The Incomparable

355: What Would Pop Do?


  [Music] [TS]

  the incomparable number 355 May 2017 [TS]

  welcome back everybody to the [TS]

  incomparable in this episode we're [TS]

  talking about a classic film following [TS]

  up on our conversation a while ago about [TS]

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

  guess what the Godfather Part 2 from [TS]

  1974 directed again Francis Ford Coppola [TS]

  written by Francis Ford Coppola and [TS]

  Mario Puzo from Mario Puzo's novel [TS]

  joining me to talk about the Godfather [TS]

  Part 2 are these fine gentlemen John [TS]

  siracusa hello Jason if you do a podcast [TS]

  about the Godfather Part 3 you'll [TS]

  disappoint me I think making that [TS]

  already made that joke no not on the [TS]

  podcast voice sq yawn hello [TS]

  coming to you live in my home in my [TS]

  bedroom where my wife sleeps and the [TS]

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

  toys Merlin Mann is also here hi Marilyn [TS]

  I'm a retired investor that's good and [TS]

  John Gruber is back to talk about the [TS]

  Godfather once more hi John hey I like [TS]

  The Godfather Part three so do i whew [TS]

  interesting interesting so are there any [TS]

  opening statements that anyone would [TS]

  like to make about the Godfather Part 2 [TS]

  now would be a good time [TS]

  John siracusa do you have an opening [TS]

  statement no surprisingly I don't you [TS]

  just hide I might I might have an [TS]

  abbreviated opening statement and now [TS]

  I'm getting stage fright doing such a [TS]

  thing in front of John siracusa I I [TS]

  think that one of the things that gets [TS]

  profoundly lost about these movies is [TS]

  that is they are really deeply [TS]

  inherently political and and very much [TS]

  about the cycle of capitalism and that's [TS]

  something that becomes a major theme [TS]

  that some lanterns get hung on in this [TS]

  one in particular where we you know we [TS]

  we bounce back and forth in time and we [TS]

  see I think the the building of what we [TS]

  what we consider a I guess I guess a [TS]

  more shameful part of the modern [TS]

  economic model but something that is [TS]

  that is a big part of it which is [TS]

  graphed at a very of different levels [TS]

  and I you know I you know I I political [TS]

  opinions this may not necessarily be the [TS]

  best place for them you know in a [TS]

  partisan fashion but generically they're [TS]

  probably a few a few opinions that I [TS]

  have on that front one of the things [TS]

  that struck me I was thinking about the [TS]

  opening to the Godfather you know I [TS]

  believe in America and I was thinking [TS]

  about that thought and the imagery in [TS]

  Godfather two which opens differently [TS]

  but very quickly you see a whole bunch [TS]

  of interesting I just it put me in the [TS]

  frame of mind of the immigrant story and [TS]

  of being a new immigrant to America when [TS]

  we see him when we when we see young [TS]

  Vito looking over the one ship to see [TS]

  the top of the of the the Statue of [TS]

  Liberty and I also thought about it [TS]

  throughout Michael's performance in that [TS]

  context it started getting me to [TS]

  thinking about Michael and about the [TS]

  burden of sort of first-generation [TS]

  Americans children of immigrants and how [TS]

  that that is I feel like you know that's [TS]

  a key part of the Godfather story too is [TS]

  this isn't just a story about some some [TS]

  mobsters this is a story about [TS]

  immigrants who are who are in America [TS]

  but still like kind of kind of have [TS]

  their countrymen around them and then [TS]

  about the children of the immigrants [TS]

  that are not living the same lives as [TS]

  their parents and that it's just in this [TS]

  movie hits home about that even more [TS]

  than the first one does there's a [TS]

  there's a big link within Al Pacino's [TS]

  career to his work in Scarface where [TS]

  there there is this very heavy image of [TS]

  immigrants having to make good with what [TS]

  they can and struggling and scraping and [TS]

  resorting to vice and crime and so on [TS]

  and it's something that that I think is [TS]

  contributed to a very unfortunate [TS]

  assumption about immigrants in general [TS]

  based on people paying much more [TS]

  attention to popular media than the [TS]

  actual facts and history of things the [TS]

  the majority of what people see in these [TS]

  struggling scraping immigrants and [TS]

  refugees stories is people like video [TS]

  Corleone coming over to the States and [TS]

  otherwise being an upstanding guy but [TS]

  then turning into a crime boss or in the [TS]

  case of Scarface you know you've got [TS]

  ALPA chinos character who [TS]

  comes over on the on the Mariel boatlift [TS]

  and and you know he he shows he shows [TS]

  America who's boss and and the the thing [TS]

  that the thing that bugs me about it is [TS]

  that there is that profound [TS]

  misunderstanding that people have about [TS]

  what that life is and the struggle that [TS]

  that life is and the vast majority of [TS]

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

  looking for a better life and don't [TS]

  build a gigantic crime family seems like [TS]

  wait money on the table doesn't it yeah [TS]

  I mean that's the thing is we're just [TS]

  we're stupid we're the missed [TS]

  opportunity to clearly I think same [TS]

  actors same director I would argue [TS]

  Carlito's Way is actually about I like [TS]

  Carlita's Way better than Scarface I I [TS]

  agree completely [TS]

  oh I like Carlito's Way better than [TS]

  Scarface for many many reasons [TS]

  not just going to the fact that I'm [TS]

  cuban-american right but it hits with [TS]

  those themes those same themes you know [TS]

  Puerto Rican immigrant instead of [TS]

  instead of Cuban yeah usually what I do [TS]

  is kind of walk through the the story [TS]

  and you guys can stop me I'm going to [TS]

  kind of go in the blocks now because [TS]

  this is a movie that is told in two [TS]

  timeframes and in the early 20th century [TS]

  with young Vito Corleone who as an adult [TS]

  is played by Robert De Niro and then in [TS]

  the late 50s we are focused on on [TS]

  Michael and that's the the story picking [TS]

  up where the Godfather left off and so [TS]

  they go back and forth so I feel like [TS]

  that might be a good way for us to cover [TS]

  this kind of in blocks on that on that [TS]

  topic of you know the two timeframes I [TS]

  was racking my brain trying to think if [TS]

  any other movie has done this to this [TS]

  degree this is the only movie I can [TS]

  think of that is both a prequel and a [TS]

  sequel to a successful film all in one [TS]

  and not in like a lot of movies do it [TS]

  where it's it's a sequel you know it's [TS]

  the movie that comes after the first one [TS]

  that was very popular and it continues a [TS]

  story but with flashbacks this movie as [TS]

  evidenced by the weird recutting where [TS]

  they make chronological it's basically [TS]

  two movies in one that they cut back and [TS]

  forth it's not like a sequel with a [TS]

  couple flashbacks to give you some [TS]

  backstory it is two movies and the way [TS]

  that you know who has managed it who has [TS]

  the guts and the gall to say I'm gonna [TS]

  make a prequel and a sequel in one [TS]

  gigantic ridiculously long movie and [TS]

  you're going to like it and they pull it [TS]

  off and it's like a miracle [TS]

  that plays into my opening statement oh [TS]

  we [TS]

  now the thing that struck me right we [TS]

  watched it this week I you know took me [TS]

  a couple of sittings because it's seven [TS]

  hours long fraud it's two movies really [TS]

  so there you go in length it's three [TS]

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

  seven what really struck me and I don't [TS]

  know I ever really had this thought [TS]

  before was that of that group of 70s [TS]

  filmmakers who a lot of you know they [TS]

  were largely pals with each other store [TS]

  let's just see Spielberg Lucas Coppola [TS]

  De Palma who might leave it yeah those [TS]

  are the four I was thinking of yeah when [TS]

  we when we talked about American [TS]

  Graffiti we talked about those four it [TS]

  the same context yeah uh so let's just [TS]

  say those four Oh Scorsese sure again [TS]

  can't leave out Scorsese Scorsese who [TS]

  Coppola actually recommended to the [TS]

  studio when he didn't think that he [TS]

  wanted to write the sequel and they said [TS]

  no hell no not Martin Scorsese what does [TS]

  he know about directing movies yeah the [TS]

  thing that struck me is that Coppola [TS]

  clearly peaked before any of the other [TS]

  ones and you know it you could argue [TS]

  that maybe he peaked with Godfather to I [TS]

  think the conversation is a masterpiece [TS]

  Apocalypse Now is a weird movie but I [TS]

  think super compelling but then after [TS]

  apocalypse now what's the best movie [TS]

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

  rap because there are some interesting [TS]

  stuff in here I think Peggy Sue gets [TS]

  married is maybe the best time travel [TS]

  movie ever made but it's it's a little [TS]

  sad to me because it just seems like [TS]

  some of those other guys went on to keep [TS]

  making masterpieces and her best work [TS]

  was so far ahead of them um but at 1972 [TS]

  out of that group Coppola was clearly [TS]

  the one it was the the master of the [TS]

  medium and this the whole sequel in a [TS]

  prequel in one where I really I'd love [TS]

  to know like with a stopwatch which [TS]

  which of those gets the most screen time [TS]

  and how close to 50/50 it is because [TS]

  it's clearly not just a movie about [TS]

  Michael Corleone with flashbacks to his [TS]

  father it's it's 50/50 at least at least [TS]

  emotionally it's 50/50 watching it this [TS]

  time I was struck by how I felt like it [TS]

  was really more Michael heavy than than [TS]

  the past timeframe heavy that I they [TS]

  would that I feel like we would get a [TS]

  little taste of the past and then we [TS]

  would have a long segment in the [TS]

  president at least that's how I [TS]

  perceived it I didn't do the stopwatch [TS]

  thing either but it [TS]

  little surprise because in my mental [TS]

  space of having the last time I watched [TS]

  this film they're absolutely [TS]

  you know emotionally weighed fifty fifty [TS]

  and they're they're intended to be [TS]

  viewed that way but in in terms of the [TS]

  runtime that was one of the things I was [TS]

  going to say is one of the the choice to [TS]

  make this movie in this in this format I [TS]

  think going into it I with just my [TS]

  memory of it and looking at the runtime [TS]

  my thought was Coppola basically made [TS]

  two movies and decided to interleave [TS]

  them for production reasons for story [TS]

  reasons I understand the that he wanted [TS]

  to get some extra weight from the [TS]

  juxtaposition of the of the father and [TS]

  the son and and he said that that's the [TS]

  reason this idea for this film even [TS]

  happened as he wanted to make a movie [TS]

  about a father and a son at the same age [TS]

  and how they live their lives similarly [TS]

  and differently so I get all of that in [TS]

  watching it I realized that I don't [TS]

  think I'm don't going to John's [TS]

  referencing that complete epic cut where [TS]

  they take all the early stuff and then [TS]

  run the first Godfather movie and then [TS]

  run all the later stuff in time sequence [TS]

  instead of the way this is done I don't [TS]

  think it come would come off as well [TS]

  because I think I think neither of them [TS]

  certainly the the early stuff doesn't [TS]

  feel like it would be a complete movie [TS]

  if you watched in an isolation it is it [TS]

  is there it's interesting but it's also [TS]

  really there to add a contrast or or [TS]

  find the connections to what Michael is [TS]

  doing yeah you have to have watched the [TS]

  first Godfather otherwise hey why do you [TS]

  even care about Vito and be none of the [TS]

  things they do they'd like echo forward [TS]

  and to you know like it it is made [TS]

  consciously as a prequel so when they do [TS]

  it chronological I mean it's fine if you [TS]

  have already seen all the movies it's [TS]

  just an interesting recutting but if [TS]

  they just hold it that way like who is [TS]

  this Vito guy and why do I care and [TS]

  what's the deal with the oranges like I [TS]

  mean you wouldn't you wouldn't put the [TS]

  pieces I guess what I'm saying though is [TS]

  if they had released the Godfather Part [TS]

  two as two separate films as sort of [TS]

  like the young Vito Corleone film and [TS]

  the what happens after the Godfather [TS]

  film I'm not sure the young Vito film is [TS]

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

  in it but I'm not sure it tells a [TS]

  complete story in the way that I thought [TS]

  going in my memory told me it did [TS]

  instead I found that that what it really [TS]

  had was this added this incredible depth [TS]

  to the other story I have some strong [TS]

  feelings about the the interleaving [TS]

  a bit and for me they're not so much to [TS]

  movies as to narratives and the the [TS]

  flashback to Vito stuff feels [TS]

  emotionally you know we open on Michael [TS]

  and then we we jump back in time it [TS]

  feels to me like a simultaneous like [TS]

  what he is what he is subconsciously [TS]

  thinking about as the story is [TS]

  progressing he is he is comparing [TS]

  himself to his father he's trying to [TS]

  live up to his father and he is seeing [TS]

  his father's rise to power and you know [TS]

  rise up from from childhood through [TS]

  rose-colored glasses almost in a way of [TS]

  justifying him doing everything he's [TS]

  doing this movie he is feeling the [TS]

  weight of his father's legacy on his [TS]

  shoulders these many years after the the [TS]

  narrative of the first movie and and for [TS]

  me referring to the Godfather saga The [TS]

  Godfather the complete epic 1901 to [TS]

  whatever whatever those two things that [TS]

  there was there was a TV cut that was [TS]

  like four hundred some-odd minutes long [TS]

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

  time but with violent scenes added that [TS]

  weren't in the TV cut at something like [TS]

  300 and something minutes for video so [TS]

  there are two completely separate like [TS]

  six seven hour versions of this thing [TS]

  both of them the fundamental flaw is [TS]

  exactly what you're pointing to is that [TS]

  there isn't a distinct separate [TS]

  narrative going on here and it works as [TS]

  vignettes it works in parallel to the to [TS]

  the story of Michael effectively having [TS]

  the the Dawn's midlife crisis where he [TS]

  is having he's resolving his crisis of [TS]

  conscience by couching it with well this [TS]

  is how my father would have done all of [TS]

  this stuff and and I know better because [TS]

  I'm doing things dad would have the way [TS]

  that dad would have done it because he [TS]

  did this in this and I learned from my [TS]

  father and my father's son and [TS]

  historically for me it I I agree with [TS]

  John I really I I racked my brain [TS]

  rewatching this this week and I can't [TS]

  think of another case where there was a [TS]

  sequel that was at once a prequel and [TS]

  and and did things this cleanly in in [TS]

  either respect individually and on top [TS]

  of that [TS]

  like as much as the first movie is great [TS]

  standout performance for Al Pacino this [TS]

  is really the beginning of the Al Pacino [TS]

  character that that persona that the way [TS]

  that he developed himself as a screen [TS]

  persona this is really you know the [TS]

  first movie was the was Al Pacino [TS]

  origins and this is Al Pacino beginning [TS]

  to to jump straight into his prime and [TS]

  become that guy who blows up in in anger [TS]

  and rage and has those outbursts and [TS]

  that that's there there are so many [TS]

  different dimensions to to really [TS]

  appreciate the movie on but for me it as [TS]

  much as he got to do in the first movie [TS]

  this really in between the two movies is [TS]

  where I feel like he gets to do the most [TS]

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

  his Lee Strasberg Actors Studio moment [TS]

  before character work literally being [TS]

  done as performed by Robert De Niro and [TS]

  you know there there are a few things [TS]

  better than having your inner monologue [TS]

  performed by one of the great actors of [TS]

  all time in what I think John Gruber has [TS]

  said this on a podcast of his own and I [TS]

  agree with it this this really the [TS]

  nearest performance here is so [TS]

  understated and it wants strong and [TS]

  assured it is one of the one of the [TS]

  standout among standouts if not the the [TS]

  greatest performance in American cinema [TS]

  hey Marlon ya got an opening statement [TS]

  mmm just to bounce a little bit off what [TS]

  bits of what everybody said I think um I [TS]

  agree with you Jason that when I think [TS]

  about this in my head I think of it as a [TS]

  50/50 split but now having watched this [TS]

  a couple more times I an again I don't [TS]

  have clock on this but I'm gonna come to [TS]

  say very clearly 1959 Michael is the a [TS]

  story in Vida a 19-7 starting whatever [TS]

  back you know starting in the old Vida [TS]

  stuff that that's that is the B story [TS]

  the thing that makes a poignant though [TS]

  and I guess kind of to what Moises said [TS]

  I mean you can really think of the Vito [TS]

  story being support for the Michael [TS]

  story and you could almost imagine sort [TS]

  of like you're saying is that like when [TS]

  he has these ruminative moments he sit [TS]

  in a chair and just staring into the [TS]

  middle distance that it's almost like a [TS]

  you know I wonder what pop would do [TS]

  right now [TS]

  and I think so much of the poignancy of [TS]

  this comes out of without being too [TS]

  on-the-nose and really some of the stuff [TS]

  in those extended versions are a little [TS]

  bit cute I mean you meet young Hyman [TS]

  Roth and all that stuff it's most of its [TS]

  that's all disposable I guess the [TS]

  poignancy to this come I guess this [TS]

  seems really obvious but you know Vito [TS]

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

  going to have he's thinking in the short [TS]

  to medium term making us really you know [TS]

  pretty smart decisions being savvy [TS]

  having sort of an ethical code about how [TS]

  he works but really Vito story is about [TS]

  somebody who starts off in this terrible [TS]

  situation and then has a fairly [TS]

  hard-working but somewhat meteoric [TS]

  ascent and the poignancy to me comes out [TS]

  of then looking at Michael at that same [TS]

  age who is presiding and obviously this [TS]

  began in part one but he's really [TS]

  presiding over a very very changed [TS]

  industry the the way we used to do [TS]

  things is not going to work anymore [TS]

  whether that's getting into you know [TS]

  drugs like in Godfather one but looking [TS]

  at these ways everything is going to [TS]

  have to change but the same themes a [TS]

  family and loyalty trust power those [TS]

  things get played out in these two [TS]

  different interlinking stories and then [TS]

  you get those crazy long multi foot [TS]

  dissolves between the two and it gives [TS]

  you a moment to kind of like emotionally [TS]

  change gears as we move between those [TS]

  two and it's a really weird movie if you [TS]

  really forget about watching this movie [TS]

  for 30 40 years this is a very very [TS]

  strange movie I think it was very [TS]

  shocking to people at the time it came [TS]

  out according to Wikipedia which is [TS]

  never wrong I got a lot of mixed reviews [TS]

  because people thought this was bananas [TS]

  what is it who let this guy make this [TS]

  movie this way but well the answer is [TS]

  the first one was such a success that [TS]

  they're like they're like alright three [TS]

  making him do do a curb launch do [TS]

  whatever you want and and he's on on [TS]

  record as saying you know the first [TS]

  movie is all about external action in [TS]

  the second movie is all about internal [TS]

  action it is it is this much more [TS]

  introspective kind of film and that he [TS]

  wanted to make guy as an art film almost [TS]

  about a father and a son and instead he [TS]

  just was like I'll just make the [TS]

  Godfather Part two and have it be about [TS]

  that it is shockingly again Merlin like [TS]

  you were saying you know what what lives [TS]

  in our minds versus what's on the on the [TS]

  screen I I just the tone of it too [TS]

  struck me as being so different from [TS]

  the first film that is a very different [TS]

  film in a lot of ways it is not just a [TS]

  pickup the storyline of the first it [TS]

  does that but that's not what the film [TS]

  is is it's sort of surprisingly dark and [TS]

  weird and and an arty in ways that you [TS]

  would be you'd be surprised by I think [TS]

  go the further the first one is much [TS]

  more of an ensemble kind of ensemble [TS]

  narrative and this one is much more [TS]

  driven entirely by Michael and everybody [TS]

  else is along for the ride I yeah it's [TS]

  so difficult to go back and watch these [TS]

  things you know it becomes like the Mona [TS]

  Lisa but yeah I agree the tone the tone [TS]

  does feel very different and it's [TS]

  there's something I don't know I should [TS]

  probably save this for closing rather [TS]

  than opening but like after watching [TS]

  this so many times I now I sit and I [TS]

  watch that last scene you see Michael in [TS]

  the seat it starts to fade out and it's [TS]

  so strange to me that he is the main [TS]

  character and this but I still don't [TS]

  feel like I know him very well [TS]

  it's such an accomplished performance in [TS]

  such a such a terrific movie but it's so [TS]

  interesting to me that Michael still is [TS]

  a little bit of a cipher by the end of [TS]

  this movie which I think is I don't if [TS]

  you all agree but I think that's still [TS]

  such a fascinating part of this is like [TS]

  what is he thinking right now that [TS]

  that's what's what affects me so much [TS]

  about the the difference in tone is [TS]

  because it is so profoundly Michael's [TS]

  movie the getting to know him better by [TS]

  it by by watching things in many ways [TS]

  through his perspective pretty much [TS]

  overriding the whole narrative he is so [TS]

  distant and so detached and so aloof and [TS]

  cold just ice-cold that it's it's [TS]

  difficult to really come to the end of [TS]

  the movie feeling like you have a more [TS]

  profound impression of who this person [TS]

  is than you did at the beginning of it I [TS]

  think I did like I I think I really get [TS]

  to know Michael Nestorian I also have [TS]

  slightly different take on the on what [TS]

  the the flipping back and forth between [TS]

  the stories is showing myself see were [TS]

  saying there was kind of like thinking [TS]

  what his father would do or whatever the [TS]

  way the way this movie feels to me and [TS]

  I've seen it many times and this feeling [TS]

  it's never gone away is that when they [TS]

  do those those fades back to the past [TS]

  the contrast that the movie is is [TS]

  putting in my faces Michael's doing this [TS]

  stuff but Michael doesn't know to the [TS]

  degree that the flashbacks are showing [TS]

  Michael doesn't know all that stuff sure [TS]

  his father told him the basic story of [TS]

  maybe how he came to America and where [TS]

  he is but he didn't live it he doesn't [TS]

  know he doesn't understand it he's in [TS]

  the present day and I think he is [TS]

  thinking about you know uh what should I [TS]

  do [TS]

  he has to he has to go to his mom to ask [TS]

  is you in the situation right [TS]

  I believe that's what he's thinking but [TS]

  the movie switches back to say here's [TS]

  what Michael doesn't know here's what it [TS]

  was like for his father during this time [TS]

  and he'd like to show you how far off [TS]

  track Michael actually is that he [TS]

  doesn't he doesn't understand how things [TS]

  were for his father what his father did [TS]

  what he was trying to do the context of [TS]

  everything he only knows the thought his [TS]

  father at the end sort of the empire [TS]

  that he grew up in and the maintenance [TS]

  thereof and the political strategy and [TS]

  what you're supposed to do for your [TS]

  family and like he's you know in the [TS]

  Roman Empire as it speak which they you [TS]

  know they they put a pin on several [TS]

  times with the Roman Empire analogy and [TS]

  the flashbacks are like unbeknownst to [TS]

  Michael this is what the deal was [TS]

  look at this person this person is not [TS]

  like Michael Michael is so far off the [TS]

  rails that you know he is he has [TS]

  forgotten the face of his father to pull [TS]

  another uh they like and that that that [TS]

  heartbreaking is the heart brain of [TS]

  going back and seeing Vito seeing how [TS]

  difficult Vito a life Vito had and you [TS]

  know how he was you know marginalized [TS]

  and and found himself to you know make [TS]

  his way while retaining as much of his [TS]

  integrity and goodness as he possibly [TS]

  could while still trying to provide and [TS]

  also having ambition and so on so but [TS]

  then they come back to the present and [TS]

  you see you see just how far gone [TS]

  Michael isn't through the whole movie he [TS]

  plays it very cold but you his flaws are [TS]

  expressed in the in the little things [TS]

  that he does like you can see that the [TS]

  need Michael has it's in the Godfather [TS]

  Part one as well like seems like a good [TS]

  old American boy but like there there [TS]

  are a couple of there a couple of things [TS]

  in his brain and things in his [TS]

  personality that drive him to do things [TS]

  you know that are spiteful that are evil [TS]

  that is need for power and respect in a [TS]

  way you know in a sort of more [TS]

  sophisticated more angry way than Fredo [TS]

  who also wants respects for other [TS]

  reasons and so much of what Michael does [TS]

  wrong in this [TS]

  movie is driven by those flaws that his [TS]

  father just does not have his father De [TS]

  Niro has the easy confidence in his [TS]

  abilities in his in his righteousness [TS]

  and in his general goodness and Michael [TS]

  doesn't have that all he's got is like [TS]

  he's got a tiny devil on both of his [TS]

  shoulders for the whole movie and every [TS]

  time you see him like you could make [TS]

  this right Michael he can't help but [TS]

  like you know needle someone or stick [TS]

  someone because they you know they [TS]

  weren't it comes out and says at the end [TS]

  you know I get a wipe everybody out no [TS]

  not everybody - only my enemies um that [TS]

  that's Michael for turns out he has a [TS]

  lot of enemies well you know like not [TS]

  not for long [TS]

  I probably phrased it wrong but I my [TS]

  notion was when we when we flash back [TS]

  that's what he's doing but he's not he [TS]

  doesn't he doesn't have like omniscient [TS]

  protagonist perspective he doesn't [TS]

  necessarily necessarily see everything [TS]

  that we're seeing the flashbacks or it [TS]

  could be that the flashbacks are [TS]

  informed by by what his perspective on [TS]

  his father's past were but we see him in [TS]

  the present even if he does have that [TS]

  kind of full view of what it is that [TS]

  we're seeing when we go to young Vito [TS]

  we're seeing all of his blind spots [TS]

  where it you know you can you can show [TS]

  somebody something that makes perfect [TS]

  logical sense and then they can they can [TS]

  go they can go forward in a way that [TS]

  completely undermines what it is that [TS]

  they're actually trying to accomplish [TS]

  blind to how they're undermining [TS]

  themselves but I think you make a very [TS]

  good point about the kind of [TS]

  generational loss of Godfather Godfather [TS]

  where he were you know regardless of [TS]

  precisely [TS]

  you know the directorial intent or [TS]

  precisely you know what we're supposed [TS]

  to be gleaning from a narrative Lee we [TS]

  were visibly seeing him just not getting [TS]

  it in terms of the reason that his dad [TS]

  did certain things the way that he did [TS]

  them and it's something that you know in [TS]

  in the theoretical third movie you know [TS]

  we see we see even more degradation as a [TS]

  result of that not to skip to the end [TS]

  but I feel like you mentioned what you [TS]

  know Merlyn mentioned like oh the last [TS]

  scene but the last scene is not him in [TS]

  the chair which by the way is a nice [TS]

  echo of you know it yeah chair sitting [TS]

  with the oranges in the first movie and [TS]

  how you know he's completely alone as [TS]

  grandchild [TS]

  running our we'll talk about later but [TS]

  the last thing in this movie is my [TS]

  favorite flashback every time I watch it [TS]

  somehow I forget that this thing is [TS]

  going to be there and I always also [TS]

  think of him sitting in the chair just [TS]

  staring out like as the end of the week [TS]

  it's not the end of the movie the [TS]

  flashback they go to there is like what [TS]

  I feel like is now let's revisit the [TS]

  Godfather one class we've seen this [TS]

  whole movie we've seen how this tragedy [TS]

  has unfolded we've seen what's happened [TS]

  here's Michael in the chair staring out [TS]

  into the distance because you know bad [TS]

  things have happened right and he's [TS]

  living with the consequences now it's [TS]

  flashback one more time let's show you [TS]

  Michael and Godfather Part 1 he's just [TS]

  enlisted and the guy who we couldn't get [TS]

  to appear in this movie is going to come [TS]

  for dinner soon so let's all get ready [TS]

  and you know introduce Carlo to Connie [TS]

  and and you know like The Godfather one [TS]

  timeframe at the time we are introduced [TS]

  to Michael and got far the one he is the [TS]

  good boy and that movie is you know the [TS]

  tragic roping of him into this this [TS]

  world or whatever but we go back now [TS]

  knowing what Michael is really like and [TS]

  what he's going to turn into and we go [TS]

  back to Godfather / 1 and see was that [TS]

  stuff present in the Michael of the [TS]

  Godfather 1 was that little like you [TS]

  know kind of needle II [TS]

  chip-on-the-shoulder flaw anger that was [TS]

  totally there there he is it thinner [TS]

  doing the right thing I enlisted because [TS]

  I believe in America blah blah blah but [TS]

  still a little bit you know kind of he [TS]

  demands respect he knows what's best he [TS]

  is a little bit full of himself he's a [TS]

  little bit you know a little bit of an [TS]

  upstart even though is he's not the [TS]

  eldest brother when they all go to meet [TS]

  their father at the door he sits there [TS]

  silently at the table drinking his drink [TS]

  apart from everybody else and so it's [TS]

  like ah even then it was still there [TS]

  like to bring I just love it because it [TS]

  brings you back to the time when the [TS]

  family was all there together and it [TS]

  shows you everything you've seen unfold [TS]

  and Godfather Part 1 and 2 was in all [TS]

  these people from the get-go it's not as [TS]

  if we you know introduced these [TS]

  character traits to make stories out of [TS]

  the movies 1 & 2 these characters you [TS]

  know it's obviously retconning but you [TS]

  know these these characters were these [TS]

  characters from the beginning and these [TS]

  people's lives played out the only [TS]

  possible way they could with sonny the [TS]

  hothead and Michael even then when he [TS]

  was the good boy college student army [TS]

  hero or whatever he was always the same [TS]

  person and it and it makes I think it [TS]

  clarifies the Michael of part [TS]

  to reveal him as a character who is just [TS]

  come into what he was always going to [TS]

  come into with tragic circumstances that [TS]

  trapped him in that did they really I [TS]

  don't know the Trivium is did they [TS]

  really try to get brando to come back [TS]

  for that scene they did and it broke [TS]

  down like they thought the day of they [TS]

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

  get the deal finalized they handled it [TS]

  pretty well all things considered I [TS]

  don't that scene doesn't work for me it [TS]

  feels really hasty the scene originally [TS]

  had him in it and they effectively had [TS]

  to make it up on the day I love it I [TS]

  it's like not seeing the shark in Jaws I [TS]

  love right yeah I mean I know I just [TS]

  it's it feels a little bit and feel a [TS]

  little bit fanservice II to me I love [TS]

  the way Michaels portrayed you know and [TS]

  supposedly again according 90 be James [TS]

  Caan demanded the fee that he got for [TS]

  Godfather one just to appear in that [TS]

  scene [TS]

  good for him good for James time well [TS]

  there were there were a lot of [TS]

  contractual renegotiations for this one [TS]

  like that's why we didn't get Clemenza [TS]

  back and we got off-brand store-brand [TS]

  Clemenza in this movie you know [TS]

  everybody wanted their rates upped yeah [TS]

  that's okay except Dave Vigoda 12 times [TS]

  sake it reminded me when when you got to [TS]

  see Sonny again it's the only thing I [TS]

  could compare it to even though it's [TS]

  across two movies in a couple of years [TS]

  but it reminds me of in Pulp Fiction [TS]

  when you get to see Travolta again and [TS]

  it's actually like Baskaran like in a [TS]

  hail of bullets right but then it's like [TS]

  oh yeah remember him he died and all [TS]

  that he pretended to punch that guy [TS]

  other than last that last scene the [TS]

  movie is more restrained than I then [TS]

  then I thought it could be at in the [TS]

  flashbacks of having it be like Francis [TS]

  Coppola 'he's monster babies where it's [TS]

  like i mean they do have like hey it's [TS]

  young clemens and it's bruno kirby [TS]

  credited is like be Kirby jr. or [TS]

  something but it's bruno kirby and it's [TS]

  guy he's fun as as young Clemenza but [TS]

  III was at one point like are we gonna [TS]

  get a parade of cameos and even with the [TS]

  kids like they try to give us a little [TS]

  tidbit of like the kids personalities or [TS]

  their future when they're kids but it's [TS]

  not overdone like I expected really like [TS]

  oh that's Sonny he's such a hothead he's [TS]

  gonna be in trouble and there's nothing [TS]

  like that but if you watch carefully you [TS]

  can see little things [TS]

  about those kids and maybe it's just me [TS]

  you know I so wanted to read into like [TS]

  the future of these children because [TS]

  you're seeing these children that you're [TS]

  seeing as adults over here are young [TS]

  children over here and you're like what [TS]

  kind of a world is this person going to [TS]

  go into what kind of a life is this [TS]

  person going to have but like I said I [TS]

  think the movie is very subtle at most [TS]

  points not all points in doing that and [TS]

  not having to just be a a parade of [TS]

  cameos of you know young this character [TS]

  and young that character and and I'm [TS]

  only mentioning Bruno Kirby as young [TS]

  Clemenza I you know lacking castellano [TS]

  reprising his role as Clemenza bruno [TS]

  kirby is is one of these character [TS]

  actors who is tremendously under under [TS]

  recognized and underappreciated if you [TS]

  ask me and and he really for me you know [TS]

  the the flashback scenes were fun and [TS]

  then bruno kirby shows up and just [TS]

  knocked it out of the park for me what [TS]

  bring it over we where we get notes of [TS]

  that character that we didn't even see [TS]

  in the first movie we didn't see that [TS]

  much of Clemenza Clemenza was like a [TS]

  trusted lieutenant type but he didn't [TS]

  have he didn't have a bunch of big [TS]

  character stuff to do where in this [TS]

  movie the Frankie character is is [TS]

  effectively you know he shows up he's [TS]

  like Oh old man Clements died you know [TS]

  I'm wearing a black armband I'm the new [TS]

  Clemenza [TS]

  I've regenerated as me you know he gets [TS]

  to do the stuff that that actor would [TS]

  have gotten to do at that age but you [TS]

  know I don't miss that as much as I as I [TS]

  think I would have if if Bruno Kirby [TS]

  hadn't done such a great job as young [TS]

  Clemenza again not not making it feel [TS]

  like Muppet Babies for gangsters that [TS]

  you know that that for me is is what [TS]

  what worked really well all right we [TS]

  should probably run through the story or [TS]

  we could just start closing statements [TS]

  now listen let's take a quick break so I [TS]

  can tell you about our sponsor this week [TS]

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  I'll run through and blocks and if [TS]

  there's stuff that you want to talk [TS]

  about in the section let's let's do it [TS]

  the opening block is nine-year-old Vito [TS]

  his dad what is it his dad has been [TS]

  killed by the local Don his at the [TS]

  funeral his brother who's on the run [TS]

  because he's vowed revenge is is killed [TS]

  at the funeral and his mother collapses [TS]

  in a heap on the on the casket and then [TS]

  his mother takes young Vito to the dawn [TS]

  to demand that they be that that he be [TS]

  spared to beg that's a demand well yeah [TS]

  I suppose that is fair laughs my family [TS]

  just how about how about you give me [TS]

  this one well it's like she starts with [TS]

  baking then she then she'd break out a [TS]

  knife and threatens him and they shoot [TS]

  her shoot her to death and he demands [TS]

  that that young Vito also be killed and [TS]

  Vito runs away and his squire day you [TS]

  know snuck out of town on in a bag on a [TS]

  donkey and escapes to New York where he [TS]

  is registered as Vito Corleone on Ellis [TS]

  Island because he says he's Vito [TS]

  Andolini from Corleone I have decided [TS]

  let me let me defend Don Cheech oh here [TS]

  whatever [TS]

  I thought his name done yeah chichi on [TS]

  who who Kip who kills his phone he was [TS]

  right Oh totally right I gotta work I'm [TS]

  worried about what this kid's gonna do [TS]

  when he grows up it's like the moms like [TS]

  oh no don't worry he'll he'll forget all [TS]

  about you killing his brother and his [TS]

  father it'll be fine and the time was [TS]

  right I mean you know in the end it [TS]

  wasn't that bad cause he was pretty old [TS]

  by the time he gets killed litter in the [TS]

  movie but I just feel like you try to [TS]

  run a crime family you you you're doing [TS]

  everything right and just a couple of [TS]

  sloppy henchmen and that's it for one [TS]

  kid escapes on a donkey and you're it's [TS]

  a joke that's it it's like that kid's [TS]

  gonna come boomeranging back and you [TS]

  know look at that can of olive oh oh no [TS]

  I'm being gutted [TS]

  can we give can we give Vito's mother [TS]

  the mother of the Year award Wow III [TS]

  give her I take some points away for how [TS]

  easily the knife was removed from the [TS]

  neck of that guy got him by the neck I [TS]

  know you can't kill me because if you [TS]

  kill me your son is dead you have to [TS]

  hold the knife but is next to give your [TS]

  son time to escape but you didn't give [TS]

  him much time and it basically just [TS]

  pulled your hand away and and then she [TS]

  didn't even flee or run or cover I mean [TS]

  let's be honest she could have gone to a [TS]

  knife wielding class once or twice extra [TS]

  a week yeah I'm just saying like she was [TS]

  so she was so adamant about she's so [TS]

  smart about hiding the knife she got the [TS]

  knife of the guy's throat this is the [TS]

  problem with a lot of the the you know [TS]

  70s movies in terms of the choreography [TS]

  of the the fight scenes we talked about [TS]

  in The Godfather one it just it wasn't [TS]

  as sophisticated an art and we were okay [TS]

  was kind of staged punches and stuff [TS]

  like that whereas I think there's a [TS]

  higher standard now for looking like you [TS]

  really are strangling that person or you [TS]

  really are pulling them towards you with [TS]

  all your might in the back end and like [TS]

  they were basically pantomiming I have a [TS]

  knife at your throat but at the first [TS]

  first movie James Caan could get away [TS]

  with screwing up hitting a guy in the [TS]

  face with a trashcan lid which should [TS]

  not be that difficult but but this one [TS]

  they really you know it had to be a bit [TS]

  slicker yeah but but she is a great mom [TS]

  and I loved her outfits too while she's [TS]

  still on plan a begging begging for [TS]

  their lives she calls his Vito [TS]

  slow-witted yeah he doesn't get [TS]

  everything flinch he's only 9 and dumb [TS]

  witted he never speaks [TS]

  he knows sitting there going she's right [TS]

  more or less I know I don't say anything [TS]

  um I like the AI I do appreciate and [TS]

  it's never we [TS]

  him running away and then we see the the [TS]

  husband and wife putting him in the bag [TS]

  and but they put him in the trunk of the [TS]

  donkey yeah exactly exactly right and [TS]

  then he goes out of town and like waves [TS]

  at the guys who are looking or in front [TS]

  of the church is like hey how's it going [TS]

  and that's really good and then we cut [TS]

  to him you know on the ship [TS]

  in in in a harbor going Ellis Island and [TS]

  seeing the smallpox yeah yeah and see in [TS]

  the sea in the Statue of Liberty which [TS]

  again you know could it be clearer about [TS]

  the immigrant experience and he gets [TS]

  famously as maybe didn't actually happen [TS]

  but famously his name is miss registered [TS]

  he's beat up or later this movie is a [TS]

  lot to blame I think for the idea being [TS]

  runs names got changed it yeah [TS] has a whole webpage on all of [TS]

  this yes but most of the names that [TS]

  people change when they came to the new [TS]

  world were because they wanted to change [TS]

  their names not because they were [TS]

  changed for them accidentally but but [TS]

  still so that's that's the first block [TS]

  that's all we get we don't see him again [TS]

  for a little bit and I think it's I [TS]

  think it's really interesting because as [TS]

  a parent I'm sitting there thinking [TS]

  there's a nine-year-old kid who doesn't [TS]

  speak English who has traveled halfway [TS]

  around the world on his own to a new [TS]

  country what's gonna happen to this poor [TS]

  kid in his legs his legs dangling [TS]

  dangling off the chair so sad that's the [TS]

  best part where he gets into his little [TS]

  tiny room which of course the room the [TS]

  quarantine room for small box of course [TS]

  has a literal view of the Statue of [TS]

  Liberty which is a little artistic [TS]

  license we're gonna put in here but what [TS]

  does he do he takes the chair and he [TS]

  points it towards the window and he sits [TS]

  down at like like he doesn't have many [TS]

  lines but how perfectly cast is that kid [TS]

  that kid is such a great actor and how [TS]

  did they find a kid who's so scrawny [TS]

  like can't they just starved him for a [TS]

  few weeks it was 1973 [TS]

  I mean child labor laws had not come [TS]

  into being he really transformed for the [TS]

  role he went on the talk of the night [TS]

  late night started and talked about how [TS]

  he really transformed himself for the [TS]

  role he did a Christian Bale I also want [TS]

  to in passing want to do a shout out to [TS]

  the whole scene one of the first of many [TS]

  wonderful crowd scenes in this movie I'm [TS]

  a huge fan of miner Godfather characters [TS]

  some of the most memorable cares like [TS]

  the guy playing the accordion the hotel [TS]

  room and number one there's people [TS]

  you're just never going to forget and [TS]

  seeing that again that just I guess [TS]

  panning shot or dolly shot of just going [TS]

  through and somebody's playing a violin [TS]

  and everybody's doing something it [TS]

  doesn't look like a bunch of extras just [TS]

  standing around they all got costumes [TS]

  first of probably I don't know what at [TS]

  least three of those kinds of shots [TS]

  obviously the parade the Festa would be [TS]

  kind of the champion here but what a [TS]

  great bit of world-building the sepia [TS]

  tone world that they don't cheap out on [TS]

  Ellis Island right it is not it is fully [TS]

  realized there is a room full of [TS]

  immigrants who are speaking different [TS]

  languages and all are doing things [TS]

  there's the lady our lady who's making [TS]

  German they're all looking at the Statue [TS]

  of Liberty they have a big tracking shot [TS]

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

  faces are upturned looking the Statue of [TS]

  Liberty each one of those faces you see [TS]

  like what what this whole thing means [TS]

  yeah you know no lines let a lot of [TS]

  restraint for the dialogue here for [TS]

  everybody again the veto doesn't say [TS]

  anything this whole time we're like well [TS]

  how does Vito feel about was this what [TS]

  is he doing is he just being checked up [TS]

  when we find out what how he feels about [TS]

  it when he takes that chair turns [TS]

  towards the window sits down on it and [TS]

  his little feet start to swing anything [TS]

  I saw singing a little song so okay [TS]

  staring at the Statue of Liberty that's [TS]

  that's little Vito can I just say his [TS]

  parent of a current 13 year old how [TS]

  completely incapable my son would be [TS]

  totally with you I don't I'm not [TS]

  entirely sure that I could drop him off [TS]

  at the airport with a ticket and he [TS]

  would get to like Italy on an airplane [TS]

  you just draw a chalk X on his shirt and [TS]

  put a circle around it he'll get to [TS]

  where he's gone it's fine yeah I had the [TS]

  exact same thought John with Garcia and [TS]

  our sensor about similar ages and it's [TS]

  just like I don't I don't have any [TS]

  belief that like like he would still be [TS]

  on the boat they just turned the boat [TS]

  around and go back like oh here's the [TS]

  key so playing Minecraft you just wanted [TS]

  to see both of his parents die in front [TS]

  of him and that were really kick him [TS]

  into gear I guess he snapped out of it [TS]

  you know that could be that could be [TS]

  Hannah's brother next the next block [TS]

  it's 1958 we're at Lake Tahoe this movie [TS]

  a lot of it takes place around Lake [TS]

  Tahoe this is the communion four and [TS]

  there's a party like celebrating the the [TS]

  Mike one of Michael's kids first [TS]

  communion it's an echo of the wedding [TS]

  exactly right and they have a needle it [TS]

  outdoors and you mentioned about the [TS]

  extras before this in my notes is where [TS]

  I had the thing about the extras like [TS]

  this is a party scene like the thing in [TS]

  the first one but of course it's part [TS]

  two so everything is scaled up look at [TS]

  this party scene they have a complete [TS]

  party every single guest it looks like [TS]

  they have like there was given like a [TS]

  backstory and a role and like mm-hmm [TS]

  you just don't see this in movies they [TS]

  said it's not because like they don't [TS]

  want it like they had no other way to do [TS]

  this and they had the budget to actually [TS]

  do this so they're like we're going to [TS]

  make a full party they have sick they [TS]

  have boats time to be going through the [TS]

  scene in the background like there's no [TS]

  there was no CG for them to do this [TS]

  stuff they had to stage all this thing [TS]

  and I'm like how much must this have [TS]

  cost and how long did it take to shoot [TS]

  this getting all these extras to do all [TS]

  the things they're supposed to do to be [TS]

  in their little characters to have the [TS]

  the motor boats and the sailboats go by [TS]

  just at the right time and all that shot [TS]

  at the right level of lighting and [TS]

  everything like I'm surprised at how [TS]

  shocked I was at that you could pull off [TS]

  a shot like this in the days before CG [TS]

  I'm not gonna say they would have done [TS]

  the whole crowd in CG these days but [TS]

  they'd be tempted to do elements of this [TS]

  in CG but they just had no choice back [TS]

  then so they're like human beings you've [TS]

  done the minor and wardrobe and real [TS]

  clothes and real actors in a tremendous [TS]

  amount of time marshaling them in a real [TS]

  band playing pop goes the weasel you [TS]

  just it blows me away a lot of [TS]

  walkie-talkies not in the movie but [TS]

  obviously yeah okay sailboat turn back [TS]

  around sailboat yeah we need you to do [TS]

  that again like in the first movie like [TS]

  I don't know if they're really good job [TS]

  of like you know put up the casting call [TS]

  for I mean the first movie is I put out [TS]

  the casting call for Italian Americans [TS]

  in here it's like a mix of the the mob [TS]

  people and like the the Nevada sort of [TS]

  Midwestern type people exemplified by [TS]

  the the congressperson and all that okay [TS]

  and the whole thing the whole scene is [TS]

  basically a Magic Hour like there's [TS]

  golden light and everybody's head so [TS]

  it's like how many days did it take to [TS]

  shoot this oh the senator we get to meet [TS]

  here who is who is is from Nevada [TS]

  although speaks with kind of a Texas II [TS]

  accent he gets to introduce us to Vito [TS]

  Carly Harley on yeah and which he [TS]

  intentionally mispronounces Corleone's [TS]

  later later he says it correctly to show [TS]

  that he can and and we also meet [TS]

  potentially right who who is uh who is [TS]

  angry because the Rosato brothers are [TS]

  banks are pushing well yeah but there's [TS]

  a lot of brothers you're pushing on this [TS]

  territory and they work with Roth I got [TS]

  to do something about it but of course [TS]

  Michael has but got a deal with Roth to [TS]

  do the to do the casino and so they [TS]

  gotta like you got a not not act against [TS]

  and that's we have the kind of an [TS]

  immediate conflict that happens and of [TS]

  course then this block also ends with a [TS]

  Michael admiring a crayon drawing of of [TS]

  himself in a car made by his son do you [TS]

  like it check yes or no which is very [TS]

  sweet [TS]

  until the hail of bullets through the [TS]

  window sweet and very tragic because [TS]

  even like here's the thing like it seems [TS]

  sweet like oh the kid is making a nice [TS]

  picture for his dad but the picture he's [TS]

  making is not a good reflection of a [TS]

  working relationship now check yes or no [TS]

  box is a desperate plea attention [TS]

  communication from his father and so [TS]

  like you feel like Michael looks at it [TS]

  and is proud of his son's rendition but [TS]

  also recognizes is also smart enough to [TS]

  recognize that this is not healthy how [TS]

  great was Frank Pentangeli at acting [TS]

  drunk at that party I I was when I was I [TS]

  don't I don't know how much he was [TS]

  acting I don't know either but I do [TS]

  think as it's just one of those things [TS]

  that it seems like it's very hard to get [TS]

  right it's I think it's hard to act [TS]

  inebriated I do I think it often comes [TS]

  across as phony even from otherwise good [TS]

  actors and boy it just really he just [TS]

  acts like exactly what a you know [TS]

  Michaels older cousin from from the New [TS]

  York would act like she gets the hose [TS]

  outside I love my drinks in the hood I [TS]

  do I love cuz that's such an such a like [TS]

  a thing that like you know kids do you [TS]

  know like drink from the hose in the [TS]

  summer and just like he gets a little [TS]

  drunk he just reverts to his normal ways [TS]

  he's pissed off about the about the hors [TS]

  d'oeuvres and the crappy West Coast food [TS]

  and he's drinking kids he wants to get [TS]

  into Michael you know there's probably [TS]

  an outtake somewhere where he just [TS]

  decided to take a leak against a tree [TS]

  just just because another one of these [TS]

  characters that just shows up fully [TS]

  formed I mean it seems like this feels [TS]

  like the final season of a show where [TS]

  he's been playing that character for six [TS]

  years yeah yeah yeah oh and and the [TS]

  there's so much parallelism in this [TS]

  movie to the first movie and for me him [TS]

  doing a great job playing drunk which [TS]

  again [TS]

  not not an easy thing to do well is [TS]

  something that that for me mirrors at [TS]

  the at the wedding in the first movie [TS]

  John Cazale playing Fredo again doing a [TS]

  great job playing drunk which people [TS]

  don't generally do well and playing a [TS]

  particular kind of drunk who is gonna [TS]

  you know take his his uh his younger [TS]

  brother's girlfriend by the face and [TS]

  kiss her on the cheek and just stare at [TS]

  her and not say anything because he's [TS]

  drunk out of his out of his gourd there [TS]

  there those little touches throughout [TS]

  this scene that go back to the wedding [TS]

  scene of the of the first movie not you [TS]

  not the same characters doing the same [TS]

  things but a lot of the same notes a lot [TS]

  of the same kind of misbehavior a lot of [TS]

  the same kind of embarrassment and and [TS]

  that sort of thing in tree introducing [TS]

  us to Fredo and to Connie also needs to [TS]

  happen here you need to get the [TS]

  geography the family together just like [TS]

  in that first movie you see how Connie [TS]

  has changed and how Fredo hasn't yeah [TS]

  like they're like it's not like the [TS]

  first movie you have to introduce 100 [TS]

  characters which is this amazing feat [TS]

  that they pull off in that one party [TS]

  scene but this does fulfill the same [TS]

  rule of setting up the plot there are [TS]

  fewer moving pieces here Michael is in [TS]

  his father's seat inside the darkened [TS]

  room indoors taking meetings but not so [TS]

  many meetings and we do know a lot of [TS]

  these characters are ready so it's it [TS]

  sets up a console yep aunt Angela [TS]

  you got the congressman you know the bee [TS]

  senator the Senators all right the [TS]

  senator these the Italians are not [TS]

  welcome in Nevada that whole scene where [TS]

  where the senator points the little [TS]

  candidate is desk at him and makes all [TS]

  these threatening demands or whatever [TS]

  like and Michael comes back in his [TS]

  typical way you could have mine [TS]

  answering the hell if you'd like like [TS]

  this that's it's very different than the [TS]

  equivalents in the first movie but if [TS]

  this fails the same function just to set [TS]

  up the set up the conflicts that are [TS]

  going to play off the rest of the movie [TS]

  there's a I think that it's it it it [TS]

  succeeds so well as a scene overall all [TS]

  the way from daytime to nighttime and in [TS]

  setting the sort of theme which we [TS]

  already talked about that Michael has [TS]

  sort of become unmoored he sort of lost [TS]

  his bearings as as a human being in a [TS]

  way that Vito never did write that [TS]

  that's but the story of the movie that [TS]

  Vito had like a moral core that Michael [TS]

  doesn't and I feel like the [TS]

  as to the wedding in the first movie [TS]

  with this is that the wedding and the [TS]

  first one they were where they were [TS]

  supposed to be there in New York the [TS]

  band is a bunch of paisans who can you [TS]

  know play these songs and and when [TS]

  Pentangeli goes up there and tries to [TS]

  get him to you know bottle pop but up [TS]

  but up but in another and any so good at [TS]

  it but those guys it's just the fact [TS]

  that the band doesn't know what to do [TS]

  yeah it just shows like this isn't [TS]

  they're not where they're supposed to be [TS]

  they're nowhere like Michaels move the [TS]

  family to like it's not the wrong place [TS]

  but it's not the right place beautiful [TS]

  as the backdrop is of of Lake Tahoe you [TS]

  know in winter and in summer where we [TS]

  see in both in both places here it [TS]

  you're absolutely right it feels wrong [TS]

  like why are we here what are we doing [TS]

  out here and the band just puts the [TS]

  finest point on it that they are they [TS]

  are way away from their roots in so many [TS]

  ways going into the casinos which is you [TS]

  know away from the roots of the [TS]

  businesses that that Vito was involved [TS]

  with leaving New York being in Nevada of [TS]

  all places it just it feels wrong the [TS]

  whole way through its be a beautiful [TS]

  backdrop but it doesn't it doesn't feel [TS]

  right a lot echoes from this movie [TS]

  forward into Goodfellas one of them [TS]

  getting back to what we talked about [TS]

  earlier is the well we'll get to when we [TS]

  get to the section with video and [TS]

  realizing like what what the Mafia was [TS]

  when Vito arrived in New York and the [TS]

  reflection in Goodfellas where they come [TS]

  right on site it's like the police for [TS]

  wiseguys they can't go to they can't go [TS]

  to the police they need someone else to [TS]

  Dino so that that thing but in this one [TS]

  it's the you know the band is wrong and [TS]

  the food is wrong it's whatever was like [TS]

  liver on Ritz crackers try to tell them [TS]

  you know that it was a canopy or [TS]

  whatever that's egg noodles and ketchup [TS]

  right it's the same thing where Ray [TS]

  Liotta is is fish-out-of-water taken out [TS]

  of his element and put somewhere else [TS]

  and he gets egg noodles and ketchup when [TS]

  he s4 we get any meatballs and it does [TS]

  feel wrong but it also feels like we [TS]

  remember the first movie not that they [TS]

  were on the run so much but they The [TS]

  Five Families thing went down and they [TS]

  had to get out of there like it was like [TS]

  one big final triumphant also a shift [TS]

  West and there's money in casinos and [TS]

  he's built this fortress for himself [TS]

  he's built this giant palace and [TS]

  fortress even bigger than his dad's set [TS]

  up everything is beautiful there's tons [TS]

  of people but there [TS]

  not wanted here it's very clear and yeah [TS]

  they everybody the everybody seems out [TS]

  of place even to like his bodyguards [TS]

  which look less Italian than the people [TS]

  who were guarding him in the first movie [TS]

  or certainly the people that were [TS]

  guarding him in Italy yeah the guy that [TS]

  connie's brought home is is some you [TS]

  know curly-headed dude a Merle I mean I [TS]

  mean who wants to hang out with a guy [TS]

  named Merle anyway both like oh my god [TS]

  the way the way Michael talks about him [TS]

  right I know it just savage and that's [TS]

  that's one of the great I think it's one [TS]

  of the great laugh lines that is the be [TS]

  in the movie you know if you know if you [TS]

  don't listen to me and marry this man [TS]

  big long poems big long pause but [TS]

  address after we had seen him like did [TS]

  the confrontation with the center at [TS]

  everything you'll disappoint me ice-cold [TS]

  but also somewhat funny because they're [TS]

  all waiting for with what terrible thing [TS]

  is gonna happen and Connie like she is a [TS]

  mess she is falling apart you know [TS]

  lively after the events of the first [TS]

  movie yeah she's she's like you know got [TS]

  sores on her faces like what do you mean [TS]

  I have a math problem you know she's [TS]

  she's really out of sorts and just does [TS]

  not get how out of sorts is everything I [TS]

  mean everything is wrong right that's [TS]

  basically the message of the scene it is [TS]

  this intricate scene that sets up the [TS]

  story but it also just gives you the [TS]

  sense especially if you're coming in [TS]

  remembering the first movie you're like [TS]

  wow this is not like this is not good [TS]

  people are in in bad bad places here and [TS]

  this begins the movie the the one other [TS]

  bit about the the chess pieces on the [TS]

  board that I wanted to make mention of [TS]

  you know we mentioned Hyman Roth which [TS]

  is you know Meyer Lansky with a [TS]

  different name there's something from [TS]

  the first movie that wasn't mentioned on [TS]

  on the episode you guys did on the first [TS]

  one that I wanted to call out here which [TS]

  is the character Johnny Fontaine which [TS]

  is basically Frank Sinatra or not even [TS]

  basically just is supposed to be Frank [TS]

  Sinatra to the extent that Francis Ford [TS]

  Coppola was persona non grata with with [TS]

  Sinatra with Sinatra's people with the [TS]

  people that Sinatra was attached to in a [TS]

  dangerous sense just for that character [TS]

  existing in the first movie you know [TS]

  we've got we've got a doubling down on [TS]

  the real-life corruption involving [TS]

  people like Meyer Lansky you know [TS]

  further underlines the fact that Moe [TS]

  Greene was was the Bugsy Malone type [TS]

  before before mo got taken out in the [TS]

  first movie and and that that whole [TS]

  thing they they do anything but run away [TS]

  from it because I mean they move them [TS]

  out west but they they really you know [TS]

  they're there I guess you could say that [TS]

  they could have been more disrespectful [TS]

  of lansky you know then cast somebody of [TS]

  the enormous stature of Lee Strasberg [TS]

  but it it definitely sets up that that [TS]

  they are they are not shying away from [TS]

  from any of that stuff that that brought [TS]

  them out west right so the next [TS]

  flashback block is with Robert De Niro [TS]

  now as young Vito Corleone he's he's [TS]

  married Sonny has already been born he [TS]

  works at a at a grocery in Little Italy [TS]

  this is one of those moments that I was [TS]

  thinking about when I was thinking about [TS]

  where we left him and how is this kid [TS]

  gonna survive in the United States he [TS]

  doesn't even speak English and this is [TS]

  the answer is that there's a whole [TS]

  community of Italians in New York and [TS]

  they they have Italian groceries and [TS]

  they all speak Italian and that's where [TS]

  he is and that's how he is able to [TS]

  presumably make it to this point of [TS]

  being a young man who's married with a [TS]

  son unfortunately he does lose his job [TS]

  at the at the grocery store because Don [TS]

  fanucci needs his uh near to well cousin [TS]

  needs a job and so and which leads to a [TS]

  very sweet scene where the guy who runs [TS]

  the grocery is very sad that he has to [TS]

  get get rid of Vito and wants to give [TS]

  him a box of groceries he runs out on [TS]

  the street and gives it tries to give to [TS]

  him any betta refuses him he doesn't not [TS]

  doesn't refuse Don fanucci because that [TS]

  would be unwise but he just feel really [TS]

  bad about Vito's meat losing Vito's job [TS]

  and then and then yeah Bruno Kirby [TS]

  invites him to go visit a friend's house [TS]

  where they steal a rug I like the idea [TS]

  that his wife would love a rug like it [TS]

  really brings home like the yes there is [TS]

  community there but they're all very [TS]

  poor that the kids living conditions are [TS]

  not great they don't have a rug they [TS]

  would like to have a rug but who can [TS]

  afford a rug I noticed it this time for [TS]

  the very first time there's one of the [TS]

  things I picked up first time I noticed [TS]

  it was just how ill-fitting the rug was [TS]

  in their house because it was too [TS]

  it's actually it's actually like a [TS]

  couple of inches too big so it's curled [TS]

  up at the sides just a little bit it's [TS]

  just ever so slightly too big for the [TS]

  room whereas in the room they stole it [TS]

  from it was just a little a little rug [TS]

  and a throw rug in the center of the [TS]

  room it's a nice little touch how much I [TS]

  love the scene it's such a subtle it's [TS]

  so subtle but it's so perfectly played I [TS]

  just love the scene where as the [TS]

  grocer's trying to fire Vito and Vito [TS]

  just heats eat he says I say again I [TS]

  know exactly what's going on it's easy [TS]

  don't worry you have to you know it's [TS]

  okay you have to get rid of me well it [TS]

  makes you realize what a good guy Vito [TS]

  is like we know him as the scary [TS]

  Godfather and he's like I understand how [TS]

  this works it's fine I don't want your [TS]

  stuff you don't need to give me the box [TS]

  you just you've been good to me all [TS]

  these years and I'll remember points to [TS]

  his head mm-hmm yeah the super-chill [TS]

  enlightened Buddhist Godfather where [TS]

  he's completely unflappable he's like [TS]

  this is only a thing and this is the [TS]

  thing that has happened business and now [TS]

  life continues he's a you know I I know [TS]

  that it's sort of a good ad the good [TS]

  father's good good fellows as a [TS]

  counterpart to the Godfather is sort of [TS]

  the and Scorsese's even scented that [TS]

  none of these guys are good guys and if [TS]

  there's a problem with the Godfather [TS]

  movie it's that the God you know Vito [TS]

  Corleone is sort of he is he's a good [TS]

  guy he's you can't you know he's a crime [TS]

  boss he does immediately go to murder as [TS]

  a solution for the situation you never [TS]

  he never kills anybody in either movie [TS]

  who doesn't deserve it [TS]

  well you know it's a culture that's what [TS]

  all sure that would all criminal [TS]

  masterminds think John does he have your [TS]

  family you can tell us like there's no [TS]

  way that he would know you can tell us [TS]

  right now he never kills anybody it [TS]

  doesn't deserve it he's a good you know [TS]

  he's a good man he has a sense of [TS]

  justice essentially present he doesn't [TS]

  he has an ethos now John John you're [TS]

  doing you're doing the Senators defense [TS]

  from later in the movie Vito Corleone [TS]

  right now fine Italian is a decently [TS]

  landing citizen no but I think that's [TS]

  the contrast to Michael and it's it's [TS]

  that he it through in both movie he [TS]

  doesn't have insecurities he doesn't [TS]

  have internal flaws that caused him to [TS]

  externalize his his internal yeah okay [TS]

  let me jump in here because that's the [TS]

  way it was was gonna almost bring this [TS]

  up with pent Angela but one thing I got [TS]

  on this last watching is you know [TS]

  obviously with the first vlog could [TS]

  anybody be cooler than Robertson [TS]

  in this movie no no Robert DeNiro [TS]

  running across the roofs is just it's [TS]

  it's so glorious but yeah I mean they're [TS]

  setting him up as having an ethos you [TS]

  see you see Michael there's a certain [TS]

  kind of I almost want to say stoicism I [TS]

  don't know if that's the right word but [TS]

  there's a certain one reason people get [TS]

  in trouble in these movies is that they [TS]

  have a vulnerability that is not offset [TS]

  by their usefulness and I think that's [TS]

  something that both of the Godfather's [TS]

  really pick up on is there's certain [TS]

  kinds of problems [TS]

  vulnerabilities hang-ups addictions weak [TS]

  spots there's things that you can put up [TS]

  with but if you cross them the net [TS]

  vulnerability is going to be exposed in [TS]

  a way that's going to be very very ugly [TS]

  for you or you might just get killed and [TS]

  it's there it's there the way that they [TS]

  keep things play things so close to the [TS]

  chest I mean there's anybody in these [TS]

  movies who is a hothead you know is a [TS]

  sunny type character or is somebody who [TS]

  has sometimes people with addictions [TS]

  these are the people who become a [TS]

  problem and then they have to be dealt [TS]

  with it's it's its ETSU I guess I'm [TS]

  skipping ahead a little bit but then [TS]

  there's there's the scene where the guy [TS]

  his wife says you know sends her friend [TS]

  over the landlords kicking her because [TS]

  of her doll because the dog I like [TS]

  there's like the kind of things that the [TS]

  Godfather was dealing with in the [TS]

  beginning it was mostly dog related [TS]

  issues mrs. Columbo the idea that he [TS]

  that it's not just being a criminal [TS]

  right he's he's they're kind of like [TS]

  he's like the played police for people [TS]

  can't go to the place that's right he's [TS]

  the neighborhood you know guy who will [TS]

  help make things right he still uses [TS]

  less rhodium and he'll use his leverage [TS]

  to do what is what is necessary and he [TS]

  does the Godfather thing because he goes [TS]

  immediately he's not like oh we do such [TS]

  a good guy he's gonna help ugly with dog [TS]

  first thing he says is what do you want [TS]

  me to Vaughn do is a dog what's what do [TS]

  you want what he want me to do better [TS]

  than that that's part of his schtick is [TS]

  you know you come to me with this thing [TS]

  like what's you know an event he he [TS]

  wants to have his respect baby that's [TS]

  where where Michael gets it in a much [TS]

  more severe form she you know and the [TS]

  wife sitting next to him going uh-huh [TS]

  like you know it's it's such a weird [TS]

  baby version of the dynamic that will [TS]

  eventually be when you know man Marlon [TS]

  Brando is though yeah father doors what [TS]

  it this is a scene that plays a little [TS]

  bit as this is you know how it started [TS]

  this it's a version of the scenes [TS]

  you remember from the first movie like [TS]

  the proto version of that is that saying [TS]

  although we're not very much lower [TS]

  stakes and funnier and but but as [TS]

  revealing of him him figuring out how [TS]

  he's going to be this person he's going [TS]

  to because he doesn't know how this is [TS]

  all going to turn out he's not coming in [TS]

  here saying I'm gonna build a criminal [TS]

  empire he's just doing what it takes and [TS]

  he he has an intuitive nough cebause [TS]

  manipulating people while while still [TS]

  making them love you that he's able even [TS]

  with his friends he pulls a Steve Jobs [TS]

  Steve Jobs Steve Wozniak thing on his [TS]

  friends like you guys give me some money [TS]

  you be a yo yeah like obsequious to the [TS]

  crime boss and say oh yeah no we'll [TS]

  totally pay you by a block he's [TS]

  basically setting me up and say you to [TS]

  go and show him that you're totally weak [TS]

  I will take your money go to him because [TS]

  I have judged that if I have a little [TS]

  bit of spine he's gonna say I like your [TS]

  style kid and then you know I I won't [TS]

  you know I won't even give them all the [TS]

  money that you said you're gonna pay [TS]

  them and then I'll go and kill him take [TS]

  the money back anyway yep yeah he's [TS]

  playing it from multiple angles but part [TS]

  of it part of it is he's ambitious [TS]

  there's no question about it he's [TS]

  ambitious but part of it too to me is [TS]

  that it comes across to me that he has a [TS]

  moral core and the reason one of the [TS]

  reasons he moves against Dom felluci is [TS]

  that he sees an opportunity to be [TS]

  ambitious but the other thing gets to [TS]

  that line he said when he first starts [TS]

  learning about Don fallujah knees like [TS]

  why should bothering other Italians you [TS]

  know right [TS]

  it's that he's chosen danfa Lucia's [TS]

  chosen to abuse his position to just [TS]

  terrorize his own people and you can see [TS]

  it in every scene Dom velu G's in his [TS]

  interaction with everybody else in in [TS]

  the neighborhood is he's different he [TS]

  doesn't dress like them he doesn't act [TS]

  like them it just no he just jumps off [TS]

  jumps on your car while you're driving [TS]

  down the street exact shakes you down [TS]

  for cash right there yeah I I think if [TS]

  Dom felluci was a good guy like in the [TS]

  sense that Vito was a good guy that Vito [TS]

  never would have he wasn't gonna you [TS]

  know he might have gotten involved with [TS]

  a racket but it goes right back to what [TS]

  drove him out of Sicily it understands [TS]

  that there's a system and it may not be [TS]

  the law right but there is a way that [TS]

  things work in order for things to [TS]

  function correctly hundred I mean he saw [TS]

  what happened you know when you run [TS]

  afoul of the system but I think he I [TS]

  don't know if the ethics is that the [TS]

  right word for it but he has a sense of [TS]

  the right thing to do this is [TS]

  the right thing to do this is [TS]

  to do in this system and I think that [TS]

  that's obviously a huge contrast with [TS]

  what Michael ends up there's there's [TS]

  corruption and graft and it's a matter [TS]

  of corruption and graft that actually [TS]

  watches out for the backs of of people [TS]

  and rather than take advantage of them [TS]

  and and create the kind of environment [TS]

  that is what pushed him out of Sicily [TS]

  was somebody who was you know really [TS]

  just directly you know taking out hits [TS]

  on people and he thought that he had a [TS]

  better way of doing this and this is him [TS]

  acting on all of that when that when the [TS]

  grocer gives Vito the free Arne should [TS]

  just insist you take it just know you've [TS]

  got to take it it's not out of fear you [TS]

  can see it it's palpable it's it's just [TS]

  another one of those characters who's in [TS]

  the movie for 20 seconds but it's great [TS]

  it's is he's like no I love you you know [TS]

  you it's like it's like carryin carrying [TS]

  your mother's groceries huh you know [TS]

  what I mean it's out of sex [TS]

  well I but he's also sort of starstruck [TS]

  it's sort of like oh my god Vito [TS]

  Corleone's gonna take one of my oranges [TS]

  yeah I'm gonna tell kids down [TS]

  generations about the day that I gave [TS]

  Don Corleone an orange yeah and he takes [TS]

  the orange on like the grocery that's [TS]

  another turning point and before he was [TS]

  refusing the groceries now he's like you [TS]

  know what I do deserve a day give me [TS]

  Cuban yarn you know what you give me an [TS]

  orange you're my friend yeah and the [TS]

  this other young widow the gap between [TS]

  young video engineer obviously is huge [TS]

  but I feel like they do a good job of [TS]

  bridging that because the way Vito story [TS]

  plays out as you go to the you know the [TS]

  adult De Niro you see that quiet [TS]

  observant kid he's watching he's [TS]

  figuring out everything works he's not [TS]

  saying much he asked a couple questions [TS]

  every once in a while but he's observing [TS]

  that's how he's able to figure out what [TS]

  the right play is I tell you what guys [TS]

  you each give me 50 bucks Bob like [TS]

  that's because he had spent the whole [TS]

  rest that will be watching even when [TS]

  when the dawn comes into his grocery [TS]

  store he just goes back to his seat with [TS]

  his little sausage and cheese and he [TS]

  sits and he watches and he you know has [TS]

  a short conversation that very quiet kid [TS]

  like you could tell the gears returning [TS]

  and sat there and even as an adult that [TS]

  still his mindset even in the Marlon [TS]

  Brando it's a little bit of his MO is to [TS]

  just be quiet sit back think and watch [TS]

  and only speak when when you have to so [TS]

  I think it's nice continuity this is the [TS]

  fundamental functional difference [TS]

  between the way the Vito works in the [TS]

  way that Michael works where Vito was a [TS]

  was a kid refugee who [TS]

  to find a way to survive and Michael is [TS]

  the kid who was going there out of [TS]

  education and went into the military and [TS]

  he looks at doing the job from a [TS]

  militaristic perspective of eliminate [TS]

  all enemies you know silence the song as [TS]

  those who needs to be silenced era [TS]

  that's a military thing I think it's his [TS]

  personality that he can't you can't bear [TS]

  that he has an inferiority complex that [TS]

  he externalizes something that his [TS]

  father never had his father never felt [TS]

  inferior despite being at the bottom of [TS]

  the ladder of you know immigrants in New [TS]

  York and by the way that the sectarian [TS]

  nature of New York when you know when [TS]

  Vito is walking around as DeNiro the [TS]

  fact that why does he go over his own [TS]

  people like the fact that Italians wear [TS]

  their own people emphasize many times in [TS]

  all these movies like me the prejudice [TS]

  against Italians in the viewing them of [TS]

  them as separate which seems ridiculous [TS]

  in today's day and age when they're just [TS]

  like you know they've completely [TS]

  assimilated along yeah other white [TS]

  people so so hated exactly yeah it's [TS]

  it's one of the it's one of the things [TS]

  that that that I associated with or that [TS]

  I related to the most was I mean you [TS]

  know as a Cuban American Cuban Americans [TS]

  love these movies Jewish Americans love [TS]

  these movies there's that kind of tribal [TS]

  aspect to it of there is there is some [TS]

  sort of specific stigmatization on [TS]

  different people's and it's one of the [TS]

  reasons that this isn't just a movie for [TS]

  for Italian Americans it's a movie for [TS]

  people who have who have come in you [TS]

  know who immigrated in who have [TS]

  assimilated and and had to find their [TS]

  way back in the later timeframe this is [TS]

  a long segment where we stay away from [TS]

  before we go back to Vito and they have [TS]

  the the orphanage she jumps on the car [TS]

  and all that so we'll wrap back around [TS]

  to that in the Festa and stalking them [TS]

  from the roof and all that but there's [TS]

  this long block in here what lots of [TS]

  stuff happens [TS]

  he Michael goes to Miami visits with [TS]

  Hyman Roth that gets a nice dude gets [TS]

  offered a tuna sandwich which he turns [TS]

  down I love that moment I would you like [TS]

  a due decision grants wife and her dress [TS]

  the tip fills the entire room yeah it's [TS]

  just great he's just watching the [TS]

  college football game brats house so [TS]

  modest oh yeah yeah you know he's just a [TS]

  man just retired he's a retired investor [TS]

  on a pension [TS]

  yeah it was it was like Michael was was [TS]

  going to pick up a donation for the [TS]

  local theater community group spected [TS]

  someone to come into said harangue him [TS]

  Seinfeld style he's on a very fixed [TS]

  income a lot of this movie um [TS]

  and it's many points in this movie I [TS]

  find myself thinking what are they [TS]

  thinking because this movie makes you [TS]

  always ask like what's their motivation [TS]

  what are they thinking and you see it in [TS]

  this scene because they have that you're [TS]

  like okay he suspects something because [TS]

  of the thing with the guy in New York uh [TS]

  he's going to see him what's this going [TS]

  to all be about and and instead they [TS]

  like they do the small talk thing and [TS]

  then there's that great moment where [TS]

  they like close the door move the chairs [TS]

  together turn up the TV playing college [TS]

  football and then they talk a little [TS]

  healthy paranoia thing is the whole [TS]

  thing is really a wonder of blocking [TS]

  shots in that little little tiny space [TS]

  you see walking you see Lee Strasberg [TS]

  with his leg over the chair like all [TS]

  like lounged out and just the way I mean [TS]

  you know I feel like you could teach a [TS]

  whole class on how to sit down like Al [TS]

  Pacino because he's a very specific kind [TS]

  of way that he sits down when it was it [TS]

  was Lee Strasberg who taught that class [TS]

  huh you know this is a guy and his [TS]

  mentor playing a scene with each other [TS]

  two of the great actors of all time and [TS]

  just getting to watch them effectively [TS]

  quote/unquote eat soup is is phenomena [TS]

  I like that Polly Strasburg could not be [TS]

  more I'm an old man in Florida when he [TS]

  walks in it's just like here I am I'm [TS]

  hanging out I got you like the college [TS]

  football and then they and then they do [TS]

  that and you're still asking like what [TS]

  is one of these characters motivations [TS]

  here we don't know and and I feel like [TS]

  that's one of the cool things about this [TS]

  movie is that for a while you're like [TS]

  what's Michael doing who's telling the [TS]

  truth here as we kind of go through [TS]

  because because then we get the thing [TS]

  where we see pent Angele in New York and [TS]

  he has been told you know you got to [TS]

  make peace with the rosada family but [TS]

  not but but I'm gonna I'm going to take [TS]

  care of it and and he's just said to [TS]

  Hyman Roth that potential he's dead [TS]

  so it's like they're he's playing both [TS]

  these sides who's he really playing here [TS]

  and then there's a hit on pent Angele [TS]

  which also brings to mind the fact that [TS]

  we have so many successful hits in the [TS]

  first movie [TS]

  and this this movie has a lot of failed [TS]

  attempts to kill people at sometimes [TS]

  intentionally fail sometimes so but but [TS]

  you don't always know so potentially get [TS]

  strangled but doesn't quite die and a [TS]

  cop comes in and there's a whole thing [TS]

  and he ends up he ends up not not dying [TS]

  it's an attempt on his like the bar [TS]

  owners no not in the restaurant no not [TS]

  in here Kimmy what's the purpose what's [TS]

  the purposely failed hit attempt the one [TS]

  the one where say hello Michael Corleone [TS]

  says hello yes Danny Aiello tries to [TS]

  kirat Frankie right and almost kills [TS]

  wanted to make sure that pant Angela [TS]

  thought that Michael was was trying to [TS]

  kill him right all orchestrated oh I see [TS]

  I don't get it no I don't get it [TS]

  well it wasn't it wasn't a failed hit [TS]

  attempt it was a it was a false flag a [TS]

  misdirection oh so he purveyed he wasn't [TS]

  supposed to kill frank pant and you're [TS]

  supposed to think that we we almost [TS]

  killed you but didn't quite pull it off [TS]

  and Michael's the one to blame oh I [TS]

  didn't get that oh I don't get that at [TS]

  all when you go out somebody it is [TS]

  really get the I don't know why I know [TS]

  this but we put the wire around their [TS]

  neck it's really hard to screw up that [TS]

  kind of murder well that's why the cop [TS]

  is all orchestrated to come in at the [TS]

  right time and they got the whole you [TS]

  know and the person who gets shot is you [TS]

  know the is whatever whatever guy then [TS]

  what are they what did they think pant [TS]

  Angelis gonna do with that he's gonna [TS]

  thank Michael turned on he's gonna turn [TS]

  it and then he's going to in turn turn [TS]

  on Michael exactly by going to Congress [TS]

  and being like you know I'm gonna tell [TS]

  you there's no buffers between me and [TS]

  Michael Corleone why would they think [TS]

  though that he would turn to turn to to [TS]

  this because they're gonna have him on [TS]

  everything and he there then he's gonna [TS]

  flip so this is harming that Hyman Roth [TS]

  grand plan right I mean that's the good [TS]

  thing about this movie is that at [TS]

  various points like the the the the [TS]

  image of this movie is that Michael is [TS]

  this devious mastermind who tragically [TS]

  goes too far or whatever but then [TS]

  Michael knows what's going on and is [TS]

  seeing three moves ahead but at various [TS]

  points in this movie Michael confidently [TS]

  said something that eventually turns out [TS]

  to be wrong yeah like that he was [TS]

  mistaken I mean the Godfather does it [TS]

  part too you know little didn't I was [TS]

  browsing you all along right in the [TS]

  scenes were like oh that Michael he [TS]

  really knows what's going on he must be [TS]

  purposely lying to this person but [TS]

  I think it's clear in a lot of scenes he [TS]

  wasn't purposely lying for the purpose [TS]

  of you know of throwing somebody off [TS]

  sometimes he does that but sometimes [TS]

  he's just wrong he hasn't he hasn't [TS]

  figured it out yet only at the end is he [TS]

  put all the pieces together eventually [TS]

  we also get the extended set of scenes [TS]

  in Havana that happened here which I [TS]

  believe were shot in the Dominican [TS]

  Republic according to the credits [TS]

  yeah no way they were shot in Cuba no [TS]

  but it is said amazingly it is the last [TS]

  days of Batista just before the [TS]

  Revolution like just before like sorry [TS]

  but he's credited as Cuban president [TS]

  they don't want to demean somebody who [TS]

  then became a resident of the state of [TS]

  Florida and whose family then took over [TS]

  most of Florida politics sorry again [TS]

  nautical knot no no no but it but what's [TS]

  amazing about the way this movie does it [TS]

  is not just like you know Michael C is [TS]

  the the guy pulled a grenade and he's [TS]

  like oh these rebels could win and Hyman [TS]

  Roth like no no give me a couple million [TS]

  dollars investment we're going to own [TS]

  these hotels down here it's going to be [TS]

  great we're going to be out of the not [TS]

  under the thumb of the American [TS]

  government anymore [TS]

  Michael's kind of unsure but it like [TS]

  gets the point where that like literally [TS]

  they witness the announcement by the [TS]

  president that he's going to be leaving [TS]

  and they're like we gotta get out of [TS]

  here I'm gonna be leaving with your [TS]

  money and everyone's like leaving the [TS]

  party like and their sirens go run [TS]

  entire upper classes of cuber saying [TS]

  well let's just put all the cash in the [TS]

  suitcases and get on the boats get on [TS]

  the planes and get out of town as soon [TS]

  as we can so there's there's a lot that [TS]

  happens here there's a there's a there's [TS]

  a New Year's Eve party there's like a [TS]

  there's a sex show that they go to at [TS]

  one point for some important plot [TS]

  details are slipped there is there's the [TS]

  rooftop party where a Hyman Roth tells [TS]

  Michael of the money hasn't come yet [TS]

  because he's waiting for two million [TS]

  that he expects but of course the mint [TS]

  wants to make sure you knit the best [TS]

  part of that scene is smaller piece you [TS]

  have a cake brain freeze implicated yeah [TS]

  what's a smaller smaller piece for me [TS]

  was was the effectively the cherry on [TS]

  top of him earlier saying I want to make [TS]

  sure everybody sees it before it's cut [TS]

  yep everyone can see the cake it's [TS]

  amazing special he's such an old man so [TS]

  particular about all of his all this [TS]

  stuff so so there's just there's so much [TS]

  euro and and I should mention that the [TS]

  the senator in one of the things that I [TS]

  really like is the senator asks for a [TS]

  redhead [TS]

  and frado's like yes yes we can [TS]

  absolutely provide that and then of [TS]

  course later isn't working they are [TS]

  they're dancing he is dancing without a [TS]

  right we skipped over that but that's a [TS]

  question that I don't know the answer to [TS]

  I haven't been able to figure out mostly [TS]

  because I feel like it if it plays out [TS]

  too strongly towards Michael being super [TS]

  evil too early like so they the way to [TS]

  get leverage on the senator the senator [TS]

  who was totally against them they get [TS]

  leverage on on because he's he frequents [TS]

  these you know brothels right and so [TS]

  they have with the prostitute right and [TS]

  it's like I don't know what happened to [TS]

  remember anything and now she's dead my [TS]

  questions are one is she actually dead [TS]

  or is she just pretending to if she's [TS]

  actually dead did Michael Corleone crime [TS]

  family essentially kill a prostitute [TS]

  just to get leverage on the senator and [TS]

  if they did say yes yes yeah that is [TS]

  pretty severe I mean they go through the [TS]

  whole thing of like oh she has no family [TS]

  so on and so forth I'm like boy that's [TS]

  that's really harsh really early at this [TS]

  point I feel like we're still supposed [TS]

  to like the downfall of Michael's [TS]

  supposed to be a slope in this movie and [TS]

  in the beginning it's like if you think [TS]

  about it for a little bit [TS]

  he decided because someone insulted him [TS]

  in his house that he's gonna kill a [TS]

  prostitute [TS]

  it's just you know just part of doing [TS]

  business this is also like another [TS]

  example of the vulnerabilities and the [TS]

  weaknesses where this is compromise that [TS]

  they probably got if Fredo did indeed [TS]

  run that place into the ground am i [TS]

  right but like there was they obviously [TS]

  they had connections with this place so [TS]

  they would know that that's a place [TS]

  where he would be doing the kinds of [TS]

  things that he does that would be smart [TS]

  ship and they would know which one's the [TS]

  kill who don't have family who aren't [TS]

  gonna put up a stink and they would [TS]

  never move would be okay with that like [TS]

  I feel like that even Michael should [TS]

  have known that that was far outside his [TS]

  father's code for this type of fits al [TS]

  Neri man al Neri I need an Allen Erie in [TS]

  my life I think it's the right thing [TS]

  it's a rare move John but I think it's [TS]

  like when you're when you're gonna get [TS]

  compromised on a senator especially a [TS]

  senator who you know in the state where [TS]

  you need a senator who can help you get [TS]

  casinos then you do it yeah just you [TS]

  know it's a rare move but you're doing [TS]

  and one thing I think you need to read [TS]

  into that scene in terms of if you ever [TS]

  had a thought of maybe that they were [TS]

  nice enough to have the girl fake it as [TS]

  I think you have to read into it that [TS]

  there was only so much gruesomeness that [TS]

  they could actually show there's a lot [TS]

  of blood on the sheets but I think if [TS]

  you read into the senator Geary how [TS]

  shaken up he was you've got to read into [TS]

  that that he knows she's freaking [TS]

  dead dead yeah shoes or the or the de [TS]

  senator actually killed her because he [TS]

  had weird predilections and he literally [TS]

  do this and they were just there to pick [TS]

  up but if you look if you look at how [TS]

  shaken up his he she's she's like [TS]

  intestines on the bed dead yeah yes I I [TS]

  can understand the lack of clarity and I [TS]

  think I think what we're intended to [TS]

  think is that maybe this is just luck on [TS]

  the Corleone's part and this happened to [TS]

  happen somewhere that they had ties and [TS]

  that kind of thing and it's only later [TS]

  in the movie that you realize that no no [TS]

  Michael has been absolutely doing stuff [TS]

  this bad and just keeping it well [TS]

  there's the shot just a shot of al Neri [TS]

  in the next room to me that that says [TS]

  the whole thing out yeah I'll killed her [TS]

  yeah III have no problem no I doubt that [TS]

  all his henchmen would do and what else [TS]

  could have happened what else was like I [TS]

  said it could have been that he [TS]

  frequents this place and gets hopped up [TS]

  on drugs and actually does get rough [TS]

  with them and legitimately killed her [TS]

  and they were just there to scoop it up [TS]

  well he implies that they've done the [TS]

  tying up game before it's just in this [TS]

  case I'm guessing somebody slipped him [TS]

  on 1950s roofie up yeah and and now he [TS]

  kind of driven driven him mad to the bar [TS]

  LSD or something and driven him to the [TS]

  bar where he really yeah and they had [TS]

  and they had al Neri or somebody else [TS]

  watching him and getting a pattern of [TS]

  behavior and figuring out that okay it's [TS]

  this girl this day of the week you know [TS]

  and and this is this is the easy target [TS]

  so let's just do this if she was just [TS]

  merely suffocated that could have been a [TS]

  play for cuddle paint like maybe you [TS]

  know or yeah but maybe he did it you [TS]

  know maybe I my god I blacked out and [TS]

  maybe I'd you know but the fact that she [TS]

  she was all cut up it's so yeah beyond [TS]

  the pale yeah yeah it did it you know [TS]

  and it was purposefully done to drive [TS]

  him out of his mind yeah yeah a literal [TS]

  hatchet man was employed to do something [TS]

  here it was it was very intentional and [TS]

  very very specific so another key thing [TS]

  that happens in this block is Michaels [TS]

  realization that Fredo has betrayed him [TS]

  right this is the Fredo we get weak not [TS]

  only are there some looks between Fredo [TS]

  that looked that look on Michaels face [TS]

  oh the look on his face when he turns [TS]

  it's just that's when they're at the sex [TS]

  show and Fredo says oh you know Johnny [TS]

  Ola took me here and all of that and [TS]

  he's directly contradicting he said [TS]

  something he said at dinner and Michael [TS]

  realizes and like I think it actually [TS]

  puts his hand [TS]

  up to his face right like that Simone's [TS]

  head goes down into his hands yeah yeah [TS]

  holes on him he's in the background of [TS]

  that scene we're sort of looking at the [TS]

  front but if you look behind there's [TS]

  Michael and it just it just crushes him [TS]

  well at dinner you can tell that Michael [TS]

  is suspicious right yeah afraid afraid [TS]

  oh and what's Jonnie Jonnie what yeah [TS]

  each other we're just meeting for the [TS]

  first time at dinner he's like 90% on [TS]

  Franco and he just needs that last 10 [TS]

  and he doesn't want to believe it oh [TS]

  sure he went into this knowing what was [TS]

  going on he had his guy not Rocco but [TS]

  the guy the guy who eventually tries to [TS]

  hit later that guy's in the background [TS]

  all the time basically just you know [TS]

  what that conversation was look when I [TS]

  give you the heads up go do it because [TS]

  we know this is what happened he's just [TS]

  I think Michael knows what's going on [TS]

  but he needs some certainty that it's [TS]

  what it is because he knows how [TS]

  momentous that means what a momentous [TS]

  change that means for his business and [TS]

  his life and he sits on it for a long [TS]

  time well yeah well I think I think he [TS]

  intentionally waits until mom is dead [TS]

  yes great kill his brother until mom's [TS]

  dead if it was if I could if I could you [TS]

  know play it play the Cuban card and [TS]

  least you know we had we had opening [TS]

  statements I haven't yeah Cuban [TS]

  statement I have a Cuban stall right um [TS]

  while we're sure this is a good time for [TS]

  us to I was just gonna mention Hyman [TS]

  Wafaa diamond Roth they also try he he [TS]

  has a he has something he's taken to the [TS]

  hospital on New Year's Eve and they [TS]

  tried to smother him with a pillow but [TS]

  the army marches hidden and and and [TS]

  kills the guy who's trying to do that [TS]

  Hyman Roth has made better friends with [TS]

  the local military than they assumed yes [TS]

  but the first off I find it very [TS]

  interesting that that that apparently [TS]

  Cuban weather is exactly Ascot weather [TS]

  because that's when that's when Michael [TS]

  switches to ascots for you know just for [TS]

  this little trip and and that that has [TS]

  become such an iconic still frame from [TS]

  this movie that you've seen in different [TS]

  home video releases and everything I [TS]

  find it funny that you know it's you [TS]

  know this is this is this is Michael [TS]

  relaxing in the tropics Michael Corleone [TS]

  he's in he's in Ascot mode dark suit [TS]

  jacket over that's great yeah son the [TS]

  the thing the things that that I think [TS]

  you know people it's pretty blatant it's [TS]

  pretty you know hits you over the head [TS]

  but is real [TS]

  real life stuff you know I mentioned [TS]

  earlier the immigrant gone bad kind of [TS]

  narrative being not indicative of most [TS]

  immigrants the massive corruption within [TS]

  the Cuban government under Batista is [TS]

  absolutely a thing and is absolutely [TS]

  what happened and you know Cuba is [TS]

  portrayed in you know the musical Guys [TS]

  and Dolls in in other popular media [TS]

  during this era of being a fun time [TS]

  place where everybody goes to be corrupt [TS]

  it was the it was the bordered on [TS]

  bordered by oceans Las Vegas of its time [TS]

  well you didn't have to deal with the US [TS]

  government having sway over things where [TS]

  you know corruption was good and [TS]

  everybody was in the corruption business [TS]

  and you know again this is not a [TS]

  political podcast but I would feel [TS]

  remiss if I didn't touch on a couple of [TS]

  the may be relevant may be directly [TS]

  interesting political themes at play [TS]

  here where the captains of industry the [TS]

  people of Itt hmm [TS]

  you know are presenting a golden [TS]

  telephone you know it seems like corrupt [TS]

  rich men really like things just covered [TS]

  in gold and they they like to make a [TS]

  show of things and they like to have all [TS]

  of the the brokers of power around a [TS]

  table even if they're the only ones [TS]

  being seen with all of these people they [TS]

  just like to surround themselves with [TS]

  feeling important show everyone may hate [TS]

  first [TS]

  yeah show everyone the cake first you [TS]

  know take a look at this take in this [TS]

  view look you know we're going to only [TS]

  but he says about that we finally have [TS]

  what we've always wanted a government [TS]

  that will work with us just hang in [TS]

  there citizens united will come hey yeah [TS]

  a government that will work with us a [TS]

  government government this this this [TS]

  kind of government knows how to help [TS]

  business to encourage it yeah it's it's [TS]

  such it's such even they're even dog [TS]

  whistling while they sit there on the [TS]

  roof in Cuba like this is the this is [TS]

  the government that knows how to work [TS]

  with us like a they're organized crime [TS]

  and be like yes this government does [TS]

  this is exactly what you've always been [TS]

  looking for uh and if you just if you [TS]

  just lived another 50 years you would [TS]

  have in the US but yeah and and you know [TS]

  look it would it would have to be a very [TS]

  strange terrible age that we would live [TS]

  in that we could directly relate to [TS]

  people cheering government that was [TS]

  directly [TS]

  corrupt in in finding ways to undercut [TS]

  its citizenry at the you know at their [TS]

  expense to benefit big business and and [TS]

  just trample over over the rights of the [TS]

  common man but you know if you imagine [TS]

  real hard you you might be able to [TS]

  somehow relate to that re after after [TS]

  the People's Revolution I'm sure [TS]

  everything will be much better [TS]

  yeah I'm sure I'm sure that everything [TS]

  will work so so much better but I you [TS]

  know that that micro monologue that [TS]

  Michael has about what he saw in the [TS]

  street just happening and just and just [TS]

  you know the the other the other folks [TS]

  just going yeah yeah okay whatever you [TS]

  know that's that's not gonna be a big [TS]

  deal he's he's quiet [TS]

  I mean this is a little bit of the veto [TS]

  thing he's quietly reading the scene [TS]

  he's like before I give you my two [TS]

  million dollars I'm just gonna get laid [TS]

  Len he brings the two million dollars [TS]

  they're Fredo delivers it which is a [TS]

  bold move like they afraid oh bring your [TS]

  suitcase with two million dollars but I [TS]

  guess air travel was different than as [TS]

  we see later when everybody meet Simon [TS]

  coming off the plane he brings the money [TS]

  he gets as far as having the money there [TS]

  uh but like you know he's like be [TS]

  patient we got plenty of time at you [TS]

  know should I bring the suitcase [TS]

  immediately from Fredo and throw it in [TS]

  Hyman Roth slap no I'm gonna have some [TS]

  more conversations with them you know if [TS]

  that is on the table and I come out I'll [TS]

  know I have a partner right he plays [TS]

  this he plays this wisely he's the only [TS]

  one with his head on his shoulders about [TS]

  how things are gonna go down because he [TS]

  gets the lay of the land now the the [TS]

  only other Cuban history related thing [TS]

  that I wanted to mention with this is [TS]

  this movie was released in 1974 six [TS]

  years later my dad and many many other [TS]

  Cubans got on a bunch of boats and [TS]

  escaped Cuba on the Mariel boatlift [TS]

  coming over to the United States as [TS]

  refugees and fueling you know the [TS]

  narrative of movies like Scarface and [TS]

  others about these bad dudes coming over [TS]

  on boats but they were they were [TS]

  escaping the the corrupt government that [TS]

  came in directly after this corrupt [TS]

  government Cuba has had just a series of [TS]

  corrupt governments ever since it [TS]

  existed but it's it's interesting with [TS]

  this movie playing with all of these [TS]

  themes that were then 15 years in the [TS]

  past as the movie was being made just in [TS]

  advance of a bunch of refugees you know [TS]

  a couple hundred thousand [TS]

  you know escaping the island and [TS]

  with their own set of Mythology applied [TS]

  to them in some part because of popular [TS]

  media like this making people just you [TS]

  know accept assumptions about immigrant [TS]

  people in refugees scarface didn't help [TS]

  there either [TS]

  merlin just threw something in the chat [TS]

  that that was the the thing that I [TS]

  watched this afternoon that I was going [TS]

  to bring up about John Cazale there's an [TS]

  HBO documentary that's about 40 minutes [TS]

  long that is is really fantastic and you [TS]

  know as much as the line about Fredo and [TS]

  Pacino's delivery of it is it lives in [TS]

  so many people's memory people don't [TS]

  remember John Casals name as well as [TS]

  they remember the neighbor Fredo in [TS]

  merlyn I assume you you probably have [TS]

  something to say about this thing oh [TS]

  just that you know given his regrettably [TS]

  short career [TS]

  it's amazing to just go look at how many [TS]

  dinners he was in every movie he was in [TS]

  was nominated for Best Picture Wow the [TS]

  two first Godfather movies yeah [TS]

  the conversation Deer Hunter has an [TS]

  awesome haircut in Dog Day Afternoon you [TS]

  know I afternoon yeah yeah and and he he [TS]

  got a lung cancer he actually they [TS]

  actually made Dog Day era they made a [TS]

  deer hunter the they reordered the [TS]

  shooting schedule to shoot his scenes [TS]

  first because they knew he was going to [TS]

  die [TS]

  and he died before shortly after I think [TS]

  they shot the movie before he'd even [TS]

  seen any edited version of it yeah the [TS]

  movie wasn't done and edited by the time [TS]

  he died and it certainly went out and [TS]

  they largely did it because I think [TS]

  Robert De Niro put up the money to [TS]

  guarantee because they couldn't get [TS]

  insurance for him and no kid and and [TS]

  then and it largely happened because of [TS]

  that and because it would you know he [TS]

  and Meryl Streep were together and they [TS]

  were in that movie together and that was [TS]

  part of that you know the last few [TS]

  months they spent together but yes [TS]

  literally of the amazing actor babies [TS]

  they would have had yeah that God the [TS]

  the phenomenal thing about this [TS]

  documentary is it's only 40 minutes long [TS]

  but it covers so much ground in that 40 [TS]

  minutes and and it even at Meryl Streep [TS]

  was personally convinced to do an [TS]

  interview for it by someone or another I [TS]

  forget who but they cross cut an [TS]

  interview with her an interview with [TS]

  Robert DeNiro [TS]

  where you know she says that to this day [TS]

  she can't get De Niro to to directly [TS]

  admit that he put up the completion bond [TS]

  money necessary for the movie to be able [TS]

  to use John Cazale but it digs into the [TS]

  fact that Pacino and kazow have worked [TS]

  together you know and and in this in [TS]

  this movie honestly you know it's a [TS]

  precursor to them working in Dog Day [TS]

  Afternoon together but we really see one [TS]

  of the two of the absolute best pairings [TS]

  of Al Pacino and another guy acting and [TS]

  you know it's him and Lee Strasberg [TS]

  earlier and throughout this movie and [TS]

  him and John cos all in in what they get [TS]

  to do with this thing but but that [TS]

  documentary does such a great job of [TS]

  fleshing out this actor you're like you [TS]

  know what whatever happened to him you [TS]

  know I don't really know that much about [TS]

  that guy [TS]

  what was the name again John something I [TS]

  don't know this has the same speaking of [TS]

  Merlin's opening with the with the hymen [TS]

  tick we had Hyman shirtless on the couch [TS]

  oh my head chest there and all his glory [TS]

  love oh great not about these things and [TS]

  yet he gets he gets a little angry he [TS]

  finally fella comes out of his shell is [TS]

  like this is the business we've chosen [TS]

  with his little I know I didn't ask who [TS]

  gave the order that he's finally he's [TS]

  finally having to having his say about [TS]

  what he has say and he has a little bit [TS]

  the same things in Michael he really is [TS]

  mad about mo green but he's like but but [TS]

  I swallowed it down cuz you know this is [TS]

  them and then he just he pulls it back [TS]

  together and you know if it's I'm going [TS]

  if it's on the table and I come back on [TS]

  though I have a partner that was that's [TS]

  his that's his big scene I feel like in [TS]

  the movie that it all comes together [TS]

  there was get both Strasbourg and Pacino [TS]

  getting to play explosive and fiery and [TS]

  angry and serious and the the amazing [TS]

  thing about gazelles performance is that [TS]

  he is so self-assured effortless and [TS]

  just note perfect about just being [TS]

  worthless and self-defeating and sad and [TS]

  hating himself you know it is not a [TS]

  showy performance you know there are [TS]

  people that do emotionally hurt and [TS]

  damage and you know feeling inferior [TS]

  kind of characters where they're really [TS]

  just wrenching every last [TS]

  scenery-chewing you know facial [TS]

  expression they can get but it's it's in [TS]

  these just gentle little very specific [TS]

  movements that he does body language [TS]

  stuff that he does you know [TS]

  it's just how he uses a folding chair [TS]

  the that's my favorite line by the way [TS]

  and Godfather movies is this is the [TS]

  business we've chosen uh there's the the [TS]

  nice moment where while they're at the [TS]

  strip club sex show whatever you want to [TS]

  call it where frado's in his element [TS]

  he's doing the one thing he actually is [TS]

  good at he's good at being the guy in [TS]

  the family if you got to take some [TS]

  people out and show him you know we're [TS]

  gonna get these guys drunk and get him [TS]

  some girls he's good at it he is he [TS]

  knows people who knows the places [TS]

  they're in there's even that thing like [TS]

  oh my god how did you find this place [TS]

  and it Fredo is told it's at one moment [TS]

  where he's happy he knows he's doing a [TS]

  good job but because he's you know is [TS]

  kind of dim that's where he screws up [TS]

  and because he's totally relaxed he's [TS]

  totally in his element he's doing the [TS]

  thing he's good at that's when he just [TS]

  blabs that you know Johnny whatever his [TS]

  name is knows all these places mm-hmm [TS]

  yeah but it's not it's not that afraid [TS]

  is not good for anything like he he is [TS]

  this is the thing he's good right same [TS]

  as in the first p.m. we are not close to [TS]

  being done with this movie we have to [TS]

  continue but this episode ends here join [TS]

  us in our next episode of being [TS]

  comparable as we continue the [TS]

  conversation yes that will be the [TS]

  Godfather Part two part two see you next [TS]

  week [TS]

  you [TS]

  [Music] [TS]