]

01:29:47   people on the elevator you got Clemenza [TS]

01:29:49   going up the stairs and often it because [TS]

01:29:50   he's got a breath going up the stairs [TS]

01:29:52   you got the guy shot in bed with the the [TS]

01:29:54   woman like everyone dies in a different [TS]

01:29:56   specific appropriate way then you know [TS]

01:29:57   the a-team is on this job everyone needs [TS]

01:30:00   to be you know all the best people are [TS]

01:30:03   getting the people i don't they didn't [TS]

01:30:05   synchronize their watches that we saw [TS]

01:30:06   but I feel like they should have [TS]

01:30:06   synchronized our watches in clemente [TS]

01:30:08   plays a huge role in this film in in [TS]

01:30:12   Polly's death and in part of this [TS]

01:30:15   execution of the events here but also it [TS]

01:30:18   when he says hi Carlo and and puts the [TS]

01:30:22   garrote around Carlos necks out of the [TS]

01:30:26   car [TS]

01:30:26   I you know it is easy and effective [TS]

01:30:29   member of the family even though he had [TS]

01:30:31   tried to this [TS]

01:30:33   just that he was going to willing to [TS]

01:30:34   pull away because he didn't agree with [TS]

01:30:36   Michael part of the way to film and that [TS]

01:30:39   all that leaves us is the this last [TS]

01:30:42   scene where I i had forgotten this but [TS]

01:30:45   the there they've sold the estate to [TS]

01:30:49   developers [TS]

01:30:50   there's a there's a for sale and sold [TS]

01:30:52   sign and the movers in there and the & [TS]

01:30:55   vito's a state where we where we started [TS]

01:30:57   this movie is now being everything is [TS]

01:31:00   being removed from it and it's going to [TS]

01:31:01   be presumably it's going to be destroyed [TS]

01:31:04   turned into higher density housing or [TS]

01:31:07   something a developer has bonded and so [TS]

01:31:09   it's the end of an era it really is and [TS]

01:31:12   we see Connie and she's mad at Mike and [TS]

01:31:15   because her you know because her husband [TS]

01:31:18   who was awful but he's dead he's dead [TS]

01:31:19   now and k is there and it's like that's [TS]

01:31:23   your husband [TS]

01:31:23   that's your husband and we get the that [TS]

01:31:25   amazing moment where he's like I don't [TS]

01:31:27   talk business with UK i'm not going to [TS]

01:31:29   talk this with you with you and then he [TS]

01:31:30   says ok one time this one time you can [TS]

01:31:33   ask me and she says is it true he says [TS]

01:31:35   no it's not true you like this three [TS]

01:31:37   races he raises his voice to her before [TS]

01:31:39   that the first time he raised his voice [TS]

01:31:41   star he gets he gets angry in a way that [TS]

01:31:43   we will see more of in the next movie [TS]

01:31:44   and then comes down to this one time is [TS]

01:31:46   it because he's smart because he knows i [TS]

01:31:48   I don't I can't sustain this line of [TS]

01:31:50   questioning indefinitely [TS]

01:31:52   I need to make it go away in a way that [TS]

01:31:54   she will consider plausible so he's [TS]

01:31:56   gotta convince her before he says [TS]

01:31:57   anything that I'm gonna tell you the [TS]

01:31:59   truth is one time sets the precedent for [TS]

01:32:00   the future that i'm not going to talk to [TS]

01:32:02   you about this but for now I just want [TS]

01:32:03   to let you know and of course by the [TS]

01:32:05   second movie that is that strategy is [TS]

01:32:07   totally falling apart and corroded and [TS]

01:32:08   eating the heart of their marriage so [TS]

01:32:10   maybe had a good play but yeah it it [TS]

01:32:13   plays out as the as the final tragedy of [TS]

01:32:15   of Michael K in this movie is that's the [TS]

01:32:17   end of the movie the door closing on [TS]

01:32:18   Harriet is it is a fairly dark ending [TS]

01:32:21   and we have they're not ending by saying [TS]

01:32:23   and Michael is victorious and he's [TS]

01:32:24   become the new Godfather and everything [TS]

01:32:26   will be okay that movie ends with the [TS]

01:32:28   door closing on k is face this is saying [TS]

01:32:30   things are going to be okay and if you [TS]

01:32:32   were rooting for this guy for the whole [TS]

01:32:33   movie you may have another thing coming [TS]

01:32:36   stay tuned for part till now and he's in [TS]

01:32:37   the dark room where we started in right [TS]

01:32:39   he's in the darkroom doing the business [TS]

01:32:40   while the family's outside even though [TS]

01:32:42   they're moving out of this place and the [TS]

01:32:44   last line of the movie is [TS]

01:32:46   Don Corleone to Michael yeah they'll [TS]

01:32:49   they'll kiss the ring yeah and that said [TS]

01:32:51   he has now assumed the the role of his [TS]

01:32:54   father and and he's the Godfather now [TS]

01:32:58   wow yeah it's a great ending its it's [TS]

01:33:01   just the whole thing really from when [TS]

01:33:03   Vito dies on is just one thing after [TS]

01:33:05   another for that last whatever it is 20 [TS]

01:33:07   minutes 30 minutes amazing [TS]

01:33:09   alright well that's the end of the [TS]

01:33:10   Godfather Godfather will return in the [TS]

01:33:13   pic for your eyes know so I before we [TS]

01:33:17   before we go [TS]

01:33:19   just some it i'm going to go around ask [TS]

01:33:20   anybody for some final thoughts about [TS]

01:33:22   this i assume everybody loves this movie [TS]

01:33:23   it's pretty amazing movie i'm reminded [TS]

01:33:25   every time i watch it about how great a [TS]

01:33:27   movie it is its people talk about it is [TS]

01:33:29   a great movie but it and then I watching [TS]

01:33:31   I'm like yeah okay yeah [TS]

01:33:32   hey guy don't come away thinking why do [TS]

01:33:34   people like this movie but no i see i [TS]

01:33:37   see why people like this movie but i'll [TS]

01:33:39   go around asking my panelists for one [TS]

01:33:41   last last set of thoughts about the [TS]

01:33:44   Godfather David what do you what do you [TS]

01:33:46   have [TS]

01:33:46   it's you know I mean I guess it's ok now [TS]

01:33:52   it's you know you usually you'll see [TS]

01:33:54   like those those surveys of film critics [TS]

01:33:56   or surveys of film buffs and you know [TS]

01:33:59   sometimes Citizen Kane is number one [TS]

01:34:01   sometimes the godfather is number one [TS]

01:34:03   you know it fluctuates it's usually in [TS]

01:34:06   the top five at least of of just [TS]

01:34:08   greatest films ever made and that's that [TS]

01:34:11   is legitimate it is operatic but not [TS]

01:34:16   oppressively so you really get to know [TS]

01:34:18   these people and that's what makes the [TS]

01:34:20   tragedy hit home [TS]

01:34:22   I mean it's not it's not like watching a [TS]

01:34:24   real opera with you know these outside [TS]

01:34:27   things these are these are human beings [TS]

01:34:28   and it's just it's so well made and i [TS]

01:34:34   don't i don't know that like i said you [TS]

01:34:36   know he was he was an experimental [TS]

01:34:37   filmmaker at that point I don't know [TS]

01:34:39   that a more traditional Hollywood [TS]

01:34:43   director of the period would have been [TS]

01:34:45   able to pull it off this way Joe what do [TS]

01:34:47   you think I also really liked it and [TS]

01:34:49   like david says it's one of those movies [TS]

01:34:52   it's always on list of great movies and [TS]

01:34:54   fortunately it's one of the ones that [TS]

01:34:55   I'm like oh yes i like watching that one [TS]

01:34:57   because they're sticking listen great [TS]

01:34:59   movies that have [TS]

01:35:00   have some real things that can hold my [TS]

01:35:02   interest point as well as this movie can [TS]

01:35:04   it is a long film so I don't usually [TS]

01:35:06   partake in watching it several times [TS]

01:35:09   throughout the year but it is it is [TS]

01:35:10   nonetheless a masterpiece and I gotta [TS]

01:35:14   praise again [TS]

01:35:15   Gordon Alice's cinematography his [TS]

01:35:17   choices in his decision-making in this [TS]

01:35:20   if anyone's interested just go back [TS]

01:35:23   through and watch it and just pause on [TS]

01:35:24   any frame and just we'll just watch how [TS]

01:35:26   the shot is composed like you know [TS]

01:35:28   what's dinner where we get that shot [TS]

01:35:31   from the staircase down through the [TS]

01:35:32   doorway and so it's not quite centered [TS]

01:35:33   but you just frames the shot with [TS]

01:35:35   another frame it it it's it's really [TS]

01:35:37   great just to deconstruct the film you [TS]

01:35:39   just sit there and watch it but I'm glad [TS]

01:35:42   that I got the chance to talk about it [TS]

01:35:44   with everybody else [TS]

01:35:44   it's a it's a really fantastic film John [TS]

01:35:47   Gruber what what what are your final [TS]

01:35:49   thoughts about the Godfather we haven't [TS]

01:35:51   even mentioned the music my whole yeah [TS]

01:35:53   amazing you know wrote it so it every [TS]

01:35:56   time I mean there are so many different [TS]

01:35:57   themes that are that are so notable from [TS]

01:35:59   this but it's just you know it's another [TS]

01:36:01   one of these things that ties so many of [TS]

01:36:03   these seventies area this that whole [TS]

01:36:05   group of filmmakers together you know [TS]

01:36:07   with with Spielberg and they all the [TS]

01:36:09   great collaborations with john williams [TS]

01:36:10   just you name the Spielberg movie with [TS]

01:36:13   the Star Wars theme with you know [TS]

01:36:14   eventually the Raiders of the Lost Ark [TS]

01:36:16   theme and the Godfather the the music [TS]

01:36:19   the theme song all the music through the [TS]

01:36:20   movie it's it's just inextricable from [TS]

01:36:22   the II can't even imagine what the movie [TS]

01:36:24   would be like without it it's it's so it [TS]

01:36:28   it's just essential I mean it just get [TS]

01:36:30   into white iconic right it's just like [TS]

01:36:32   you said it like goes Davis said that [TS]

01:36:34   you know you just list the reasons to [TS]

01:36:36   like a movie is that the story is that [TS]

01:36:38   the characters is it the acting is that [TS]

01:36:40   the cinematography is that the editing [TS]

01:36:42   is that the music you just name all of [TS]

01:36:44   these various art forms that go into [TS]

01:36:46   making a movie and they're all like a [TS]

01:36:49   plus [TS]

01:36:50   yeah this is unbelievable and it always [TS]

01:36:53   every time I watch it every single time [TS]

01:36:55   I see especially for if it happened to [TS]

01:36:57   be on TV or something it's like it just [TS]

01:36:59   sucks you in that the the channel up [TS]

01:37:01   button brakes on your remote two three [TS]

01:37:03   go past it doesn't matter it doesn't [TS]

01:37:05   matter what part you get into it yeah [TS]

01:37:07   just throw the remote behind the couch [TS]

01:37:08   and forget it right we're watching this [TS]

01:37:11   yeah John siracusa me [TS]

01:37:13   types of movies these gangster movies [TS]

01:37:16   set in this error with the filled with [TS]

01:37:18   the you know an italian-american [TS]

01:37:20   organized crime have a special place in [TS]

01:37:22   my heart for the seemingly silly but [TS]

01:37:25   absolutely real reason that the people [TS]

01:37:26   in the movie look like people in my [TS]

01:37:29   family talk like them do the things that [TS]

01:37:31   they did they're there they are [TS]

01:37:33   where I grew up essentially on Long [TS]

01:37:35   Island and it feels all feels like home [TS]

01:37:39   but obviously i'm not from organized [TS]

01:37:41   crime family so it is a it is a is a [TS]

01:37:44   fantasy version of things that I'm [TS]

01:37:47   familiar with and so it it always is [TS]

01:37:49   close to my heart and I feel like [TS]

01:37:50   sometimes I think it's just making me [TS]

01:37:53   like this movie more than someone who [TS]

01:37:55   doesn't share exactly the heritage of [TS]

01:37:57   all these people in the movie like is [TS]

01:37:58   their connection on making that they're [TS]

01:37:59   not and maybe maybe not but in this case [TS]

01:38:01   because of the Godfather I think [TS]

01:38:02   Goodfellas as well these are just great [TS]

01:38:04   movies flat out and I feel like I'm [TS]

01:38:06   getting like the extra boosted enjoyment [TS]

01:38:08   of it because it is so familiar and I [TS]

01:38:10   remember being excited as a kid to see [TS]

01:38:12   not that you know you see every movie [TS]

01:38:14   just had a bunch of white guys in it [TS]

01:38:15   right but specifically see people from [TS]

01:38:18   it's like when you're excited than a [TS]

01:38:19   movie set in Cleveland because you're [TS]

01:38:20   from cleveland right and lots of movies [TS]

01:38:22   aren't this these movies always spoke to [TS]

01:38:25   me on some sort of a deep level and made [TS]

01:38:28   me think about like like this movie is [TS]

01:38:30   the more romantic version and then good [TS]

01:38:32   fellows like you think it's all romantic [TS]

01:38:34   like The Godfather which by the way the [TS]

01:38:35   Godfather isn't all that romantic once [TS]

01:38:36   you actually think about the Goodfellas [TS]

01:38:38   is like actually it's pretty horrible [TS]

01:38:39   and like so many movies has spoken to [TS]

01:38:41   this experience this experience that I [TS]

01:38:42   never had but I'm some way connected to [TS]

01:38:44   and watching this movie every time i [TS]

01:38:46   watch it this is my main problem with [TS]

01:38:48   when i watch this movie is I can never [TS]

01:38:51   decide whether the godfather of the [TS]

01:38:53   godfather part two are better or which [TS]

01:38:55   one is my favorite which are two [TS]

01:38:56   different things which one is better [TS]

01:38:57   which is my favorite is it occurred to [TS]

01:38:59   me today when i was looking at my [TS]

01:39:00   letterbox d.com thing where they make [TS]

01:39:02   you pick your favorite movies which is [TS]

01:39:04   brutal right now and it's some of them [TS]

01:39:06   are easy right [TS]

01:39:08   but then we get to the slot where I have [TS]

01:39:09   to pick one of the Godfather movies [TS]

01:39:11   there's only one slot left like I've [TS]

01:39:13   used the other slots for Empire Strikes [TS]

01:39:14   Back and kiki's delivery service in [TS]

01:39:16   goodfellas right and maybe I'm [TS]

01:39:17   overloaded on gangster movies but I feel [TS]

01:39:18   like that is that is an appropriate [TS]

01:39:19   reflection of my top 10 movies or [TS]

01:39:22   whatever [TS]

01:39:22   I've got to pick one for the slot and [TS]

01:39:24   for like me I couldn't remember whether [TS]

01:39:25   I had picked one or two [TS]

01:39:27   I went back to the page and turns out i [TS]

01:39:28   picked one and I think the reason I pic [TS]

01:39:30   1 i'm thinking about it is because as we [TS]

01:39:32   said at the beginning this is a sealed [TS]

01:39:35   complete unit this movie stands alone on [TS]

01:39:38   its own as a beautiful perfect movie if [TS]

01:39:41   they had never made a part two we would [TS]

01:39:43   still be talking about this movie is an [TS]

01:39:44   amazing movie but on the other hand part [TS]

01:39:47   2 gets to build on what came before and [TS]

01:39:51   like Empire Strikes Back doesn't have to [TS]

01:39:53   waste time establishing who all these [TS]

01:39:54   things are and is itself a fantastic [TS]

01:39:56   movie on top of that so I i go back and [TS]

01:39:58   forth on it constantly and watching it [TS]

01:40:00   again [TS]

01:40:01   I feel like I'm going back forth as well [TS]

01:40:03   like a little bit after i got the end of [TS]

01:40:05   this movie I said you know what [TS]

01:40:07   godfather part two is more accomplished [TS]

01:40:09   it is a higher degree of difficulty and [TS]

01:40:11   what it has to do and it is more [TS]

01:40:13   slightly more sophisticated moviemaking [TS]

01:40:15   but then i say but not this is just a [TS]

01:40:16   beautiful perfect gem and so that that's [TS]

01:40:18   what I feel like I come back to NY [TS]

01:40:20   didn't change what i have on my [TS]

01:40:21   letterbox page Godfather Part 1 because [TS]

01:40:23   despite the increased sophistication and [TS]

01:40:26   degree of difficulty and excitement and [TS]

01:40:28   robert de niro honest of part two [TS]

01:40:30   it may be a better movie but I feel like [TS]

01:40:32   part one part 1 justice is just this [TS]

01:40:34   tiny perfect jewel and always will be [TS]

01:40:36   now if you had five slots I would just [TS]

01:40:39   put added and I wouldn't have a problem [TS]

01:40:40   but i don't have three gangster movies [TS]

01:40:43   and I say something about me [TS]

01:40:47   alright well that's been great thanks to [TS]

01:40:49   all of my guests david and john and john [TS]

01:40:52   and jo for being here and thanks [TS]

01:40:55   everybody out there for listening [TS]

01:40:56   go watch the godfather if you haven't [TS]

01:40:58   lately forever [TS]

01:40:59   I can't even imagine that because it is [TS]

01:41:01   a justify classic and this has been [TS]

01:41:04   comfortable I've been Jason cell and we [TS]

01:41:06   will see you next week everybody [TS]

01:41:09   [Music] [TS]

01:41:21   I've never heard of kiki's delivery [TS]

01:41:30   service all over it [TS]

01:41:32   oh wow this is on gas we talk about yeah [TS]

01:41:34   it's great that's a great moving there's [TS]

01:41:36   no there's no bad guy and it's very it's [TS]

01:41:38   not it's definitely not a gangster movie [TS]

01:41:40   i'll put it that way [TS]

01:41:41   kiki is not delivering cannoli that's [TS]

01:41:42   what i'm saying i'm not sure be up your [TS]

01:41:44   alley but it is definitely one of my [TS]

01:41:46   favorites [TS]

01:41:47   yeah i was shocked that you said that it [TS]

01:41:49   was a gangster movie that I've never [TS]

01:41:50   heard of it and that's great but then I [TS]

01:41:52   found out that it's Japanese it and then [TS]

01:41:54   get your delivery service will be held [TS]

01:41:55   in for a mob movie it would be right [TS]

01:41:58   there is the working title for the [TS]

01:42:00   sopranos [TS]