Latest / Take #2: Movie Reviews / Episode 11: The Godfather Part 1 (1972)

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Episode 11: The Godfather Part 1 (1972) · Take #2: Movie Reviews

• 0:00
  Well, welcome back ladies and gentlemen to another episode of
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  the Take to Pod with mom and Dad.
• 0:06
  I'm dad and I'm mom. We are now at episode 11.
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  We are going to do one of our favorite movies.
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  But first, let's talk about the kids.
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  The kids are down. We we recently moved our soon to
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  be 7 month olds into her nursery, which is really sad.
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  It's bittersweet, but man, it's nice having our room back.
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  Oh my God, it's so nice. So just walk into your room like
• 0:33
  an asshole and not have to tiptoe in.
• 0:36
  Yeah, I don't like sneaking into your own fucking room, but
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  seeing the empty bassinet in there is making me sad.
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  So we really do have to get that out of there.
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  I mean, OK. Lyrics calm down.
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  We're going to get used to it and it's going to be nice again.
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  But As for the month of March, I have ready, I am sick of this
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  month. It's been cold.
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  It's been just I'm done with March and get out of here.
• 1:01
  I'm just done with winter. Like it's been the snowiest,
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  most disgusting March ever. Like, let's go bring spring,
• 1:08
  please. I don't even want spring.
• 1:11
  Just just get the get out. You could just go away.
• 1:13
  Just go away. Snow, please.
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  April 1st. Come on.
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  Hurry. Hurry the F up.
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  Yeah, we need some new life in this piece.
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  Anyways, enough with that. We're on episode 11.
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  And so ladies and gentlemen, we're going to do the drum roll.
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  It's one of the all time greatest films, maybe the
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  greatest film ever made. Maybe.
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  Mom. Drum roll please.
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  You're my wife and I love you, but don't ever take sides
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  against the family with anyone again.
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  Yes, we are tackling the much awaited amazing film The
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  Godfather Part 1. Oh hell yeah.
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  Hell yeah, we have a lot to say about this absolute masterpiece.
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  Oht do we ever? So let's start off with the
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  synopsis. The aging patriarch of an
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  organized crime dynasty transfers control of his
• 2:13
  clandestine empire to his reluctant son.
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  That leaves a little bit to the imagination because it couldn't
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  be any any of its sons. A lot of it, yeah.
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  Yeah. Directed by Francis Ford
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  Coppola. Starring Marlon Brando, Al
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  Pacino, James Kahn, Robert Duvall and Talia Shire.
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  Also Diane Keaton's powerhouse cast.
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  Powerhouse cast. Probably the peak for each one
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  of them in their acting careers. Release date of 1972, but the
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  movie takes place in 1945. Box office.
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  The budget was $7,000,000. The box office worldwide was 250
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  million. Adjusted for inflation, that's
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  about $2 billion in today's money.
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  Yeah, apparently the film was so highly anticipated that they had
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  the deal for the second movie before the 1st movie ever came
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  out. Really.
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  Yeah. Oht Wow.
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  Cause it was so highly anticipated, they knew it was
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  gonna be what was the best selling novel, right?
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  Francis for Coppola helped Mario Puzo write the screenplay, and
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  there was a lot of changes from the actual book, namely just
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  Michael Corleone, the character in the book.
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  He's blonde. He's like big and tall and like
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  big stature. But then Coppola is like, no, I
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  want this guy. He picked Al Pacino and the
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  studio is just like ready to fire him.
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  They're ready to fire Pacino. And Pacino is the right choice.
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  He was the fucking right choice, man.
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  He stood his ground. He's like, no, this is the guy I
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  want. And he he vouched for him and
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  this is the right call because of it.
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  Like, he's shorter than everybody, and there he's.
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  You underestimate him right off the bat.
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  You know what I mean? Yeah, well, he also just starts
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  off as this sweet innocent kid. I mean, not super innocent as he
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  is a war hero, but he, you know, he comes in and he's he's this
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  clean cut guy set for this prestigious career kind of.
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  Well, it's one of the best character stories and character
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  arcs I've ever seen in a lot of movies.
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  Like it's this is it. Like he plays almost three
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  different people in this movie. Yeah, I would say so.
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  So anyways, let's go to first date.
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  When and where did you watch this the first time?
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  Mum Tales all this time? I have no fucking idea.
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  I mean, I because this movie is it's old and I'm like, my dad
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  loves this movie. So this movie was on a bunch of
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  different times, but as a kid, you're not interested in this
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  movie. It's boring, It's old.
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  It's has like a bunch of political stuff going on in it.
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  Like, no kid cares about this. And then I think I said to you
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  when we were dating, yeah, that I've never actually sat through
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  it. OK.
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  As an adult, you grown up. And then we sat down and watched
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  it. And that was the first time I
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  actually saw it. But so many of the scenes were
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  recognizable to me because it had been on TV throughout my
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  childhood. I just didn't care about it.
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  Fair enough. The first time I watched The
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  Godfather, I remember distinctly my brother had a copy of it on
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  VHS and it was in his basement apartment and it didn't have the
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  case or the cover. It was just sitting there.
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  It was too VHS tapes because it was so long and it said The
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  Godfather, so he didn't have cable and he also had a copy of
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  Donnie Brasco. And when I go stay at this place
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  and visit, I would put those movies on over and over and over
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  and over. It's funny that they both have
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  Pacino, and though I know that's just by accident, but I used to
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  watch Godfather every time I went there and I used to watch
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  Donnie Brasco at least once every time I went there.
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  And you know, yeah, I was probably 10 or 11.
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  I was like 6 hours of entertainment.
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  Well, there's no cable and sometimes I wouldn't bring my
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  video game systems, right. So you're just like, what are
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  you do? No cable, no Internet at the
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  time. So you're just watching repeat.
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  And yeah, you know, you're 10 and 11 year old.
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  You watch this movie with for the first time, you're kind of
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  like, oh, there's a lot of stuff happening.
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  It's long, you don't appreciate. A lot of this stuff as much as a
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  kid, but. I fell in love with this movie
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  at a very young age because the storytelling, everything about
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  it is just so interesting. So I, I remember it like it was
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  yesterday and it was a shitty TV, but it, you know, it worked.
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  Yeah. There's movies like that in my
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  life too, where I just like, know them for beat for beat
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  because they're like in my grandma's basement or something.
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  Yeah. You just something that you see
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  all the time. Yeah.
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  You come across it and you're like, yeah, yeah, sure.
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  You gotta kill some time. I'm trying to remember when the
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  VHS stopped I think. I think it's when he's coming
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  back from Italy. The second tape starts, I'm
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  pretty sure, like I'm I'm trying to remember.
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  But anyway, I mean, we obviously both love this movie.
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  So why do you love this movie so much, Mom?
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  There's a lot of reasons. I love the movie.
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  The acting is impeccable, the story is engrossing and there
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  are so many different emotions you go through the scene.
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  Some of the scenes are going to make you feel sad and wistful.
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  Some of the scenes are going to make you feel uncomfortable.
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  Some of the scenes are going to make you feel like, larger than
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  life dangerous. Yeah.
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  It's it. It puts you through the gambit.
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  And it's, it's just such an interesting story.
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  So that's why I like it so much. What about you, Dad?
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  Why do you love this movie so much?
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  I love this movie for a lot of reasons, one of them being when
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  you're watching it, like, especially as a kid, you're
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  watching it. And if you don't know when the
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  movie was made, you almost think that it was a modern movie, like
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  made very recently because it has not aged very much in a lot
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  of ways. But it also feels like the movie
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  is filmed and as it takes place in 1945, just because it's so
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  authentic looking. And one of the best parts of the
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  movie that I really feel that's super authentic is when Pacino
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  sees the newspaper, when he finds out that his dad's been
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  shot. And that scene, it's like kind
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  of snowing. It's windy.
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  It's a night time in New York. And you can, like, smell the
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  street. You can smell as the cars whiz
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  by. I wish I could have seen New
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  York in that day and age. You probably would have been so
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  amazing. That's why I like.
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  It feels super authentic. And then you go on YouTube, like
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  you can find these videos that people have found of New York or
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  places around the world and like the 1920s, nineteen thirties,
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  40s, and they colourize it. Like they restore the footage
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  and it looks like the Godfather. It's freaky.
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  And also, just because this movie is about family and a lot
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  of the, I mean, not the killing, but a lot of the internal
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  conflicts that happen in the movie, you can relate to just
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  being a person in a family. It's insanely relatable.
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  Anybody who's close to their family, anybody who's had any
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  like any type of conflict in their family, you can heavily
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  relate to this. I never wanted this for you.
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  Alright, let's get into the segments.
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  This is going to be a good and fun podcast.
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  We got a lot of quotes, a lot of fun stuff.
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  I got some hot takes, so I have some very hot trappings because
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  this is going to be a long one. This movie deserves a long pod.
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  We're going to give you a long pod.
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  Well, this movie deserves its flowers and I, I'm going to give
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  it a a flower from every bouquet.
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  That's going to be Johnny Fontaine flowers.
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  Yeah, but bigger. OK.
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  Alright. Cringiest moment, mom, I have
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  two. OK, so this is, it's heavily
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  talked about, but when Sonny's beating up Carlo in the street,
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  he clearly misses a couple of punches, but Carlo react like he
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  was hit and there's a punching sound effect.
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  And I, I just have to imagine that like they're in the editing
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  room and they're like, oh, we fucked up.
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  Apparently that movie took like they had, they took several days
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  to film that. I'm not sure why because they
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  still fucked it up somehow. Yeah, they still fucked it up.
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  But it's a wide shot. So there's no cuts.
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  So they had like, I don't think they had any other angles to cut
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  to cause it's just one shot, right?
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  I understand, but it needs to be perfect because you can clearly
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  see it's fake fighting multiple times.
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  There's the one really bad one, but multiple times it's very
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  obvious. But I, I honestly, I, I just
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  kind of, I suspend disbelief a little bit because I don't want
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  it to Take Me Out of the movie. Also, I agree, but it does make
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  me cringe. Side note, I know that when he
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  he he gets hit and he reacts, but when you're in a fight,
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  sometimes your hits don't land. Sometimes you miss and you hurt
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  yourself, but the fact that he reacted kind of takes you out.
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  But it's still a really well like I love that that scene
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  because you've got the the city streets, you got the oh, it's
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  such an iconic scene. I'm not taking away from the
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  scene at all. The yellow truck in the back,
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  the the way the the cinematography, broken fire
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  hydrant with the kids playing in it, everybody's watching.
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  It's such. Yeah.
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  It's just, it looks like a painting.
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  If you were to freeze frame it, it does.
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  And it's such a beautiful day. And he's like, like there's this
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  darkness brought into this gorgeous sunny day.
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  Yellow truck. If you remove that from the
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  scene, it it's not as pretty like the whole scene.
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  It's not as eye opening, you know?
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  Yeah, Carlos dressed like a freaking dumb ass in that scene,
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  too. I mean, there's some
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  questionable outfits in this movie, but several?
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  What's your? What's your other?
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  One. So my other one is then Jack
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  Waltz screams at Tom in his house.
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  Yeah, like, basically he's jealous of Johnny Fontaine
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  because he stole his girlfriend. Like you're going to cry about
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  it and you're going to make like this big deal to a mobster.
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  Johnny Fontane never gets that movie.
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  She was a beautiful, She was innocent.
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  She was beautiful. She was innocent.
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  She was the best piece of ass I ever had and I've had it all
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  around the world. And let me be even more frank.
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  Just tell him he should ask me anything else but this is 1
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  favor I can't give it. He never asked the second favor
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  when he's been refused the first Understood.
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  You don't understand. Johnny Fontaine never gets that
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  movie. That part is perfect for him.
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  It'll make him a big star. I'm gonna run him out.
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  Of the business yeah that that's cringey for you the acting in
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  this scene works, but he's overacting it's it's he's really
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  going for it he's but it works he's going for it like he
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  cranked it up to 10 when it only had to be cranked up to like 7 I
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  know but which part is. Cringy, the fact that.
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  He's jealous. Tom is sitting there quietly,
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  like, enjoying his food, and this guy is, like, scream
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  yelling at Robert Duvall's character, Tom Hagan.
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  Yeah, yeah, Tom Hagan is sitting there quietly enjoying his meal
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  and this guy is just ripping into him as if he stole his
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  woman. Like, calm down, Your girlfriend
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  left you. Wham, Wham.
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  Doesn't mean like you bring this into business.
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  It just, it feels like that guy's a big crybaby and wants to
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  scream and throw a tantrum. And Tom is the poor, like,
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  sounding board. So it just makes me cringe.
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  Because Johnny Fontane never gets that movie.
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  It'll make up a big *. Yeah, like the acting is kind of
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  over the top, so it makes me cringe a little.
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  Bit let me tell you something. Else my crop make friend.
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  Yeah, as soon as he finds out he's not Italian, he's like, oh,
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  why don't you let me let me use a different slur.
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  He's like what dago Guinea wop did you bring out of the
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  woodwork? He's like I'm German, Irish.
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  Well, let me tell you something, my trout make friend.
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  You know what that's quick witted.
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  Yeah, I mean, you pull it out. I mean, I know it's it's it's
• 13:57
  the script was quick witted racism.
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  If you have a real person did that, you'd be like, it was
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  pretty fast anyways. Anyway, what what about you?
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  What do you find cringy in this movie?
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  There's not very many, many cringey moments.
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  I got to. I've got so Talia Shire Connie
• 14:16
  her acting in this movie. I find it very cringy,
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  especially like at the wedding scene for the movie though.
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  Anyway. I at the wedding scene when
• 14:26
  Johnny Fontaine shows up and they cut to.
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  Her and she's like. Johnny, Johnny, I love you.
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  I almost put that as mine. It's cringey.
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  It's cringey as crazy as fuck. And then later when she's
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  getting like she's arguing with her husband and he's like he's
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  like, yeah, thank you, thank you.
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  OK. But that's seen is amazingly
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  acted. You like by whom?
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  You get anxiety watching that scene when she.
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  Starts smashing the dishes. And stuff.
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  They're acting. The situation gives you anxiety,
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  but her acting is terrible. It's no, it's believable.
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  I'm not a fan of her acting. I mean, she wasn't very good in
• 15:06
  Rocky either. She was like maybe good and
• 15:09
  Rocky too after she woke up from the coma.
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  But the coma fixed her. She's like fight.
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  Anyway, yeah, second one is the most cringy thing ever, and
• 15:22
  there's a small detail that I found out in doing research for
• 15:26
  the movie, but even before that it was cringy.
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  The nude scene between Michael and his Italian wife Apolonia.
• 15:34
  That scene is because she has weird boobs.
• 15:37
  No, forget the weird boobs. It's funny you say that because
• 15:42
  her nipples match the skin colour.
• 15:44
  It's really. Camo camo nip.
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  I was surprised she went new because that's like, So what you
• 15:53
  got Carolina camo nip? So that scene Al Pacino closes
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  the window to give them privacy, I guess.
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  And there's like a solid minute, 30 seconds of them just staring
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  at each other quietly without talking and she's takes off her
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  shirt and then it just cuts like, you know what?
• 16:14
  Do you want to see more? Too long.
• 16:16
  It's too. Long.
• 16:17
  We get it. They're gonna consummate their
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  marriage. I think they're showing though,
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  he's like being respectful and because she's like obviously a
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  young virgin, fair enough. But I don't need a minute 30
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  leading up to it. Just give me like 15 seconds of
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  them embracing and cut away. We didn't even need that seem to
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  be honest. Just showed them walking into
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  the room and then the door closing.
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  You don't need, you don't need a minute 30.
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  You just need 1520 seconds of embracing and then we're good.
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  We get it. OK.
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  Yeah, it is. It is a little cringy.
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  So that one's the most cringey for me.
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  OK, so what's your most iconic scene or scenes?
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  And we'll go with quotes after. So go.
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  Ahead. OK, so it's hard to explain this
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  in a way that's gonna be coherent, so I'll just, I'll
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  just say what I what I think. OK, so when the wedding scene is
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  happening, yeah, that whole beginning scene is very long,
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  but very iconic. It is very good.
• 17:17
  And the thing I like about it is we have this wedding outside,
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  everyone's in light colours and the sun is shining and it's a
• 17:25
  bright, happy situation. And then we cut to the dawn in
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  his dark, musky little office. It's dank, it's dim, and
• 17:36
  everybody in there is wearing dark clothing and they're
• 17:40
  discussing dark things. So there's this happy, bright
• 17:43
  wedding outside and this dark little room inside with dark
• 17:47
  goings on happening within it. And I just think that the
• 17:50
  contrast, it makes the sun and, like, brightness even brighter
• 17:54
  of the wedding. It makes the wedding seem like
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  such this shining, beautiful event.
• 17:59
  And it's almost like it's fake because after that, we get taken
• 18:03
  into their real life and nothing is ever that bright and sunny
• 18:07
  and happy again. Yeah, there's a couple of
• 18:09
  moments where you get that bright and sunny Ness, but not
• 18:12
  as not that prolonged. Yeah, not as.
• 18:15
  So it's it's it's strange like you're seeing these people the
• 18:17
  happiest you ever see them and then it's all downhill after
• 18:21
  that. Connie's marriage sucks after
• 18:22
  that. Their lives start to go into
• 18:24
  turmoil after that. Like it really starts the movie
• 18:27
  off with this bright, sunny beautiful thing and then just
• 18:30
  deteriorate like they're just like the lives deteriorate post
• 18:33
  that that gathering. That's a really good one.
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  The the opening wedding scene. It feels like a real wedding.
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  It does. You're, you're and the way it's
• 18:42
  filmed. So there's a lot of wide shots.
• 18:44
  There's very like the only close-ups you get is of Michael
• 18:47
  and my God, thank you and Kay, Michael and Kay.
• 18:50
  And it feels like you're at the wedding with them.
• 18:59
  But everybody else? And you're getting the tea from
• 19:01
  Michael. Yeah.
• 19:02
  You're just like, wow, this is quite, quite the wedding.
• 19:04
  You see people performing, You see people dancing.
• 19:07
  You get a couple of snippets of certain characters.
• 19:10
  But yeah, like the guy that wants to steal the money bag.
• 19:14
  Fucking lowlife. That's that's a foreshadowing
• 19:18
  actually for later in the movie. It's a nice little snippet that
• 19:21
  they put in there because he calls in sick, right?
• 19:26
  But yeah, the wedding scene is really good.
• 19:28
  It feels like a real wedding, and the people in the scene feel
• 19:32
  like they all know each other. They feel like a real family,
• 19:35
  and it's so memorable. It's really cool.
• 19:37
  Yeah. My favorite I I got a couple of
• 19:40
  honorable mentions here. Michael kills Solazzo and the
• 19:45
  police captain in the restaurant.
• 19:46
  Oh my God, Fucking incredible scene.
• 19:49
  This was a tough one for me because that's quite an amazing
• 19:53
  scene. And then my second favorite as
• 19:55
  Vito is sitting with Michael and he tells them he never wanted
• 19:59
  his life life from. I never wanted this for you.
• 20:02
  That whole sequence, the music, the way it's filmed, he's
• 20:05
  sitting down and like the backyard with his dad in a
• 20:08
  shitty though, Like it's what do you mean?
• 20:10
  Well, because it makes you feel like you're his kid and you've
• 20:14
  disappointed him. No, he disappointed his son.
• 20:18
  He's saying he wanted his son to go to his son went to college,
• 20:21
  he was in the Army. He never wanted this for him at
• 20:23
  all. He didn't want any business, the
• 20:26
  family either. He wanted to do something.
• 20:27
  Disappointed that his son got his hands dirty and could never
• 20:30
  be that. I think he's disappointed in
• 20:31
  himself, not his son. His son made the choice at the
• 20:35
  end, but he feels like the things that led up to him making
• 20:40
  that decision are his own fault. Like he put it around they yeah,
• 20:44
  they are. Cause he never would have had a
• 20:45
  chance to do those things. But I like the scene because the
• 20:48
  way it's filmed. He's sitting down, they're
• 20:50
  drinking wine, he's talking to his dad.
• 20:53
  It's kind of a. Heart to heart.
• 20:54
  Which doesn't happen in this movie ever.
• 20:57
  Nobody really has a heart to heart.
• 20:58
  There's a lot of yelling and arguing, family stuff, but
• 21:01
  nobody has this one-on-one. And then his dad gets up.
• 21:05
  Vito Corleone deep the dawn. He gets up, he sits in another
• 21:09
  chair, but he doesn't face him because of the like what he's
• 21:13
  saying to him. He he just can't look at him in
• 21:15
  the eye kind of thing because he's he has some regret as a as
• 21:18
  a dad because of what happens, but not the choices he's made.
• 21:22
  You know, he was providing for his family and he did what he
• 21:24
  could. He did what he had to do.
• 21:26
  He did what he felt he had to do.
• 21:27
  But I mean, he he went a little too far.
• 21:30
  But I really enjoyed that scene. But however, it's still to me,
• 21:34
  the most iconic scene for me, the best scene in the movie.
• 21:37
  And it's probably going to be a hot take, but Michael goes to
• 21:41
  the hospital after he finds out his dad a shot.
• 21:44
  He notices there's no security guards.
• 21:46
  The hospital's empty. It's kind of scary.
• 21:49
  It's a little bit. Oh, that seems very eerie.
• 21:51
  It's very eerie. And then Enzo the Baker shows
• 21:54
  up. Who are I am also the Baker.
• 22:00
  Do you Remember Me? Yes, and.
• 22:02
  So you better get out of here. And so there's going to be
• 22:03
  trouble. If there is trouble, I stay here
• 22:06
  to help you. For your father.
• 22:08
  For your father. And they move Vito's hospital
• 22:12
  bed to another room, and they go outside because something bad
• 22:16
  might happen. They think that, you know,
• 22:18
  Solazzo got rid of, like, the police captain, everybody got
• 22:22
  rid of the security guards so that they could make a move on
• 22:24
  him. And they're waiting outside the
• 22:27
  hospital. And it's winter.
• 22:28
  It's cold. And Enzo is a Baker.
• 22:32
  Pacino is, you know, he was in the army, but he's not in that
• 22:35
  life. But he pretends to look like a
• 22:37
  hitman outside the hospital, like a hired gun.
• 22:41
  And, you know, they, they, they look mean for a bit.
• 22:44
  And he's like, pretend you have a gun in your pocket.
• 22:46
  The car drives away and things calm down a bit.
• 22:49
  And then you see Enzo trying to take out a cigarette and light a
• 22:52
  cigarette. And then Pacino takes the Zippo
• 22:54
  from him, lights his cigarette and he notices that his hand
• 22:59
  isn't shaking because Enzo's hands were so shaky.
• 23:02
  He couldn't lights hand was later.
• 23:04
  And that is a very crucial, pivotal moment in the movie, I
• 23:09
  find, because Pacino sees that that moment that he's built
• 23:14
  different. He's again, he came from war.
• 23:18
  So of course he has a little bit more of a comfortable feeling
• 23:22
  around pressure and pressure and danger.
• 23:26
  But, you know, it's a different kind of danger.
• 23:29
  And he he just, I think he realizes something.
• 23:32
  It's like an epiphany the character has.
• 23:34
  And then after that, you see the the arc that he goes on.
• 23:38
  I feel like that is the moment, especially in the hospital.
• 23:41
  He tells his dad, I'm here for you now.
• 23:43
  Yeah, He, he definitely realizes he can handle at that moment.
• 23:46
  But as an audience member, I'm not that surprised because it's
• 23:49
  not like he's just like a little Ivy League kid that came from
• 23:53
  college. Like he's a war hero.
• 23:54
  He came back from the war. Yeah.
• 23:56
  He obviously saw some shit. I just like that method of
• 23:59
  storytelling because there's no dialogue.
• 24:02
  There's no position. It's just two people standing
• 24:05
  outside of a building and one of them is shaking so much that he
• 24:08
  can't even light his smoke. And the other one is totally
• 24:11
  steady. And it, it just says so much
• 24:14
  without saying anything. I agree.
• 24:17
  So that's my favorite. It's it's a, it's a higher form
• 24:19
  of storytelling. Like I said in the Forrest Gump
• 24:22
  podcast, sometimes narrated story is seen as like the dumb
• 24:26
  man's, you know, exposition. But this one it's just showing
• 24:30
  it through action. But I got a couple more iconic
• 24:33
  ones here. Not honourable mentions but they
• 24:35
  have to be mentioned because this movie is just loaded with
• 24:38
  beautiful scenes. Well, I mentioned a lot of
• 24:40
  scenes later too. I got to Sunny getting murdered
• 24:43
  at the tollbooth. Fucking iconic messed up.
• 24:46
  And then the horses head in the bed.
• 24:49
  That's been done in pop culture like crazy.
• 24:52
  Yeah, everybody makes fun of that scene because it's it's a
• 24:55
  little bit ridiculous. Are you ready to do some quotes?
• 24:58
  From. Yeah, I'm there.
• 24:59
  All right. He's first.
• 25:02
  Either your brains or your signature are going to be on the
• 25:04
  contract. I'll make you an offer you can't
• 25:06
  refuse. I have story.
• 25:11
  Yeah. He says to God or two, OK, I
• 25:14
  have here. It's in the same conversation.
• 25:16
  Michael says my father is no different than any powerful man,
• 25:20
  any man with power like a president or a senator.
• 25:23
  Kay says, do you know how naive you sound, Michael?
• 25:26
  Presidents and senators don't have men killed.
• 25:29
  And Michael says, oh, who's being naive?
• 25:32
  Cake that is aged so well. It has.
• 25:36
  It has. True.
• 25:37
  It's true. Sends young boys to war.
• 25:41
  Exactly how many dead people are on their hands?
• 25:45
  Like it's it's it's tit for tat. Yeah.
• 25:48
  Leave the gun, take the cannolis.
• 25:51
  What's that? Clem Clemenza when they shoot
• 25:52
  Polly Clement. Yeah, that line was fucking ad
• 25:55
  libbed. Was.
• 25:56
  It it was ad Lib and it's one of the best lines in the movie.
• 26:01
  Leave the gun, take the cannolis.
• 26:02
  Amazing. The guy that played Clemenza.
• 26:04
  Ohf, fucking amazing. Yeah, he's really good in that
• 26:06
  movie. OK, you go ahead.
• 26:07
  Mines in order. It's kind of weird, but the guy
• 26:11
  who plays Jack Waltz, we mentioned them already yelling
• 26:14
  at Tom Hagen. This.
• 26:15
  Guy. I swear he's the biggest heat
• 26:16
  check ever. He's in the movie for like 10
• 26:18
  minutes. Johnny Fontaine never gets that
• 26:21
  movie. And let me tell you something
• 26:23
  else, my crowd make friend. She did it all.
• 26:25
  She threw it all away to make me look ridiculous.
• 26:28
  And a man in my position can't afford to be made to look
• 26:32
  ridiculous. Now you get the hell out of
• 26:35
  here. It's so fucking extra.
• 26:42
  It's it's really good. It works on so many levels.
• 26:46
  It works but also like you're like yo chill.
• 26:50
  Yeah, it's so. Friggin good Johnny Fontaine
• 26:53
  never gets that movie. Oh my God I can't even come in
• 26:59
  with my next line after like this is too low key.
• 27:01
  OK, go talk about vengeance. Is vengeance going to bring your
• 27:06
  son back to you? Well, my boy to me.
• 27:10
  Huh. That's such a good line.
• 27:14
  Like Don Corleone is so wise. Yeah, he plays a very wise, wise
• 27:18
  person. Very, very wise.
• 27:19
  I have more on that later, but yeah.
• 27:21
  Never tell anyone outside the family what you thinking again.
• 27:25
  When Sunny reacts to, that's a lot.
• 27:29
  So there's a few scenes where like somebody in the family
• 27:33
  tells somebody after a meeting, like, don't fucking do that.
• 27:36
  Yeah, there's a few scenes where that happens.
• 27:39
  What are you gonna do? Nice college boy?
• 27:41
  Yeah. Didn't wanna get mixed up in the
• 27:43
  family business. Now you wanna gun down a police
• 27:45
  captain? What?
• 27:46
  Cause he slapped you in the face a little bit.
• 27:48
  What do you think this is the army where you shoot him from a
• 27:50
  mile away? No, you got to get up close like
• 27:52
  this. But a Bing blow the brains all
• 27:54
  over your nice Ivy. League suit.
• 27:58
  You're taking this very personal, Tom.
• 28:00
  This is business and this man has taken a very, very personal.
• 28:06
  I got so Sunny was hot for my deal.
• 28:10
  Sonny was a real hired. Sonny was a real hard head.
• 28:13
  Will you say that to each other all time for literally no
• 28:15
  reason? One of us will just be in the
• 28:17
  kitchen. It will be like Sunny was real
• 28:19
  hot. It was a staple for poker
• 28:21
  nights. It was a staple.
• 28:23
  OK, well you said it at home randomly and then I've just
• 28:27
  picked it up as a random habit and we like literally it has no,
• 28:30
  no, no reason. It just happens.
• 28:32
  I got 1 here. It's a Sicilian message.
• 28:36
  Luca Brazzi sleeps with the fishes.
• 28:40
  Because it's so classic, you notice that that's his vest.
• 28:43
  Right. You wanna sleep with the fishes?
• 28:45
  They wrapped it, hit the fish in his.
• 28:47
  I did, but like, does the family know that that's his vest?
• 28:51
  Like is that a well known thing that he did or were they just
• 28:53
  like, I don't know. I don't see anybody else wearing
• 28:55
  a vest in the movie. No, but I don't.
• 28:58
  Yeah, they might have been new tech, right?
• 29:00
  They didn't really seem to notice the vest.
• 29:02
  They're like, more like, what the fuck is this?
• 29:04
  What else you got? Hey, listen, I want somebody
• 29:06
  good, I mean, very good to plant that gun.
• 29:09
  I don't want my brother coming out of that toilet with just his
• 29:11
  Dick in his hands, all right? I love that one, I say.
• 29:18
  That and then Clementis, like the gun will be there, yeah.
• 29:23
  I love that I say that sometimes, like.
• 29:26
  Make sure you bring your. Wallet.
• 29:28
  I don't wanna come out of the restaurant.
• 29:29
  Just my Dick in my hands. It doesn't really make sense,
• 29:33
  but you get the. Point.
• 29:34
  Yeah, yeah, we get it. I live in New York tomorrow.
• 29:38
  Think about a price. Do you know who I am?
• 29:42
  I'm Mo Green. I made my bones when you were
• 29:45
  going out with cheerleaders. I don't like Moe.
• 29:48
  Green fuck he's he another heat check the guys in the movie for
• 29:51
  like 3 minutes and he's just yelling at Michael Corleone who
• 29:54
  just like the new newly appointed it's a long head of
• 29:57
  the family and then that one weird like audio dialogue.
• 30:00
  I think they did ADR in the studio after he's like.
• 30:04
  Oh, I talked to Barzini. What the fuck was that all
• 30:08
  about? Yeah, his voice changes so
• 30:11
  drastically that it makes you look over.
• 30:12
  Like the fuck? Or talk to Bossini.
• 30:15
  Yeah, it's, it's very weird. And then Fredo, Michael, you
• 30:19
  can't come to Las Vegas and talk to a guy like Moe Green like
• 30:22
  that. I only have one left.
• 30:25
  You have a lot more left. I got a couple.
• 30:27
  OK you go cause I want mine to be the last one.
• 30:29
  So I I started the pod with this.
• 30:31
  Fredo, you're my older brother and I love you, but don't ever
• 30:39
  take sides with anyone against the family again.
• 30:44
  Ever. Don't ever take sides with
• 30:45
  anyone against the family again. And then obviously.
• 30:50
  I'm gonna make him an offer he can't refuse.
• 30:52
  Very classic. Yeah, so Don Corleone.
• 30:55
  I don't know what to do. I don't know what to do.
• 30:58
  You can act like a man. What about you?
• 31:03
  That's how you turn down a Hollywood Pinocchio at the
• 31:06
  Christ like a woman. What can I do?
• 31:10
  What can I do? What are you going to do?
• 31:13
  What am I gonna do? He's like mocking Johnny
• 31:16
  Fontaine. So that scene there when he
• 31:18
  slaps Johnny Fontaine, that was ad libbed.
• 31:21
  He didn't. He wasn't supposed to slap him
• 31:23
  for real. If you watch it, the guy who
• 31:25
  plays Johnny Fontaine, who's actually a real singer, shocked.
• 31:29
  He's like, what the fuck? Marlon Brando just slapped the
• 31:31
  shit out of me. But they keep going.
• 31:33
  It works. And then I.
• 31:35
  Tell you would be shocked if you got slapped in the face.
• 31:38
  But I put Solazzo here when he's talking to Tom Hagan after they
• 31:42
  they shoot veto with the bag of oranges.
• 31:45
  I don't like violence though. I'm a businessman.
• 31:48
  Blood is a big expense. I just think it's hate.
• 31:51
  That he seals Tom and then he just like, is like, yeah, I
• 31:54
  fucking killed your dad, basically.
• 31:56
  Yeah, he's like make a deal with Sonny.
• 31:58
  He wants to do business. Why does he think Tom wants to
• 32:01
  do business with him? Because he killed Don.
• 32:03
  He's saying I'm gonna kill you all.
• 32:05
  He. Basically killed his dad.
• 32:07
  Yeah, I know. He's saying you make a deal with
• 32:08
  me or we're gonna kill everybody.
• 32:10
  Go ahead. Monday, Tuesday, Thursday,
• 32:13
  Wednesday, Friday, Sunday, Saturday.
• 32:18
  Ohhhhh man Apolonia Apolonia. I know how to speak English just
• 32:23
  so the days of the week in in the wrong order.
• 32:26
  In the wrong order. That's why it's so good.
• 32:29
  All right. Next segment what do you got?
• 32:33
  Classic or cancelled? Classic or cancelled?
• 32:35
  I got a couple things for this, but go ahead.
• 32:37
  Yeah, I mean, this movie is obviously a classic.
• 32:39
  It's it's known. It's the fucking classic.
• 32:41
  It's the classic. It's known to be an incredible
• 32:44
  film, however, it was not only made in a different time, but it
• 32:49
  was portraying a different time, like an even older time for
• 32:53
  sure. So there are some things done
• 32:55
  and said in this movie that are very fucked up.
• 32:58
  Spill that TV. Scold me with that.
• 33:02
  The scene where all the families meet and they discussed going
• 33:05
  into drugs and the guys like I want it kept away from schools,
• 33:09
  I want it kept away from children, he says.
• 33:12
  Keep it amongst the dark people. They're animals anyway.
• 33:15
  Let them lose their souls. Oh my God I forgot about that.
• 33:20
  That's fucking dark. It's so fucked up.
• 33:24
  It's yeah, that's really, really dark and fucked up.
• 33:28
  And I almost want to say it's aged poorly because it's so
• 33:31
  fucking racist disgusting, but like the we're also talking
• 33:35
  about mobsters who are disgusting criminals.
• 33:38
  So sure, it's kind of like it just it just plays into the fact
• 33:42
  that they're terrible people. Yeah, I mean, if that wasn't a
• 33:45
  Tarantino movie, it'd be less socially acceptable.
• 33:47
  Like, oh, it's just Tarantino doing Tarantino things.
• 33:50
  Well, I don't think it's actually cancellable in the
• 33:52
  film. I think it's a horrible thing to
• 33:54
  say, but I think it it adds to the character that these people
• 33:58
  are pieces of. Shit that you that you feel that
• 34:01
  way, I think. Yeah, they would all that way
• 34:03
  and say that about a group of people.
• 34:06
  So that's that's one thing that I thought was cancelled.
• 34:08
  Also, the movie glorifies criminals and it makes the
• 34:12
  mobsters almost seem like respectable businessmen.
• 34:15
  Yeah, instead of the harmful criminals that they truly are.
• 34:19
  Yeah, yeah. And that's that's not really a
• 34:23
  good image to be painting of people in the mafia.
• 34:28
  Well, it's showing a different side of the public world.
• 34:31
  Like when this movie came out, a lot of people didn't understand,
• 34:35
  like this underworld, this organized crime world, A lot of
• 34:39
  things were just like, oh, I'm going to rob a bank.
• 34:41
  I'm going to do this. I'm going to do that.
• 34:43
  But this was like organized crime to the level of, you know,
• 34:48
  where judges are involved, politicians are involved,
• 34:51
  celebrities, people are made into Hollywood stars with simple
• 34:57
  decisions in the in those dark rooms and those dank settings
• 35:02
  by, you know, criminals basically.
• 35:05
  Yeah, and just like to to tack on to that, a lot of Italians
• 35:12
  were really upset by this movie because it's it's very damaging
• 35:16
  to the way Italian people are viewed.
• 35:18
  It's pushing stereotypes and insinuating that the mafia is
• 35:21
  part of Italian culture, which is not necessarily true.
• 35:26
  I see that, but you know what, a lot of Italian people were like,
• 35:29
  this is fucking cool. You know, like it became a like
• 35:34
  I had some Italian friends growing up and all they did was
• 35:36
  quote Godfather and, you know, talk about the Godfather and,
• 35:41
  you know, just everything they did was like reference to
• 35:44
  Godfather. So it was kind of like, you
• 35:46
  know, just like culturally accepted by a lot of.
• 35:51
  People as well. Do you think a lot of Italians
• 35:53
  would really want their culture to be tied into this mafia
• 35:57
  mobster view? I don't think so.
• 35:59
  Well, I don't think it's painting Italians is all
• 36:02
  gangsters. It's just it's showing a little
• 36:04
  bit of the Italian culture in the sense of the wedding, the
• 36:07
  way that they the wedding happened in Italy, how he
• 36:12
  courted Appolonia in Italy, like that's.
• 36:14
  Old school Italian vibes. Yeah, they're showing Italian
• 36:17
  culture there. How to make sauce you know how
• 36:21
  to cook. It's a real recipe.
• 36:23
  It's just the criminal activity tied in with being an Italian
• 36:27
  American in the movie that is a little bit damaging to the
• 36:30
  community. For sure.
• 36:32
  But there's movies like that now.
• 36:33
  Like I'll give you an example. You've got training Day.
• 36:36
  Training Day shows, you know, a lot of communities like Hispanic
• 36:42
  black communities in LA doing crime, but you know, the lead
• 36:46
  character is a crooked cop who's a black guy played by Denzel.
• 36:51
  And it's a hugely popular movie amongst the black community
• 36:56
  because it's Denzel and he won best actor, you know?
• 37:00
  What I mean, that's like, that's like entertainment, that's a
• 37:02
  small single piece. Whereas like The Godfather, it's
• 37:05
  it's almost painting not all Italian Americans, but a huge
• 37:09
  portion of Italian Americans being tied to.
• 37:11
  The marriages stronger with this movie.
• 37:13
  There was protests and there were certain words that were not
• 37:16
  allowed to be used in the movie because they didn't want it
• 37:18
  damaging the Italian American culture.
• 37:20
  Mario Puzo apparently didn't know anything about Italian
• 37:24
  culture. There was a lot of things that
• 37:26
  were like wrong and a Coppola helped him fix it for the movie.
• 37:31
  With the screenplay there was like he gave it even more
• 37:34
  authenticity to the Italian part of the movie.
• 37:38
  And it's almost all Italian actors too, so I I do think that
• 37:41
  they were trying to be. Like the cannoli?
• 37:43
  Respectful to the culture, but I don't think Italians want.
• 37:46
  She's like, don't forget to pick up the cannolis, you know?
• 37:48
  Like, that was such a throwaway line in the in the movie.
• 37:52
  Yeah. But it just it gives you a
• 37:54
  little sense of realism, you know, the cooking scene, all the
• 37:58
  little details. Yeah.
• 37:59
  No for sure. But that's just why I put it
• 38:01
  under cancelled because it it, it could be, it could be
• 38:04
  something. That's a little bit.
• 38:05
  Problematic. I don't think it would get made
• 38:07
  exactly this way. People get offended over
• 38:09
  everything nowadays, you know. No, I agree.
• 38:11
  But I mean as a whole culture, yeah, you may not want to have
• 38:15
  your image tied to the mafia. Sure, that's fair.
• 38:18
  I just have one more and then I'll pass it over to you.
• 38:20
  The film is also pretty misogynistic.
• 38:24
  Every woman in the film is used, lied to or abused from Apolonia.
• 38:30
  She's really not. She's not really seen as a
• 38:33
  person to us, more just an object.
• 38:35
  Michael Caesar likes her, marries her.
• 38:37
  She's this young innocent girl. Kay is lied to repeatedly by
• 38:43
  Michael and by the by the family about what's being done and how
• 38:46
  dark it is. She's like a trophy wife,
• 38:48
  basically. Yeah, Sonny's wife.
• 38:52
  Yeah, she's got, she's carrying around his children.
• 38:54
  She's raising his children. He's fucking cheating on her.
• 38:57
  Yeah, he's putting her into dangerous situations.
• 39:00
  This poor woman. And then and Connie, she's just
• 39:04
  fucking abused by her husband. And he's cheating on her too.
• 39:09
  Yeah, well, it's it's implied, but that may have been a setup.
• 39:13
  What do you mean? Like Will calls the house and
• 39:17
  he's getting ready to go meet her and she tells Connie to tell
• 39:20
  him I can't make it tonight. Yeah, no, I think no, he, he
• 39:23
  probably was cheating on her, but that moment was a setup.
• 39:26
  OHS the settlement? Was a setup.
• 39:27
  He had to beat the shit out of her so that Sonny would come and
• 39:30
  get assassinated. OK, that's what you mean.
• 39:32
  Yeah, fair enough. Maybe he wasn't, but.
• 39:35
  I mean, he's a piece of shit either way, so it's not really
• 39:38
  OK. Anyway, over to you.
• 39:40
  So yes, this movie is a classic. People complain about everything
• 39:45
  but one thing that is fully cancelled.
• 39:48
  So at the time of filming Appolonia, the actress's name is
• 39:52
  Simonetta Stefanelli. Um, she was 16 years old.
• 39:58
  Whoa, whoa, hey, hey, ho. 16, they show her boobs.
• 40:02
  Yeah, that's illegal. 16 years old, They showed her boobs.
• 40:07
  She was playing a 26 year old. The character Apolonia was
• 40:11
  supposed to be 26. Did did nobody know?
• 40:15
  I don't know. So my question is like, I'm not
• 40:17
  trying to victim blame here, but you know, is she did she lie
• 40:23
  about her age? I mean, it was the 70s.
• 40:25
  She does not look 16. Well, I'm not going to make any
• 40:30
  comments here. All I'm going to say is that she
• 40:32
  was 16 years old and she goes fully nude in front of Pacino.
• 40:36
  And my question is, did they just over it was an oversight
• 40:42
  or? Did she lie about her age and
• 40:44
  they couldn't Fact Check it? I don't know.
• 40:46
  Well, that's disturbing. Thanks for sharing that with us.
• 40:49
  Yeah, it's really, really. It's a it's one of the most full
• 40:53
  pod things about this movie. So, yeah.
• 40:57
  Alright, on to the next segment. Moving on for that.
• 41:00
  Bummer. Next segment there.
• 41:04
  This is your segment, so I'll let you lead it.
• 41:07
  Party leg is 2026. I actually didn't go that in
• 41:11
  depth with this segment this time because I I believe this
• 41:16
  film only works in the era that it's set in.
• 41:19
  The the mafia or mob or whatever you want to say is not as
• 41:23
  powerful in the modern day because law enforcement is
• 41:26
  better, technology is better, making it harder to steal and
• 41:30
  launder money, making it harder to get past all of these
• 41:34
  technical things that we have in place to prevent this type of
• 41:38
  crime specifically. I'm not saying that crime
• 41:40
  doesn't happen. It absolutely.
• 41:41
  And the cartel is fully, you know, involved in the modern
• 41:45
  banking system, right? Yeah.
• 41:46
  But the way that they operate, because they are legit, they do
• 41:51
  have legit businesses and then they have the criminal
• 41:53
  businesses and there's a lot of murder.
• 41:54
  I don't think that that is as prevalent.
• 41:59
  So it's I I just feel like it's a less opportunistic world to
• 42:02
  have all these businesses and be murderers.
• 42:05
  Like even in The Sopranos, we were seeing like it was a lot
• 42:08
  more difficult for them to get around things.
• 42:10
  So in this segment, I'm just saying I don't think it could be
• 42:15
  said in 2026. I don't think it would work, and
• 42:17
  it certainly wouldn't be as compelling.
• 42:19
  It would be, it would be very different.
• 42:20
  They'd be different businesses, different crimes.
• 42:23
  But I said like, you know, the Corleone and if it was in 2026,
• 42:29
  other ethnic groups would be involved in the business for
• 42:32
  sure. There would be, you know,
• 42:35
  obvious set like in this movie. They don't, you know, Vito's
• 42:37
  like, I don't wanna get in the drug business because it's
• 42:40
  gonna, you know, he's gonna lose control of the politicians that
• 42:43
  he has in his favor and the judges.
• 42:46
  But. Nowadays it's almost like you
• 42:48
  have. To.
• 42:48
  You have to if you're going to get into that, unless you, you
• 42:51
  know, rob jewels or something. It's the drug business or
• 42:54
  nothing. But that's why they're like,
• 42:56
  portrayed almost as, like I said, businessmen.
• 42:59
  And it's not, it's not accurate because they are.
• 43:02
  Criminals. This movie has a moral
• 43:04
  complexity that is very interesting, like that one scene
• 43:08
  where all the five families meet.
• 43:11
  Vito's talking about how prostitution's OK and gambling's
• 43:16
  OK. And he's basing his, you know,
• 43:20
  what's not allowed and what's OK to do kind of around what the
• 43:24
  church says. My gosh, I believe this drug is
• 43:27
  gonna destroy us. And he used to come.
• 43:31
  I mean, it's not like gambling let go even women, which is
• 43:35
  something that most people want nowadays, and it's forbidden to
• 43:39
  them by the pets and advance to the church.
• 43:41
  Even the police departments that have helped us in the past with
• 43:45
  gambling and other things are going to refuse to help us when
• 43:47
  it comes to narcotics. And it's kind of strange like
• 43:50
  they have he has this line that he won't cross, but you're like,
• 43:54
  bro, you're already, you know, cutting up people's horses,
• 43:57
  throwing it in their bed, you know, you're.
• 44:00
  Committing murders? Pretty much not himself, but he
• 44:02
  people up like that's what I mean.
• 44:04
  It's it's his own Geiger counter.
• 44:09
  Yeah, and he's just kind of like, OK, this is what what is
• 44:12
  toxic? This is what is allowed.
• 44:14
  Yeah, but you can't pick and choose your morality like that.
• 44:17
  Like you're he, he, he doesn't wanna be black and white.
• 44:20
  He doesn't want to be a good guy or bad guy.
• 44:21
  He wants to be a guy who follows his morality.
• 44:24
  Is that I mean, nobody's a St. right?
• 44:27
  So people are like, OK, this is my vice.
• 44:30
  This is what I do. This is what I don't do.
• 44:33
  This is the line that I cross. This is the one that I don't.
• 44:37
  It's in that sense, you know, you can relate to these
• 44:40
  characters. Um, they kind of make them seem
• 44:44
  like the good guys of monks the bad.
• 44:46
  Guys, yeah, there's definitely a lot of humanity still within
• 44:49
  them. They're not monsters, but they
• 44:51
  are bad people. They are, that's the thing.
• 44:54
  Like. No, they're bad people, but
• 44:56
  they're there are some things, there's some redeeming.
• 44:58
  Qualities in all they do monstrous things.
• 45:01
  They do, absolutely. Do like, especially Michael at
• 45:04
  the end of the movie, like he, you know, we know the baptism
• 45:07
  scene is one of the most iconic moments in movie history because
• 45:11
  it's like a montage of murder and rebirth.
• 45:15
  Well, I said, I said that in the last category, like think it
• 45:18
  glorifies criminals. Yeah.
• 45:20
  Also, the scene where Sunny beats up Carlo would have been a
• 45:24
  lot better if it was shot today. He wouldn't have missed any
• 45:27
  punches or kicks. It would have been a lot more
• 45:29
  realistic. Yeah.
• 45:30
  And it wouldn't have been shot the same, which would have been
• 45:32
  a real shame. Like, we wouldn't have had the
• 45:33
  broken fire hydrant and we wouldn't have had it shot in the
• 45:36
  street like it was, right? I don't think it would have been
• 45:38
  as cinematic. Yeah, or as impactful.
• 45:42
  So if it was done in 2026, who would you cast as Michael?
• 45:47
  So long time rumor for The Godfather Part 4 was Leonardo
• 45:52
  DiCaprio to play, not Michael. But if I would have cast him, I
• 45:57
  would do Michael. I would dye his hair black.
• 46:00
  I don't think he comes off as very Italian.
• 46:03
  Well, I mean, no he doesn't, but he's Shaprio.
• 46:07
  Is he Italian? I don't know.
• 46:08
  I don't think so. It's a very Italian sounding
• 46:11
  name. Yeah, it is.
• 46:12
  Imagine Leonardo is a very Italian name as well.
• 46:15
  I would actually cast Pacino to play the Don Vito, which would
• 46:19
  be a nice callback to the original.
• 46:21
  He's kind. Of yeah.
• 46:22
  He's way older than Marlon Brando was, but you know Jesse
• 46:27
  Plemons would be Tom Hagan. Ohhhhh what?
• 46:32
  He can't be Tom. Why he's been in other movies
• 46:36
  he's played different. Characters handsome?
• 46:39
  OK, fair enough. I mean, who would you pick to
• 46:42
  play Tom Hagen? To play Tom.
• 46:44
  Yeah, stop saying Tom. See Tom Hagen.
• 46:48
  So it doesn't work now because he's.
• 46:50
  Wasting known personally. It doesn't work now cause he's
• 46:53
  way too old, but he's one of the guards in the Green mile.
• 46:56
  Oht. He's the blonde one Yeah, I know
• 46:58
  it's it wouldn't work now cause he's too old, but when he.
• 47:01
  Was saying too. Yeah, when he was that age.
• 47:03
  He's one of the rapists and Shawshank, right?
• 47:05
  Yeah, he's one of the sisters. No, he's not.
• 47:08
  You're thinking of the wrong person.
• 47:10
  Oh, he's the guard in Shashank. Yeah, yeah, he plays a guard in
• 47:13
  both movies. Yeah, he does.
• 47:15
  Yeah. Yeah, he's way too old.
• 47:17
  Yeah, but he in his heyday, he could have done it.
• 47:19
  OK. For Fredo, I picked Paul Dano.
• 47:22
  Who's that? Paul Dano is the the kid in
• 47:26
  prisoners. He's the one that's kind of like
• 47:29
  he has a disability, Yes. Speaking of prisoners, I want
• 47:32
  dirtbag Jake Gyllenhaal to play Fredo.
• 47:34
  Jake Gyllenhaal. Is Jake Gyllenhaal though?
• 47:39
  Yeah. Jake Gyllenhaal, you should be
• 47:42
  like Sunny or somebody. He's a present, he's a physical.
• 47:45
  No, Ryan Gosling is sunny. Why are you picking these two
• 47:49
  guys? They're super handsome.
• 47:51
  A list Hollywood a listers. Like what the fuck?
• 47:55
  What is this, a fucking calendar shoot or a Godfather movie?
• 48:00
  OK, I got Anya Taylor Joy as Connie.
• 48:02
  OK, And I got Scar Jo as Kay because she's around the same
• 48:06
  age as Leo, like closer in age, and she has this sensibility of
• 48:10
  like innocence to her or Kay. Like Diane Keaton kind of had
• 48:13
  that where she was kind of like sheltered.
• 48:15
  She doesn't know what's going on and you know, like kind of why
• 48:18
  wide eyed. But like, perfect recasting for
• 48:22
  Sunny Jon Bernthal. Fucking OK yeah yeah yeah. 2
• 48:27
  fucking hot heads. James Kahn like 2 to the TV.
• 48:31
  Yeah, that would have. Worked really well Wall.
• 48:33
  Street is like what you bring the bring.
• 48:35
  System over. Let him watch, Let him watch.
• 48:38
  He's like, yo, she told. She told you.
• 48:39
  She doesn't want you bothering her anymore, man Fuck Jake the
• 48:45
  fuck out of you. You know who I want actually, as
• 48:49
  as the Don who I want. Fucking Thanos.
• 48:53
  What? Yeah.
• 48:55
  Really. Yeah, it's not bad, actually.
• 48:58
  He's old enough now. He's old enough that he could do
• 49:00
  it. He's good and he has a a
• 49:02
  terrifying presence, but he also like has this intelligence.
• 49:06
  Yeah, but he's so it would work. Vito had a like a sense of like
• 49:09
  warmth to him. Well, I'm not trying to remake
• 49:12
  the exact same movie. I'm trying to give it a
• 49:13
  different feel. So a little bit of different
• 49:15
  depth. Why are we making the same
• 49:16
  movie? OK, so I gotta spin right here
• 49:19
  to cast this Don Vito, Old Don Vito in 2026, Robert De Niro.
• 49:25
  Well, yeah, because he plays young.
• 49:26
  Yeah, it's really him. Wow, Alright.
• 49:34
  Can you watch this with your parents?
• 49:38
  So it's it's kind of tricky because it's a really good
• 49:41
  movie. So you're going to want to watch
• 49:43
  it as a family and you can watch it with your parents.
• 49:46
  Yeah, but we've got the Apollonia nude scene, which is a
• 49:49
  little uncomfortable, but even more uncomfortable when Sunny is
• 49:53
  having sex with the bridesmaid against the door and she's like
• 49:56
  moaning. It's like Sunny, like I don't
• 50:00
  want to watch that with my parents.
• 50:01
  No, that's the one clip you would forward.
• 50:03
  It's a few seconds. The Appolonia underage Unity
• 50:08
  scene is, you know, it's obviously something that you can
• 50:13
  forward as well, but I just wanted to now you bring it up
• 50:17
  how? Long Sonny's in there with her
• 50:19
  for like 15 minutes. Like what is going on in there?
• 50:23
  Because he goes up the stairs and then it cuts to veto, it
• 50:28
  cuts to something at the wedding, It cuts to veto talking
• 50:31
  to like one of his guests, the guy with Enzo.
• 50:36
  And then he's like where Sunny? And then Tom Hagan goes to get
• 50:40
  him and he's just pile driving this bridesmaid or this wedding
• 50:43
  guest there. And you're just like.
• 50:46
  That scene pisses me off so much.
• 50:47
  Your wife makes eye contact with you across the room and knows
• 50:51
  that you're going off to fuck around.
• 50:53
  At your sister's wedding. Wedding.
• 50:57
  At your parents house. Yeah, fuck off, Sunny Crazy.
• 51:01
  Put your Dick back in your pants.
• 51:03
  Funny was not the. Time Sunny was a real hot.
• 51:05
  Head no Sunny was a real dirt bag.
• 51:07
  I think you can watch it with your parents.
• 51:09
  This movie is about family and anyone who watches it can relate
• 51:14
  to the characters and the story in some way shape or form.
• 51:19
  Like when I remember watching this at home growing up, my mom
• 51:24
  would just like stop it and like, if it was the wedding
• 51:26
  scene, she would stop and watch the wedding because it looks
• 51:29
  like a real wedding. Your mom would live for that
• 51:32
  scene. Everybody likes that scene.
• 51:35
  Everybody likes a fun wedding. It's true.
• 51:37
  You know what I mean? Like, I don't care who you are.
• 51:40
  Fun weddings are a plus. Beautiful weather like that too.
• 51:44
  Exactly. Amazing.
• 51:48
  OK, favorite and least favorite supporting character?
• 51:51
  OK, so my favorite is good old Peter Clemenza.
• 51:56
  OK. You go to restaurant, you eat,
• 52:00
  you talk for a while, you relax, you make them relax.
• 52:03
  Then you get up and you go take a leak, but it's still you ask
• 52:07
  permission to go and when you come back you come out blasting
• 52:11
  and don't take any chances. Two shots in the head of piece.
• 52:13
  Of shit. This guy rules.
• 52:16
  Clemenza. Clemenza.
• 52:17
  He fucking rules. He's incredibly loyal to the
• 52:20
  family and he owns people left and right in this movie.
• 52:26
  He is sweet and docile with his friends and family, but he's
• 52:29
  very deadly to his enemies. And he's in so many iconic
• 52:32
  scenes, including the cannoli scene, the elevator shooting
• 52:36
  scene where it has the box and he opens it up and it's a
• 52:39
  fucking huge gun. He's owns everyone in the
• 52:42
  elevator. And then the strangulation of
• 52:44
  Carlo, like, you want that piece of shit to die?
• 52:47
  And he sits down in front of Clemenza.
• 52:49
  And you just like, do a buddy like.
• 52:50
  Hello. Away and he fucks him up and he
• 52:53
  breaks the windshield. That's a dark.
• 52:54
  Scene. It's a dark scene but fucking
• 52:57
  well deserved. What about you?
• 52:59
  Who's your favorite? I gotta go with my man Jack
• 53:02
  Waltz. Ah.
• 53:15
  Johnny Fontaine never gets that movie.
• 53:19
  It'll make him a big *. OK, everybody listening, here's
• 53:23
  Here's a drinking game. Every time Dad pretends to be
• 53:25
  that guy Jack Woltz, take a shot.
• 53:28
  You'll be wasted by the end of the.
• 53:29
  Episode She threw it all away just to make me look ridiculous
• 53:34
  and a man in my position can't afford to be made to look
• 53:37
  ridiculous. Now you get the hell out of.
• 53:40
  Here. That's worth two shots.
• 53:43
  Also, this guy he he wins the unofficial award for.
• 53:48
  Advanced racism is like let me tell you something, my crowd
• 53:51
  make friend like he's fucking ready with the slurs.
• 53:54
  We already talked about that, I know, but.
• 53:55
  He wins the award on official award win.
• 53:57
  Alright, it's my favorite. OK, that was that was a lot.
• 54:00
  OK, your least favorite. Go ahead.
• 54:04
  Carlo Rizzi. Fucking piece of shit, abusive
• 54:07
  husband. He beats Connie up because he
• 54:10
  feels emasculated by his lack of power in the family business.
• 54:15
  Also, when he sets up Sonny's assassination, he knows he's
• 54:18
  going to have to beat the absolute shit out of his
• 54:20
  pregnant wife and he's just fine with that.
• 54:23
  Yeah, he could have caused a miscarriage.
• 54:26
  He could have accidentally killed her.
• 54:28
  It fucking got so heated. He's terrible.
• 54:31
  I was really glad when Clemenza killed him.
• 54:33
  He deserved it. He was a piece.
• 54:34
  Of shit, he loses it and beats her up.
• 54:36
  I'm like, what did she do? Like to deserve that kind of
• 54:43
  thing. I'm just kidding.
• 54:45
  Yeah I'm fucking kidding but low key mean she did smash
• 54:49
  everything in the apartment that was fucked up but like he came
• 54:52
  at her with a belt and she's pregnant.
• 54:54
  Fuck off. He he's obviously unhinged.
• 54:57
  Yeah. That's too much like.
• 54:58
  What's your problem? Dude, I didn't even put this guy
• 55:00
  on the on the least favorite list because he's not a person
• 55:04
  to me in the movie. He's just a fucking like he's
• 55:07
  just an NPC. But my least favorite, and it's
• 55:10
  going to be kind of a crossover, is Connie Tally Shires the wife.
• 55:15
  I don't like her. She is overacting like crazy.
• 55:21
  You didn't you, you play godfather to her child and you,
• 55:25
  I don't know, I I just feel the bastard you.
• 55:29
  I felt something every time she was on screen.
• 55:32
  I felt. Something really bad acting by
• 55:35
  Talia Shire. And The thing is, she's fucking
• 55:38
  amazing in Part 2. Godfather, Part 2.
• 55:42
  She is really good from the beginning to the mostly an
• 55:46
  earlier acting role for her. Like she's, she's pretty young.
• 55:50
  Sure, but it's like you got all these heavy hitters, he's got
• 55:53
  these juggernauts around you. Even Mama Corleone, she's really
• 55:56
  good. She just seems like a real mom.
• 55:59
  But I. Think that was her acting debut
• 56:01
  too. I think she was like a jazz.
• 56:02
  Singer but Connie was It's just too much overacting by Talia
• 56:07
  Shire. She kind of ruined it.
• 56:09
  Fair enough, but I the scenes with her in it are so good that
• 56:13
  I don't feel. Like she plays a pivotal role in
• 56:15
  the movie, yes, but I just wish they were like, you know what?
• 56:19
  You just just chill out. Don't.
• 56:21
  Overreact, I feel bad for her though cause I I could never put
• 56:23
  her as least favorite character. I feel bad for her.
• 56:26
  For the character, but the actor did a terrible job.
• 56:29
  That's that's your opinion. Yeah, OK.
• 56:31
  Cultural impact. Go ahead.
• 56:34
  So the Godfather is widely regarded as one of the best
• 56:38
  films of all time and, and we've said this several times in this
• 56:41
  podcast. You can't deny it.
• 56:43
  Um, amazing performances, amazing storyline, the Italian
• 56:49
  ization of America. The film brought Italian
• 56:52
  American culture, language and food into the mainstream, though
• 56:57
  it simultaneously fueled stereotypes regarding
• 57:00
  connections to organized crime. So This is why we see like
• 57:04
  Italians that love this movie and Italians that are upset by
• 57:07
  this movie because it it did help the culture in some ways
• 57:11
  and it also added some negative stereotypes into the culture.
• 57:14
  I mean, sure. I mean, there's a lot of takes
• 57:16
  on this and modern culture with the, I mean, one of our favorite
• 57:20
  shows. Sopranos.
• 57:21
  Yeah, I was. That was my next thing, the
• 57:23
  influence of TV and film. It laid the groundwork for
• 57:26
  Sopranos, Goodfellas and countless other mafia themed
• 57:29
  projects, directly influencing the thematic structure.
• 57:35
  Every mafia movie we have is in some way a little bit of a
• 57:40
  sequel to The Godfather. Because it it was, it was the
• 57:43
  first one you really lay this. Ground first.
• 57:47
  There was other mob movies, but this was the first modern mob
• 57:50
  movie that was done in a different way.
• 57:53
  It wasn't cartoony. It wasn't campy, you know, it
• 57:56
  wasn't like the original Scarface.
• 57:59
  It was very much like this is serious business.
• 58:02
  Yeah, it was dramatic. It was a slow burn.
• 58:05
  It showed in depth. It showed how they really are in
• 58:08
  some ways businessmen. Um, so I thought that that was
• 58:11
  interesting. So the, the, the movie does kind
• 58:15
  of focus several times. Vito Corleone talks about it,
• 58:18
  about the American Dream, but it's kind of showing the dark
• 58:22
  side of this and how it's fueled by capitalism and how nothing's
• 58:27
  ever enough. They all have these amazing
• 58:30
  houses and cars and all the money they could ever want, and
• 58:33
  it's never enough. They wanna go to Nevada.
• 58:35
  They wanna take a casino. They want to, you know, buy more
• 58:39
  businesses. They want to get into drugs like
• 58:41
  it. It's never enough.
• 58:42
  The greed just grows. The ballpark for I was trying to
• 58:46
  figure out how much his family is worth like Corleone family,
• 58:49
  like how much money they have and basically it's our
• 58:51
  approximately $100 million of family is worth that and.
• 58:55
  In that day or in today's day and.
• 58:57
  Age in that day and age like there was.
• 58:59
  A lot of money, but. Yes, in culture, this movie is
• 59:02
  like it's everywhere. Every single I made him an offer
• 59:07
  he can't refuse every horses head, every closed door.
• 59:11
  It's been parodied by The Simpsons, Family Guy, Seinfeld.
• 59:16
  It's just everywhere. And if you weren't around for
• 59:19
  this movie, it's just a giant meme a bunch a collection of
• 59:24
  memes this movie. But when you're familiar with
• 59:28
  the film and then you see the references in pop culture, you
• 59:33
  know it. It's it's much more enjoyable
• 59:35
  that way. What do you think of the
• 59:36
  soundtrack, Dad? The soundtrack is recognizable
• 59:41
  at all times, whenever that theme plays.
• 59:45
  Super recognizable. It's iconic as can be.
• 59:49
  For. Any, any movie theme and it has
• 59:51
  different variations. There's a there's a scarier one,
• 59:55
  there's the, you know, happy one.
• 59:58
  There's, there's different versions and then there's.
• 1:00:00
  The main theme that's more subtle, well, it's, it's like
• 1:00:04
  mournful dramatic. It it it really it really
• 1:00:08
  captures you and gets you into the mood for this film.
• 1:00:10
  Like it gives the film such as specific vibe.
• 1:00:12
  You can't mistake it for any other.
• 1:00:13
  Movie when you hear it, you can't it's it's very.
• 1:00:15
  It's very, very beautiful, very beautiful soundtrack and it's
• 1:00:21
  one of the best ever laid. To any movie.
• 1:00:23
  I agree and I like the music when he's in Italy too.
• 1:00:27
  Alright, who gets a spin off? So I want a Moe green movie.
• 1:00:32
  OK. We never get to see what went on
• 1:00:35
  in Vegas with him and Fredo. We get that one small scene and
• 1:00:39
  it probably could be like something similar to the movie
• 1:00:42
  Casino, but we would also see just Fredo being a piece of shit
• 1:00:47
  and smacked around by Moe Green. I have a very very funny similar
• 1:00:52
  thing here. My spinoff is Alfredo.
• 1:00:55
  Spinoff comedy of him living in Vegas and getting slapped around
• 1:01:00
  by Moe Green. For banging cock.
• 1:01:02
  Two cocktail waitresses 2 at a time had to straighten them out.
• 1:01:07
  Yeah, Michael was not impressed. You straighten my brother out.
• 1:01:10
  Yeah, he was pissed. That scene, I was, I know he's
• 1:01:14
  trying to like inflict his, like he's trying to impose his
• 1:01:18
  strength and his will on Moe Green, but your brother was
• 1:01:22
  being a fucking idiot. Yeah, and Moe Green also gives
• 1:01:25
  no fucks. Like he's not intimidated by him
• 1:01:26
  and. He's straight up tells him he's
• 1:01:28
  like what's wrong with you? Like I'm trying to run a
• 1:01:30
  business here. What the fuck is wrong with?
• 1:01:32
  You. I think it's showing, like
• 1:01:33
  Michael trying to show that he's menacing before he actually has
• 1:01:37
  done the work to be menacing. Well, he's still the new kid on
• 1:01:41
  the block, right? Yeah.
• 1:01:42
  Nobody respects him. He's like the Godfather's sick.
• 1:01:44
  You guys don't have the muscle anymore.
• 1:01:46
  Exactly. And then, you know, he he asked,
• 1:01:48
  he has to prove himself after that which.
• 1:01:50
  You know who I am? I'm Moe Green.
• 1:01:52
  Yeah, I want to mow green movie. I want to see more about Moe
• 1:01:54
  Green. You don't come to Vegas and talk
• 1:01:56
  to a man like Moe Green like that double feature.
• 1:02:02
  There's an obvious answer for this.
• 1:02:04
  You watch it with the godfather too like they should be.
• 1:02:06
  They should be 1 movie honestly. It's fucking way too long.
• 1:02:10
  I know, but the story just it's, it flows.
• 1:02:13
  So I put Godfather Part 2, but I also put analyze this.
• 1:02:18
  Oh my God. Because Analyze this is another
• 1:02:21
  movie where they mentioned The Godfather a few times and they
• 1:02:25
  actually Billy Crystal has a dream where he walks out of the
• 1:02:29
  store and he walks across street to buy some oranges and De
• 1:02:34
  Niro's with him and De Niro's. In the white suit, though.
• 1:02:38
  No, no, it's Part 1. Oh.
• 1:02:40
  OK goes to buy the oranges and then Billy Crystals shot by two
• 1:02:44
  guys on the middle of the street and then De Niro sits down like
• 1:02:48
  Fredo and starts crying and calls him PP.
• 1:02:52
  That's weird. And then he.
• 1:02:53
  Wakes up, he's having a nightmare, he goes and tells
• 1:02:55
  Nero and Dinero's like I was Fredo what the fuck?
• 1:02:59
  Like he's like he doesn't give a shit about what he said, He's
• 1:03:03
  insulted that he dreamt that he was afraid of because nobody
• 1:03:07
  wants to be afraid of. But anyway.
• 1:03:09
  So I have a a new segment. Hang on, I want to do laughing
• 1:03:13
  at a funeral. I have one for it.
• 1:03:15
  OK. Go.
• 1:03:16
  OK. So this segment, we're going to
• 1:03:19
  use it from time to time, but this movie didn't really have a
• 1:03:22
  lot laughing at a funeral. So things that make you laugh
• 1:03:25
  where you shouldn't really laugh.
• 1:03:27
  But I do have one the horse's head in Jack Waltz's bed.
• 1:03:32
  That made you laugh. No, because that was a real
• 1:03:35
  horse's head. And the actor?
• 1:03:38
  Didn't. Know the actor didn't know that
• 1:03:41
  there was going to be a real horses head in the bed.
• 1:03:46
  He had no idea. They set up the horses head in
• 1:03:49
  and they, they, they tell him to get in the bed and he's like,
• 1:03:52
  you know, they like, you have to get up and then flip the sheets
• 1:03:54
  and. Yeah, the blood all over the
• 1:03:56
  sheets is. Really blood was real, the
• 1:03:59
  fucking horses head was real and the guys reaction, obviously he
• 1:04:03
  he kept acting. This is why he's my favorite
• 1:04:06
  supporting character because he didn't fuck up the shot, but he
• 1:04:09
  was actually scared. The terror, the terror in his
• 1:04:13
  voice. I mean, Khartoum got his head
• 1:04:15
  chopped off, you know? Before they send them to the
• 1:04:17
  glue factory or the dog food factory or whatever.
• 1:04:20
  But yeah, that shit is hilarious.
• 1:04:24
  Like he didn't have realizing it's a real horse head would
• 1:04:26
  really freak you out. Anyway, go ahead with your new
• 1:04:29
  segment here. OK, so this is a new segment,
• 1:04:32
  and I'm the only one that's gonna do it.
• 1:04:34
  I'm gonna do it to you. OK?
• 1:04:36
  Every episode is called Kiss Marry Kill and I picked 3
• 1:04:40
  characters from the movie and you have to decide which one you
• 1:04:44
  would kiss. Oh my God.
• 1:04:45
  Which one you would marry and which one you would?
• 1:04:47
  Kill. Let me guess, you picked all the
• 1:04:49
  fat dudes? So I have a veto.
• 1:04:54
  Corleone Clemenza and Luke Obrazi knew it.
• 1:04:59
  You picked the fucking 2 fat guys and the old guy.
• 1:05:05
  So are you gonna kiss? Who you gonna marry?
• 1:05:07
  Who you gonna kill? I know what mine is.
• 1:05:09
  Mine's easy. I don't fucking know.
• 1:05:11
  I mean, I'll kiss. I'll kiss the Don Corleone
• 1:05:15
  because he's the godfather. I'll kiss his hand.
• 1:05:17
  You kiss his hand. Yeah, kiss his hand, Mary.
• 1:05:21
  I'm gonna marry Clemenza because he's gonna make me pasta.
• 1:05:24
  Sauce, I was gonna say cause he could cook.
• 1:05:28
  Why don't you tell that girl you love her?
• 1:05:29
  OHS, I love you so much. If I don't see you, I think I'm
• 1:05:33
  gonna die and then kill. I'm gonna, I'm gonna kill Luca
• 1:05:38
  Brazzi. Because he dies anyway.
• 1:05:40
  Because he sleeps with the fishes.
• 1:05:42
  Walking, he sleeps with the fishes.
• 1:05:44
  That's just that was my same one.
• 1:05:46
  OHS shit I would have married Clemenza too because he can cook
• 1:05:49
  and he's a badass. Alright, lazy Sunday, I say.
• 1:05:53
  Yes, always. Oddly for me, yes too.
• 1:05:56
  Yeah, this movie just in the background, you're the music,
• 1:05:59
  the sounds of the wedding, the dialogue.
• 1:06:02
  You'll be making breakfast on a Sunday.
• 1:06:04
  You just chilling and then you hear.
• 1:06:06
  No, I'm I'm more thinking you're having a glass of wine and
• 1:06:09
  making dinner in the kitchen in that movie is playing OK or or
• 1:06:12
  you're lazily sitting on the couch.
• 1:06:14
  Like especially the Italy scenes.
• 1:06:16
  Like you could really watch that while you just lays.
• 1:06:18
  This movie, anytime it starts at any point, I'm jumping.
• 1:06:22
  Yeah, I agree. Movie aliases?
• 1:06:26
  What do you got? I didn't really have any good
• 1:06:27
  ones cause the godfather is such a perfect title so I just the
• 1:06:31
  only two I could think of was 1. The Corleone family or two?
• 1:06:35
  Just the family. The family is really good.
• 1:06:38
  I put the Corleones. Yeah, Jenko, the company, the
• 1:06:44
  olive oil company that veto starts.
• 1:06:47
  Oht that could. Work Rebirth.
• 1:06:51
  No. Because it's about Michael's
• 1:06:54
  transition into a new life. And then there's a whole baptism
• 1:06:57
  thing and godfather and. Yeah, it clashes with the movie.
• 1:07:01
  Sure. And then I got for fun, I got
• 1:07:04
  the Cannoli Chronicles. Which could.
• 1:07:08
  Be like a comedy, but, you know, a little offensive too.
• 1:07:13
  Yeah, for sure there is a little bit of comedy in the movie, but
• 1:07:16
  it's it's it's dark comedy. OK, so we got this new section
• 1:07:21
  here. It's called best performance
• 1:07:23
  overall in the movie. It was actually recommended by
• 1:07:26
  my mom. We'll test it out, we'll give it
• 1:07:28
  a dry run and if if it works out, we'll keep it.
• 1:07:31
  If not, we'll we'll remove it. But this ones for you Nana.
• 1:07:34
  Anyway, so best performance, I have some nominees and I have my
• 1:07:40
  winner too. So do you want me to say them?
• 1:07:42
  Do you want me to go first cause I just have who I think it is.
• 1:07:45
  Well, let me say the nominees first and then see if that's OK.
• 1:07:48
  Go ahead. I've got Al Pacino, Robert
• 1:07:52
  Duvall, James Kahn and Marlon Brando.
• 1:07:57
  OK. Who's your winner?
• 1:08:00
  It's Al Pacino. There are scenes in this movie
• 1:08:02
  that are so real, you can feel the emotions through the screen.
• 1:08:06
  When he goes to the restaurant to meet so Lotso and the police
• 1:08:12
  guy. McCluskey.
• 1:08:13
  McCluskey. The Irish police captain.
• 1:08:15
  He comes out of the bathroom. Yeah, we as an audience know
• 1:08:19
  he's getting ready to kill them. And you can feel his anxiety and
• 1:08:23
  adrenaline, like the look on his face, the subway screeching
• 1:08:27
  past. I mean you have to do the post
• 1:08:32
  Steve study. Like you feel it, you feel
• 1:08:54
  everything. It's one of the best pieces of
• 1:08:57
  acting of all time, I think. That scene specifically, and
• 1:09:01
  also when he hears Sonny has been killed and he's in Italy,
• 1:09:04
  you can see the anguish in his face.
• 1:09:07
  Yeah, you know what I love about that scene?
• 1:09:09
  When he tells him that sunny bad news from America.
• 1:09:12
  Your brother Sonny is dead right When he tells him the bad news.
• 1:09:17
  His wife is in the car honking, being very childlike and
• 1:09:22
  playful. Yeah.
• 1:09:24
  You ever have a moment in real life where something serious is
• 1:09:28
  happening? Like somebody gets hurt, right?
• 1:09:31
  They trip and they break their leg or something and they're
• 1:09:33
  really hurt. But then there's someone that
• 1:09:35
  doesn't know that that happened. And you almost react in a way of
• 1:09:40
  like rage and anger because you're like, it's not a time to
• 1:09:44
  joke around. He doesn't do that.
• 1:09:47
  He kind of turns around, looks at her, and then turns back.
• 1:09:51
  Yeah, because it's not her fault.
• 1:09:53
  But like, the interesting about that scene is like, Al Pacino
• 1:09:56
  has such incredible facial expressions as an actor.
• 1:10:00
  Like he gets so much emotion across without speaking.
• 1:10:04
  Well, he's really good actor, but the reason I brought that up
• 1:10:06
  is because it's such good directing because that stuff
• 1:10:10
  really happens. Somebody here is it's a happy
• 1:10:12
  moment. Somebody hears something bad
• 1:10:14
  happened and then there's one person that's really sad and
• 1:10:18
  then another person hasn't heard the bad news yet and they're
• 1:10:21
  just instill in that well, it's a very it's crazy that they put
• 1:10:25
  that in because that happens in real life all the.
• 1:10:27
  Time it does. It does happen in real life all
• 1:10:29
  the time. It wasn't an easy choice for me
• 1:10:31
  to pick out Pacino. I will say though, because
• 1:10:33
  Marlon Brando gives an incredible performance in this
• 1:10:35
  movie as well. What do you think?
• 1:10:39
  Oh fuck, it's a tough one. So in real life, Brando won Best
• 1:10:43
  Actor. He won the Oscar for this movie.
• 1:10:45
  Rightfully so. I'd say Pacino was nominated for
• 1:10:49
  best supporting actor. Robert Duvall and James Kahn
• 1:10:52
  were also nominated for best supporting actor.
• 1:10:55
  And Pacino boycotted the Oscars because he said he should have
• 1:10:59
  been nominated for best actor. He thought it was category fraud
• 1:11:03
  because he's in the movie like us.
• 1:11:06
  As much, even more maybe, than Veto.
• 1:11:08
  I would call him the lead, yeah. I wouldn't call video the.
• 1:11:10
  Lead. Exactly.
• 1:11:11
  So he boycotted and then I think that hurt him for Godfather Part
• 1:11:15
  2. You know, if you if you boycott,
• 1:11:18
  they're like, OK, go fuck yourself.
• 1:11:20
  Yeah, for sure. For me, Pacino is the obvious
• 1:11:23
  answer. Also Marlon Brando.
• 1:11:26
  But I'm gonna give it to Robert Duvall, I'm gonna give it to Tom
• 1:11:30
  Hagen, and I'll tell you. Why?
• 1:11:32
  He has some incredible moments as well.
• 1:11:33
  The reason I give it to him is because you've got Pacino and
• 1:11:38
  you've got Marlon Brando and they're both playing the heavy,
• 1:11:42
  you know? Yeah, they're both playing tough
• 1:11:43
  guys. And you have the other end of
• 1:11:47
  the scale. You've got Tom Hagen, who's kind
• 1:11:50
  of like the he's the opposite end.
• 1:11:52
  He's trying the intellectual. Intellectual.
• 1:11:55
  Muscle he's. Brain Yeah.
• 1:11:57
  The movie needs Tom Hagen. Yeah.
• 1:11:59
  To keep everybody else in check and including Sunny.
• 1:12:03
  And then on top of that, to be on screen with Marlon Brando and
• 1:12:07
  James Don and Pacino and have a presence like Robert Duvall did.
• 1:12:11
  Yeah. It takes real fucking chops to
• 1:12:15
  be in the same scene and you're kind of like the most
• 1:12:18
  interesting guy in the scene. He's very memorable.
• 1:12:21
  He shows like a vulnerability as well, which is unique in the
• 1:12:24
  movie because everybody else is such a tough guy.
• 1:12:26
  Yeah, the, the the scene specifically that really caught
• 1:12:29
  my attention was when Sunny is sitting with Tom Hagen and Vito
• 1:12:34
  and they're talking about the drug business.
• 1:12:36
  Well, I say yes. There's more only potential in
• 1:12:38
  Alcoholics than anything else we're looking at.
• 1:12:40
  We don't get into it. Somebody else will, Maybe one of
• 1:12:44
  the five families, maybe all of them.
• 1:12:45
  Now, with the money they earn, they can buy more police and
• 1:12:48
  political power than they come after us.
• 1:12:52
  Now we have the unions, we have the gambling, and they're the
• 1:12:55
  best things to have. But narcotics is a thing of the
• 1:12:58
  future. If we don't get a piece of that
• 1:13:00
  action, we risk everything we have.
• 1:13:01
  I mean not now, but 10 years from.
• 1:13:03
  Now Sunny goes, there's a lot of, there's a lot of money in
• 1:13:06
  that white powder. And then Tom Hagen says, if we
• 1:13:09
  don't get into this now, the other families will get involved
• 1:13:12
  now. And it may not hurt us right
• 1:13:15
  away, but it'll hurt us 10 years from now Like this.
• 1:13:17
  Guys, like you said, he's an intellectual.
• 1:13:19
  He's a very smart guy. He's a, he's a really good
• 1:13:22
  lawyer in the movie and he's his lines in that scene are fucking
• 1:13:27
  amazing. Like you're sitting with two
• 1:13:29
  heavy hitters and you're the main focus in my opinion.
• 1:13:35
  I I think he's great and I give it to him because you're going
• 1:13:39
  against, like I said, 2 fucking juggernauts and that's just my
• 1:13:44
  opinion on it. Yeah, and he's still, he's still
• 1:13:47
  so noticeable. Yeah, all right.
• 1:13:50
  We got shower thoughts. I got a.
• 1:13:53
  Whole favorite. Segment I got a whole bunch of
• 1:13:55
  shower thoughts, so we're going to be here for a while.
• 1:13:58
  Would you like to go first? I'll do a couple.
• 1:14:01
  We touched on this briefly, but, um, Sonny's cheating scene is a
• 1:14:06
  really bad intro for that character.
• 1:14:08
  Yeah, I for one hated cheater. So the minute I see him doing
• 1:14:12
  that with leaving his wife and his family at the wedding to go
• 1:14:15
  fuck someone really makes me. Like, so apparently in the book,
• 1:14:20
  you know that in that wedding scene, his wife is like doing
• 1:14:22
  that thing with her hands. She's talking about penis size,
• 1:14:25
  clearly. Yeah, so in the book, apparently
• 1:14:29
  Honey is known for having a huge schlong.
• 1:14:31
  Um, they don't really delve into it, into the movie.
• 1:14:34
  No. But basically, I don't know.
• 1:14:37
  Everybody knows that he's just a man whore, I guess.
• 1:14:41
  But. I don't like it though.
• 1:14:42
  It makes it makes it immediately gets my back up about that
• 1:14:45
  character because I'm like, why are you cheating on your wife?
• 1:14:48
  Why you being a piece of shit? This is my first impression of
• 1:14:50
  you. I don't like it.
• 1:14:51
  And I mean, they do talk about the fact that Sonny's like kind
• 1:14:54
  of more irresponsible and he's a hot head and he's not really the
• 1:14:56
  one to be leading the family. Also, again with the homely
• 1:14:59
  Dumars, like there was homely Dumars and Goodfellas, there's
• 1:15:04
  homely Dumars and this one. Well, I think like you said,
• 1:15:06
  they don't care. It's not their.
• 1:15:07
  Wife it's just, I guess you know, so I I got here it is
• 1:15:12
  Waltz, Jack Waltz. Is he supposed to be Walt
• 1:15:15
  Disney? Like I'm confused cause.
• 1:15:18
  No. No.
• 1:15:19
  No, he was not giving Disney energy at all.
• 1:15:23
  Yeah, well, I got here. I mean, you were talking about
• 1:15:26
  Sunny with the Mistress. I just think it's pure heat bag
• 1:15:30
  that whole situation. I agree.
• 1:15:32
  He said that it's a heat bag situation when Don Corleone is
• 1:15:35
  buying the oranges. There's a Jake Lamotta fight
• 1:15:39
  poster on the store, which is really cool because Jake Lamotta
• 1:15:44
  is a real boxer and Robert De Niro plays Jake Lamotta in
• 1:15:47
  Raging Bull, which is directed by Martin Scorsese.
• 1:15:51
  Ah, that is cool. This is this is kind of cool
• 1:15:53
  connection. Yeah.
• 1:15:54
  What else you got? It's kind of freaky that
• 1:15:58
  Clemenza's driving around with Polly and him and the other guy
• 1:16:02
  in the car are so calm that they're like laughing and having
• 1:16:04
  a good time with this guy and then they kill him right after.
• 1:16:08
  Yeah, that's, that's the life. And Pauly, he did betray.
• 1:16:13
  He did betray him. He called in sick.
• 1:16:15
  So apparently he called in sick a few times leading up to the
• 1:16:18
  murder, to the shooting. And he didn't die to the
• 1:16:21
  shooting of Veto. The foreshadowing that I was
• 1:16:23
  talking about earlier is when he's at Connie's wedding, was
• 1:16:27
  looking at the bag of money and he's like, if this was someone
• 1:16:30
  else's wedding, right, he would steal that bag.
• 1:16:33
  It's changed. It's showing us his character
• 1:16:35
  that he could be bought. Like he would do something for
• 1:16:38
  money. So it is he did, he did betray
• 1:16:41
  him and they did kill him because that at one point I was
• 1:16:45
  like, did he really betray Vito? But he did.
• 1:16:49
  He was guilty. Yeah, I agree.
• 1:16:52
  So Lenny Montana, who plays Luca Brazzi, was so nervous about
• 1:16:56
  working with Marlon Brando that that first take hit the scene
• 1:17:00
  together where he flubbed some lines.
• 1:17:02
  Yeah, that was an accident. But the director, Francis Ford
• 1:17:07
  Coppola, liked the genuine nervousness and used it in the
• 1:17:10
  final cut. And then the scenes of Luca
• 1:17:12
  practicing his speech before going in were added later.
• 1:17:18
  I am honored and grateful that you have invited me to your
• 1:17:22
  daughter's wedding. On the day of your daughter's
• 1:17:31
  wedding and I hope that their voice child you are masculine
• 1:17:37
  child, I pledge my ever and the loyalty for your daughter's
• 1:17:47
  bridal purse. Thank you my most valued friend.
• 1:17:52
  Tom Colon, I'm going to leave you now because I know you are
• 1:17:56
  busy. Makes sense that he was nervous.
• 1:17:59
  Yeah, it's really it's. But he he truly was nervous.
• 1:18:03
  It's a very small scene, but it's a very good scene.
• 1:18:06
  Yeah. Everything's a bit of a
• 1:18:07
  foreshadow in this movie to something that happens later.
• 1:18:11
  Yeah, a little bit. The characters are really well
• 1:18:13
  developed. Yeah, even the opening scene
• 1:18:16
  with the Undertaker, he comes in later in the.
• 1:18:18
  Movie he does. Also, there's little hint he
• 1:18:22
  tells the Undertaker after he gives him his friendship.
• 1:18:26
  He says one day I'll call upon you who and I'll need your
• 1:18:29
  services. And in the shot, the Undertaker
• 1:18:32
  is in the foreground and Sonny's in the background, leaning up
• 1:18:36
  against the wall. Oh, really?
• 1:18:37
  Yeah, it's really eerie when you think about.
• 1:18:39
  It that is eerie. Didn't realize that.
• 1:18:42
  What the fuck happened to Pacino?
• 1:18:45
  What do you mean? He went from being those young
• 1:18:47
  fresh faced kid to like a gruff old man in like a few years old
• 1:18:53
  man. Yeah, like what happened to him?
• 1:18:55
  Well, he didn't become gruff. I mean, he got punched in the
• 1:18:57
  face by McCluskey. Broke his jaw.
• 1:19:00
  No, no, I'm talking about Pacino the actor.
• 1:19:02
  Oh, cocaine, Cocaine and alcohol.
• 1:19:05
  Yeah, but you know, I mean, he went from.
• 1:19:07
  It's not personal, It's strictly business too.
• 1:19:09
  She's got a great ass. I had coffee with them half an
• 1:19:14
  hour ago. That's what I'm saying.
• 1:19:17
  He's a different person. Heat.
• 1:19:18
  He's just. What I think of a woman's ass,
• 1:19:21
  something comes out of me. And then in this movie, he's
• 1:19:24
  like, don't ever take sides against the family again.
• 1:19:26
  Yeah, it's weird alcohol. So drastically alcohol and
• 1:19:30
  cocaine that this Scarface was a like a biopic.
• 1:19:35
  It was a documentary cause it was right around that time with
• 1:19:40
  the cocaine. When the cocaine started to hit.
• 1:19:43
  The cocaine started to flow. In when the cocaine starts to
• 1:19:46
  feel like you're gonna call in sick to work tomorrow.
• 1:19:48
  So also I just wanna like RIP on Michael right now.
• 1:19:51
  This fucking guy is really bad at hiding.
• 1:19:54
  So he kills the police captain and Solazzo flees to Italy to
• 1:20:01
  hide. Or Sicily, Sorry.
• 1:20:03
  And he goes around telling people he's an American hiding
• 1:20:07
  in Sicily, and then he tells him his first and last name.
• 1:20:10
  And has an enormous wedding. Then he has a fucking huge
• 1:20:13
  wedding. He gets married, gets a huge
• 1:20:15
  wedding where the whole town is invited.
• 1:20:18
  Yeah, there's hundreds of people there's.
• 1:20:19
  A band playing and they walked through the whole town very
• 1:20:23
  fucking Incognito. Mr. Corleone.
• 1:20:27
  But I was like, why is he doing this?
• 1:20:29
  Like what is the point of this whole thing?
• 1:20:31
  Cause a lot of people they, they find the whole it Italy sequence
• 1:20:35
  to be a big waste of time. But I personally think it's the
• 1:20:38
  turning point for Michael because after all the shit that
• 1:20:42
  happens in Italy, he becomes ultra paranoid of everyone.
• 1:20:47
  He becomes super suspicious of everybody after Italy.
• 1:20:51
  Like the car blows up, his wife gets killed.
• 1:20:54
  You know, he was too careless. One of his bodyguards, you know,
• 1:20:57
  one of his bodyguards betray him.
• 1:20:59
  And when he goes back to America, everybody's on the
• 1:21:03
  chopping block. You know what I mean?
• 1:21:06
  Yeah. So I think that's part of why
• 1:21:08
  it's in the story. So that's where it makes sense
• 1:21:11
  to me. But fuck, man.
• 1:21:11
  Like, really? You're gonna.
• 1:21:13
  I'm an American hiding in Sicily.
• 1:21:15
  My name is Miguel A Guiliani. Like, really?
• 1:21:18
  You don't think they have Mafia guys in Italy like Solazzo?
• 1:21:22
  One of his factories for the heroin is in Italy.
• 1:21:26
  They know who you are, bitch. They're going to kill you and
• 1:21:30
  they find him and they end up killing his wife.
• 1:21:32
  Well, just just to add on to that, like, before he goes to
• 1:21:35
  Italy, he's with Kay, having dinner before he does the
• 1:21:38
  assassination. Yeah.
• 1:21:40
  And she says, when will I see you again?
• 1:21:42
  And she asks it a couple times and he doesn't answer her.
• 1:21:44
  She doesn't end up seeing him again for years.
• 1:21:47
  Yeah. And it's really sad because
• 1:21:48
  they're like a very in love young couple.
• 1:21:50
  Like they clearly were headed for marriage.
• 1:21:52
  Yeah. And she's just having this
• 1:21:54
  dinner with him. And it's clear that something's
• 1:21:56
  wrong and that he's leaving. And then he fucking leaves.
• 1:21:59
  He takes one look at some, it's in Italy, and then he just
• 1:22:03
  marries her and doesn't even think about Kay again for like
• 1:22:06
  several years. Yeah, I think he was at a point,
• 1:22:10
  and this is this is still a thing today.
• 1:22:13
  And I definitely think it was in the movie.
• 1:22:15
  I think a lot of the guys in the movie, except maybe Tom Hagan,
• 1:22:18
  they married within the Italian culture.
• 1:22:22
  Because when he tells Kay about his family, she's just fucking
• 1:22:26
  shook, you know? And I think he's like, this
• 1:22:30
  girl's never gonna accept me at some point.
• 1:22:34
  So he's like, I'm just going to marry a girl from the old
• 1:22:36
  country who doesn't ask questions, you know?
• 1:22:38
  And they just, they just get the culture.
• 1:22:41
  This is. Part of that, but when she dies
• 1:22:44
  he goes running back to K and she takes them.
• 1:22:46
  I know she accepts. Them I think I think Kay is an
• 1:22:50
  interesting character because I think she is the she is the
• 1:22:54
  balance for Michael where he's like I'm going toward dark side,
• 1:23:00
  but when he goes for Kay, I think that's him saying I need
• 1:23:04
  something to keep me from going too far in.
• 1:23:07
  To keep his humanity. And keep you already too far
• 1:23:10
  gone by that point, I think. Yeah.
• 1:23:12
  And that's why he goes after K. That's my opinion.
• 1:23:15
  Because he's already been. Through he doesn't want to share
• 1:23:17
  anything with her. You know, like they, they try to
• 1:23:20
  rekindle their romance, like we'll go see a show and the city
• 1:23:24
  and this and that. But I think he's too far gone.
• 1:23:28
  Yeah, I think you might be right.
• 1:23:29
  It just it, it is a very sad scene because she knows.
• 1:23:32
  She knows that she's probably never gonna see him again.
• 1:23:34
  At the diner scene where he meets McCluskey, the dialogue
• 1:23:38
  isn't translated. And I always wondered why,
• 1:23:41
  because it was. It was only a little bit, you
• 1:23:44
  know, And then he switches to English.
• 1:23:46
  That was a directorial choice by Coppola.
• 1:23:49
  He didn't want us to focus on the conversation.
• 1:23:52
  It was not needed. He wanted us to really focus on
• 1:23:57
  Michael's, um, psychology and state of mind during that
• 1:24:02
  moment. He was trying to build attention
• 1:24:05
  and it fucking works. Yeah, cause we know as an
• 1:24:07
  audience what's going on. Too.
• 1:24:08
  Yeah, we know why we're. There, we're in on it with it.
• 1:24:10
  Yeah, and you get 1 little quick line in English where he's like,
• 1:24:14
  what I want is for my father to be not bothered anymore, you
• 1:24:18
  know, and he's like I'm the haunted 1, you know, he says
• 1:24:21
  that to him. And then the the McCluskey guys,
• 1:24:24
  just like, you know, how's the food in this restaurant?
• 1:24:27
  I'll take the veal parmesan. He got the bullets farmers on
• 1:24:31
  instead. Yay.
• 1:24:33
  So seen in Italy. Back to Italy, Michael wanted to
• 1:24:36
  meet Appolonia. It's very in line with the old
• 1:24:39
  ways of courting a female. It's very traditional.
• 1:24:44
  It still happens to this day in a lot of cultures.
• 1:24:46
  So I thought it was very sweet. And I think it was really sweet
• 1:24:50
  that she wears the the necklace that he gets her.
• 1:24:53
  He gives her a necklace when he meets her.
• 1:24:55
  And then at the 2nd dinner with her family, she's sitting on the
• 1:24:58
  other end because they don't let them sit together.
• 1:25:00
  And she's like showing him that I'm wearing the necklace.
• 1:25:03
  You got me, I thought. It was very sweet.
• 1:25:05
  And they go for that walk and there's like an entire village
• 1:25:07
  walking behind them. Well, you said.
• 1:25:10
  In Sicilia's, like women are more dangerous than Harkins
• 1:25:13
  because they'll fucking kill you over somebody's daughter.
• 1:25:15
  Yeah, you're not gonna like my next take here.
• 1:25:19
  James Kahn, AKA Sunny, Yeah, is not that good of an actor.
• 1:25:24
  The performance he gives is is memorable and it's OK, But
• 1:25:29
  compared to the others in the film, he's not giving us.
• 1:25:32
  Like, Tom Hagan is incredible. Al Pacino is incredible, Marlon
• 1:25:37
  Brando is incredible. Kind of anybody could have
• 1:25:39
  played Sonny. He doesn't really give us a lot
• 1:25:41
  of emotion other than anger. Yeah.
• 1:25:43
  He doesn't really give us character development or a
• 1:25:45
  character arc. Yeah.
• 1:25:47
  Like even when he's he's supposed to be really mad when
• 1:25:50
  he sees his sister's face and he bites his fist.
• 1:25:53
  Yeah, that's that's that's that's an Italian thing, though
• 1:25:56
  from what I understand, that's a.
• 1:25:57
  Right. But it it almost feels like, it
• 1:25:59
  almost feels childlike, like you're not really showing us
• 1:26:02
  anger. You're showing us like some kind
• 1:26:04
  of weird, well, mannerism. James Kahn, I think he makes
• 1:26:08
  some acting choices in this. He's there's a little bit of
• 1:26:11
  overacting, but I think he's amongst all the characters.
• 1:26:14
  We've got Fredo, you got so you got Fredo.
• 1:26:16
  He's like the the meek little brother or the middle brother.
• 1:26:19
  You got Tom, who's the intellectual.
• 1:26:21
  You got Mike, who's like the small smart, but he's like, you
• 1:26:26
  know, quiet and reserved. And then you got the loud one,
• 1:26:30
  the oldest brother. That's why I think he fits
• 1:26:32
  really well. I think the acting is exactly
• 1:26:35
  what they needed. The performance is exactly what
• 1:26:37
  we need. But he is not that good of an
• 1:26:39
  actor is what I'm saying. Your opinion?
• 1:26:43
  Well, like, just just look at the scene where Tom tells the
• 1:26:46
  Don that's that Sonny's dead. It's an incredible piece of
• 1:26:50
  acting. His voice cracks.
• 1:26:51
  His eyes swim with tears. He's like I need a drink.
• 1:26:54
  And I've already mentioned the scenes with Al Pacino.
• 1:26:56
  Yeah. Marlon Brando gives an
• 1:26:59
  incredible performance. Like, there's all of these,
• 1:27:01
  like, little mannerisms and, like, method acting that we see
• 1:27:04
  from these other actors. And then Sonny's just kind of
• 1:27:07
  there like anybody else. Like, like I'm saying, anybody
• 1:27:10
  else really could have played that that role.
• 1:27:13
  It's possible. It's an important role, but it
• 1:27:15
  doesn't take the kind of character development and skill
• 1:27:18
  that the other actors need to give in their roles.
• 1:27:21
  I think he makes it look really easy.
• 1:27:22
  There are some bits of overacting, but he needs to be
• 1:27:25
  the hot head of the family, the guys always looking for blood.
• 1:27:28
  He's always looking to go to a war with another family.
• 1:27:32
  And you know, you've got Tom Hagan, Robert Duvall's telling
• 1:27:35
  him, you know, you need to chill out, like, and he's like, you
• 1:27:39
  know, these, they're always bickering.
• 1:27:41
  He's like, if I had a wartime consiglieri I wouldn't be in
• 1:27:43
  this fucking mess, you know? Yeah, I just.
• 1:27:46
  I think he's really. Good even in other movies,
• 1:27:48
  Susan, even in Misery, even in Elf, like even in his best
• 1:27:51
  movies his acting just OK. Like he's he doesn't make the
• 1:27:55
  movies. It's other people that make the
• 1:27:57
  movies Will Ferrell makes. Out really, really, really
• 1:28:01
  underrated James Kahn movie eraser.
• 1:28:05
  So in that movie, he's pretty old and he's kind of like Arnold
• 1:28:10
  Schwarzenegger is the main guy in that, and he's like 6-5 and
• 1:28:13
  Arnold huge. And James Kahn goes fucking head
• 1:28:16
  to head with him and he's terrifying and in front of
• 1:28:20
  Arnold so. Yeah, but when you watch the
• 1:28:22
  movies, is it Arnold that shines?
• 1:28:24
  Because like in Elf, Will Ferrell shines.
• 1:28:26
  In Misery, Kathy Bates shines in this movie, everybody else
• 1:28:29
  shines. James Khan is never the one who
• 1:28:31
  is the shining One. I'm saying he's the villain in
• 1:28:35
  that and he really makes you go like Arnold's gonna is he going
• 1:28:38
  to get out of this? Like, you know what I'm saying?
• 1:28:41
  It's it's he's a little guy, but he's he's he's very aggressive
• 1:28:45
  and terrifying. That underrated.
• 1:28:46
  Fair enough. But I am talking with the
• 1:28:47
  Godfather specifically. Yeah, yeah, I don't.
• 1:28:50
  We brought up the other movies. I agree, but I don't think that
• 1:28:52
  he's really gives that great of a performance, especially
• 1:28:55
  compared to. The performances we see around.
• 1:28:57
  Him, he's a he's everybody. 'S like, you know, quote Sunny.
• 1:29:01
  He's just fucking off the chain. I think he's great in this.
• 1:29:04
  Sunny was a real hot head. Yeah, he was hot for my deal.
• 1:29:09
  Sunny losing his temper and getting ambushed.
• 1:29:11
  The tollbooth is gruesome. It's one of the most gruesome
• 1:29:14
  scenes ever. And also at the end when they're
• 1:29:17
  done shooting him, one of the guys kicks him in the face.
• 1:29:20
  And I never understood why. And then I'm like watching it
• 1:29:24
  this time and I realized it's because he kicks Carlo in the
• 1:29:27
  face. That's the dead giveaway as to
• 1:29:29
  he was set up by Carlo. It's also disrespectful as hell
• 1:29:32
  to kick a dead person purchase. But yeah, also, you brought this
• 1:29:36
  up about Tom Hagan telling Vito that Sonny died.
• 1:29:39
  That scene is just an amazing set of directing and acting
• 1:29:45
  because it's this slow zoom into this dark office, The house is
• 1:29:50
  quiet. You know, the joy is sucked out
• 1:29:53
  of all the fun. And you see Tom Hagen sitting
• 1:29:57
  there and Vito comes down because he's, like, newly waking
• 1:30:01
  up from, you know, resting in his bed after the hospital.
• 1:30:05
  And he says my wife is crying conciliary.
• 1:30:09
  Could you tell me what everybody except me seems to know?
• 1:30:13
  My wife is crying upstairs. I had cars coming to the house.
• 1:30:24
  I'll simply add your minor. I don't think you should tell
• 1:30:28
  you down what everyone seems to know.
• 1:30:31
  Why didn't tell Mama anything? I was about to come up and wake
• 1:30:36
  you just now and tell you. She needed the drink first.
• 1:30:46
  Yeah, now you've had your drink. They shot Sonny on the Causeway.
• 1:31:01
  He's dead. And he tells him that Sonny
• 1:31:03
  died. Such good acting because they're
• 1:31:05
  not facing each other. He he's, he can't look him in.
• 1:31:08
  The but they're playing off each other so well.
• 1:31:10
  Yeah, it's such good acting. It is it's, it's a real, it's a
• 1:31:13
  really incredible moment. That's that's why I'm like, this
• 1:31:16
  guy is probably he he wins the movie for me in terms of best
• 1:31:22
  performance. You're going against veto.
• 1:31:24
  You're going against like Marlon Brando in this, not like one of
• 1:31:28
  his his best role, you know, ever.
• 1:31:32
  And you, you going toe with this guy?
• 1:31:35
  Just just speak more about Marlon Brando.
• 1:31:38
  He wanted Don Corleone to look like a bulldog, so he stuffed
• 1:31:42
  his cheeks with cotton wool for his audition and they loved it.
• 1:31:46
  So for the actual filming, they had a mouthpiece made, and the
• 1:31:51
  mouthpiece is actually on display in the American Museum
• 1:31:54
  of the Academy Museum of Modern Pictures in Los Angeles.
• 1:31:59
  Oh wait, in a special Godfather exhibition.
• 1:32:01
  Yeah, they have the real 1. I have a question.
• 1:32:04
  Was Sonny's gumar involved in the ambush?
• 1:32:07
  Because they show him leaving her place a couple of days
• 1:32:11
  before the ambush happened. And I'm like, why are they
• 1:32:13
  showing this? He says I gotta go to my
• 1:32:15
  sister's house. I gotta pick up my sister.
• 1:32:17
  They go there and she was, she's got a black eye and stuff.
• 1:32:21
  And he's like, what am I going to do?
• 1:32:22
  Make my sister make this baby a orphan?
• 1:32:25
  Like, you know, make my wife, make my sister a widow.
• 1:32:28
  And then he goes and finds Carlo and he beats him up.
• 1:32:33
  The funny part is he gets out of the car and he throws a stick at
• 1:32:35
  him first. Like once you get the stick,
• 1:32:37
  like it's so childish. So I always wondered if she was
• 1:32:42
  involved, but they don't really say.
• 1:32:46
  Yeah, I don't think so. Yeah.
• 1:32:48
  My last thing is just, it's just that I notice, like, Michael is
• 1:32:52
  so ruthless and vengeful the moment he gets into a position
• 1:32:55
  of power, whereas Don Corleone is a more forgiving man.
• 1:32:59
  And like I said earlier, he's very wise.
• 1:33:01
  Like he's willing to set things aside, like he lost his son.
• 1:33:05
  And he's like, am I going to seek more blood and lose more,
• 1:33:09
  possibly lose more children to lose my wife or lose more of
• 1:33:12
  what I like, my beloved family? Yeah.
• 1:33:14
  Or am I going to lay down my weapon and make peace?
• 1:33:18
  Yeah, that's that's the thing. I think it's the you get to a
• 1:33:23
  certain age where you kind of like weigh things differently.
• 1:33:27
  Your priorities are different. At this point, Michael's trying
• 1:33:31
  to instill himself as the new dawn, and he's trying to make
• 1:33:37
  everybody put everyone on notice that I'm here and I mean
• 1:33:40
  business. Yeah, but immediately I think
• 1:33:42
  he's he's a more vengeful man than his father.
• 1:33:45
  The Vegas scene with Fredo is really uncomfortable for me
• 1:33:49
  because it's funny, it's entertaining, but you really see
• 1:33:53
  that Fredo's trying to impress his younger brother and he
• 1:33:56
  wasn't having it. You know, he's like, he brings
• 1:33:59
  the band. Johnny Fontaine is there.
• 1:34:02
  There's some girls. Also a Dick.
• 1:34:03
  He's kicking the girls out. He's like really rude to them.
• 1:34:06
  Yeah, he's like, scram, get outta here.
• 1:34:08
  What's he was? He's upset.
• 1:34:09
  He planned all this for his brother and that's.
• 1:34:12
  Rude you, you made them come all the way out there and then you
• 1:34:14
  get to pick out like. Well, he's like my brother.
• 1:34:17
  What's he supposed to say? You guys gotta leave like.
• 1:34:19
  Whisper Yeah, you could be a little bit nicer about it.
• 1:34:22
  I mean, he's upset. He tried to do something nice
• 1:34:25
  for his brother, party, get together, and he's like, I don't
• 1:34:31
  want it. He's like, get out of here.
• 1:34:32
  So I think it upset me. If you look at Freddy's face,
• 1:34:36
  he's like he's trying to win his brother's acceptance.
• 1:34:38
  Yeah, that scene is uncomfortable.
• 1:34:41
  And it's just like foreshadow for the rest of the movie and
• 1:34:45
  Part 2. Yeah.
• 1:34:47
  The scene where Vito dies is really sad because I get really
• 1:34:53
  sad when he's dead. It's a part of the like, he's a
• 1:34:56
  big part of the movie. He's like, I got a different
• 1:34:59
  energy. Yeah, he's got like, you know,
• 1:35:01
  not dad vibe, but grandpa vibes kind of thing.
• 1:35:05
  Yeah, and, well, somebody has Michael's back and then once
• 1:35:09
  he's dead, it's like nobody is protecting my that.
• 1:35:11
  Little kid who played the, you know, the grandson, he was
• 1:35:14
  really frightened. Like they really scared him when
• 1:35:17
  he did the thing with his with the oranges.
• 1:35:19
  He's so cute. And then it's really cute
• 1:35:23
  because he thinks he's still playing after he falls and the
• 1:35:27
  the wide shot of him like running away and it's just a
• 1:35:30
  shot of the garden. It's it's, it's a very beautiful
• 1:35:34
  filmmaking. Also, every time an orange
• 1:35:37
  appears in this movie, something bad happens.
• 1:35:40
  So in the beginning of the movie, Waltz is yelling at Tom
• 1:35:45
  Hagan and there's a bowl of oranges on the table.
• 1:35:48
  OHP. And then the horse gets murdered
• 1:35:51
  that night, Vito goes to buy some oranges.
• 1:35:55
  He gets shot, Vito's eating an orange and the garden with his
• 1:36:00
  grandson and he dies. It's funny too, when he's
• 1:36:03
  peeling the orange, the grandson goes give me some orange.
• 1:36:06
  But clearly like, that's not supposed to say that.
• 1:36:08
  So he, you know, just ignores. Him, it's really cute.
• 1:36:10
  It is really cute. So Tessio arranging the meeting
• 1:36:15
  with Barzini and Michael, that shows he's the trader's number,
• 1:36:19
  he said. Whoever comes to you first to
• 1:36:21
  arrange a meeting, he's the trader and then he's dad.
• 1:36:25
  That's his last piece of advice before he dies.
• 1:36:27
  And he was right. He was banging on the money and
• 1:36:31
  one thing I noticed this time around, it blew my fucking mind
• 1:36:34
  when Michael's now the dawn of the family and Vito's basically
• 1:36:39
  retired. He's just feeding his fish in
• 1:36:40
  his office or his study. Tessio and Clemenza are
• 1:36:43
  complaining to Vito and asking to form their own family.
• 1:36:46
  And Vito says, do you have faith in my judgment?
• 1:36:49
  And they both died and say yes. And then he says and I have your
• 1:36:54
  loyalty. And Clemenza nods and says yes.
• 1:36:58
  Tessio doesn't say anything. It's like a little hint as to
• 1:37:01
  what's to come. I never noticed it before.
• 1:37:04
  I was like, whoa, he he's not loyal.
• 1:37:07
  He goes to Barzini. You know, it's just another
• 1:37:10
  little hint where they're trying to tell you what's to.
• 1:37:13
  Come really good filmmaking making it's so.
• 1:37:15
  Subtle. I've seen this movie fucking
• 1:37:18
  dozens of times. I've never noticed that little
• 1:37:20
  bit. It's crazy.
• 1:37:22
  I got a hot take here. Alright.
• 1:37:24
  So the Corleones are worth like $100 million?
• 1:37:28
  Fredo was the only person in this fucking family who seems to
• 1:37:32
  enjoy having money and being rich.
• 1:37:36
  Like he's out there hosting parties.
• 1:37:38
  He's getting slapped around, you know, he's in Vegas while his
• 1:37:43
  brother and his relatives are fucking having intense
• 1:37:47
  whispering conversations and dark ass basements.
• 1:37:51
  Fredo's basically the you know, I just, I just work here meme of
• 1:37:56
  the 1940s. Yeah, well, the other, the other
• 1:37:58
  brothers, they have people depending on them.
• 1:38:01
  Who still need money, but he's just chilling everybody else.
• 1:38:04
  Like yeah, Sonny has no chill. I would be too, but they're
• 1:38:07
  they're very greedy they. Want more and more and more and
• 1:38:09
  more. And also another hot take.
• 1:38:11
  This movie isn't actually about the mob or family, it's about
• 1:38:13
  finding a good driver. Um, Sunny drives a Connie to
• 1:38:18
  savor and he gets turned into Swiss cheese with bullets.
• 1:38:22
  Fredo drives his dad, his dad gets shot.
• 1:38:26
  Michael lets his wife drive in Italy and he gets lucky but the
• 1:38:30
  car gets blown up and she dies. He didn't let her drive.
• 1:38:34
  She ran out there because she wanted to drive.
• 1:38:36
  The car, every time somebody's driving, something bad happens.
• 1:38:40
  And then later in the movie, you see him.
• 1:38:42
  He's had a driver everywhere he goes.
• 1:38:44
  Yeah, Michael. And he's fine.
• 1:38:46
  He's perfectly fine. So the movie is about finding a
• 1:38:48
  good driver. Yeah, I guess this should be
• 1:38:50
  called Transporter or Driver. So that's pretty much everything
• 1:38:55
  I have. Is there anything else you want
• 1:38:57
  to discuss before we go to the final segment?
• 1:38:59
  No, I'm ready. OK, does this movie hit
• 1:39:03
  different as a parent? Yeah, it does.
• 1:39:07
  There's there's a lot. The opening scene, Corsetto
• 1:39:11
  tells the Godfather that his beautiful daughter was brutally
• 1:39:14
  beaten and is asked in the Godfather to murder the men in
• 1:39:17
  revenge. Yeah, as someone who has a
• 1:39:20
  daughter, this scene is really fucking upsetting.
• 1:39:25
  Ohe yeah. And you put yourself in that
• 1:39:26
  scene like, well. Beat her like an animal.
• 1:39:30
  And they smiled at him in the courtroom.
• 1:39:32
  I. Was too bastards.
• 1:39:34
  They smiled at me. I would leap up in that
• 1:39:37
  courtroom, leap across the courtroom and strangle the fuck
• 1:39:39
  out of them. I told my wife we must.
• 1:39:42
  Go to Don Corleone for justice. Yeah, I would too.
• 1:39:46
  I would go to Don Corleone and I'd be like, please kill those.
• 1:39:48
  Mother fuckers scene is very important to this movie.
• 1:39:52
  It's a very important scene, I think, because like you said,
• 1:39:56
  the contrast between the wedding and like it doesn't go to the
• 1:40:00
  wedding, but it starts with that guy's face and you're seeing
• 1:40:04
  what is going on and why they come to veto they.
• 1:40:08
  Need St. Justice.
• 1:40:10
  Yeah, you know what I mean. Well, he said.
• 1:40:12
  You come to this country, you did well for yourself.
• 1:40:14
  You counted on the law enforcement in the court system
• 1:40:16
  and they failed you and basically saying This is why I
• 1:40:19
  exist. Yeah, that that scene, that the
• 1:40:22
  line reading. Yeah, it's it's a really amazing
• 1:40:25
  scene. It just as as a parent hearing a
• 1:40:27
  story like that, like it just makes your blood boil.
• 1:40:30
  And then the scene where Sonny's dead and he goes to the
• 1:40:34
  undertaker. Yeah, Don Corleone is looking at
• 1:40:37
  his sons massacred body and it's just like he's like, I don't
• 1:40:41
  want my wife to see him like this.
• 1:40:43
  Yeah, it's so fucking sad. It's really sad even though
• 1:40:47
  like, you know, like they're shitty people, but at the end of
• 1:40:49
  the day. They're just people.
• 1:40:51
  That's still his baby though. And that's, that's horrible.
• 1:40:54
  That's horrible to even think about.
• 1:40:55
  Like that's awful that your son was died.
• 1:40:57
  I mean, it is as a result of the life that you made.
• 1:41:01
  So in some ways it is Don Corleone's fault, but it's it's
• 1:41:06
  really sad. Yeah.
• 1:41:07
  So yeah. Anything else for hitting
• 1:41:10
  different? As a parent, yeah, I touched on
• 1:41:12
  this a little bit. I had a lot of empathy for
• 1:41:14
  Sonny's wife. They get the call that Don
• 1:41:18
  Corleone was shot and she has her baby and the baby's crying.
• 1:41:22
  You already feel incredibly vulnerable when you're home with
• 1:41:25
  a baby because you can't leave you, you can't do anything.
• 1:41:31
  And you're you're incredibly vulnerable and unable to protect
• 1:41:34
  yourself when you have a baby with you for sure.
• 1:41:37
  And then she hears that there was a fucking attempt on Don
• 1:41:40
  Corleone. Like, what are you going to
• 1:41:41
  assume? You're gonna assume they're
• 1:41:42
  coming for Sunny next, and that's your home where your
• 1:41:45
  babies are. Like you bang on the door.
• 1:41:47
  And there's a bang on the door. Like you would feel so out of
• 1:41:50
  control and unsafe. And like, even when I'm, like,
• 1:41:53
  home and you're away, if nobody else is in the house with me, I
• 1:41:56
  have, like, just this fear. Yeah.
• 1:41:59
  Because it's scary. Yeah, it's frightening.
• 1:42:02
  It's scary vulnerable to be a a parent and have your children in
• 1:42:05
  the house and be the only thing standing between them and chaos.
• 1:42:09
  Yeah. No, I hear you.
• 1:42:10
  So just overall, being a parent shifts the whole movie as you're
• 1:42:15
  seeing how mixing family with this ugly mob business tears
• 1:42:19
  them apart and it ruins everyone in the family.
• 1:42:23
  Sonny ends up dead. Michael, who had this promising
• 1:42:27
  future, ends up being a mob boss.
• 1:42:30
  And Connie, who the movie starts out with such a, like, shining,
• 1:42:34
  beautiful wedding, like looking like she has a beautiful,
• 1:42:36
  shining future, just ends up a battered woman with a dead
• 1:42:39
  husband. It's really sad.
• 1:42:42
  Like, we start in such this hopeful, joyous occasion.
• 1:42:45
  Yeah. And everybody gets torn down.
• 1:42:48
  Yeah, I I agree, except. For Frado, maybe he's in the
• 1:42:51
  same position either. Way Fredo gets at the worst if
• 1:42:54
  you ask me. By Part 2 he's like.
• 1:42:57
  Yeah, but we're just talking about.
• 1:42:58
  Part, I mean Big Brother Mike and I was stepped over.
• 1:43:01
  It isn't how I wanted. It OK, but we're just talking
• 1:43:04
  about Part 1. OK, OK.
• 1:43:06
  Yeah, hitting different as a parent for sure.
• 1:43:09
  Like, I watched this movie a gazillion times and as a kid, as
• 1:43:13
  a teenager, as an adult, and then you have children and then
• 1:43:17
  you're when I'm watching it, I'm like, OK, these guys are doing
• 1:43:21
  criminal activities. And Michael has a son and he's
• 1:43:27
  his son is exposed or will be exposed to all this at some
• 1:43:30
  point. And you know, Vito gets shot, he
• 1:43:34
  gets out of the hospital. His grandkids come to see him.
• 1:43:37
  Like one of the moments that really hard warming is when one
• 1:43:41
  of his grandsons goes, he's reading a card to him.
• 1:43:44
  He's like, I hope you get well soon, Grandpa.
• 1:43:47
  Love your grandson. Like it's really, really.
• 1:43:50
  Cute. I love when I can read that
• 1:43:52
  card. It's really sweet and I'm like
• 1:43:54
  watching this and I'm like, this is a really scary environment
• 1:43:59
  for these kids. Not yet, but the older they get,
• 1:44:03
  they're going to be exposed to some shit.
• 1:44:05
  It's really not a healthy place to be.
• 1:44:08
  Um, and they, they touch on that later in Part 2 when the kids
• 1:44:15
  get older and crazy shit starts happening, right?
• 1:44:19
  Yeah. But yeah, it definitely hits
• 1:44:22
  different as a parent. You mean, you made some really
• 1:44:23
  good points. The scene with the undertaker is
• 1:44:27
  the icing on the cake. And it's, you know, Marlon
• 1:44:29
  Brando's acting. You know he he flips the blanket
• 1:44:33
  off and he sees Sonny's bloody corpse.
• 1:44:36
  And it just zooms in on his face and he just looks like he's just
• 1:44:39
  full of regret. The best secured, my boy.
• 1:44:43
  Yeah. It's really, really sad.
• 1:44:46
  It is really sad. Even though, like I said,
• 1:44:48
  they're criminals, so it does hit different.
• 1:44:50
  As a parent it's still enjoyable.
• 1:44:54
  Luckily in this movie there isn't any like harm done towards
• 1:44:59
  children. Mind you, the scene where he's
• 1:45:01
  beating his pregnant wife is fucked.
• 1:45:03
  Anybody with who's had a partner that's pregnant can sympathize.
• 1:45:09
  But the scene with the grandson and Vito dying amongst the
• 1:45:14
  garden is really sad because you're thinking about the kid
• 1:45:19
  and the trauma of having a memory of your grandfather
• 1:45:23
  playing with you and then just fucking having a heart attack
• 1:45:26
  and dying. That's probably the scene that,
• 1:45:29
  like, hits the hardest for the little kid.
• 1:45:32
  But yeah, it's still a really enjoyable movie.
• 1:45:36
  But it does hit different as a parent, you know, as your family
• 1:45:40
  grows, as you get older, as an adult, a lot of the family
• 1:45:43
  aspects really hit home. Yeah, I agree.
• 1:45:46
  Like whether you have a dysfunctional family or a
• 1:45:49
  regular family, like you can relate to this movie on some
• 1:45:52
  level. Agreed.
• 1:45:54
  All right, Mom, time for the moment of truth.
• 1:45:57
  How many horses heads in the bed out of 10 do you give this
• 1:46:02
  movie? This movie gets ten horses heads
• 1:46:05
  in the bed out of 10. You can't.
• 1:46:06
  You can't give anything else I give.
• 1:46:09
  It's perfect. I give this, I agree.
• 1:46:11
  I give this movie 10 out of 10 horses heads, specifically
• 1:46:17
  cartoons heads out of 10. Like this movie is perfect.
• 1:46:22
  Yeah, there is. The only thing that's aged on
• 1:46:26
  this is maybe a couple of issues with scenes, but as a story, as
• 1:46:31
  acting, as music? Even the overacting or under
• 1:46:36
  acting works in this movie. Everything works.
• 1:46:38
  This movie is 3 hours plus and it flies.
• 1:46:41
  By Oh my God, it feels too short by the time it's stunning, like
• 1:46:44
  there's no. More lies by, and it leaves you
• 1:46:47
  with this sense of wanting more. Yeah, but.
• 1:46:51
  Which is why we get a sequel. And we never like we didn't even
• 1:46:54
  talk about the ending. You know how the door closes on
• 1:46:57
  on OK. Yeah, well, she just, she
• 1:47:00
  realizes that she was lied to and she, you really see, like
• 1:47:03
  her feelings for Michael in that moment shift.
• 1:47:05
  Yeah, I think Diane Keaton, like she was underutilized in this
• 1:47:09
  movie, but I think Kay's character is exactly what it
• 1:47:12
  needed to be for this. Movie.
• 1:47:13
  Yeah, she is. She's like an innocent shining
• 1:47:16
  light among all this. Darkness, ladies and gentlemen,
• 1:47:19
  that was the Godfather podcast episode #11 this movie is our
• 1:47:24
  first 10 out of 10 on the pod. No, we give Titanic a 10 out of
• 1:47:28
  10. We did, and I give Jurassic Park
• 1:47:31
  a 10 out of 10. Yo what the fuck guy?
• 1:47:34
  Whatever man. This movie is better than all of
• 1:47:36
  those. OK, Thank you for listening.
• 1:47:41
  We hope you enjoyed that. I hope you got some laughs.
• 1:47:44
  I hope you gave you some insight.
• 1:47:46
  Please follow us on Instagram and Spotify, Apple podcast,
• 1:47:51
  wherever you listen to your podcast.
• 1:47:53
  It's Take Two pod with mom and dad.
• 1:47:56
  And please rate US and give us 5.
• 1:47:58
  Stars please rate US and follow us.
• 1:48:00
  Please follow us. Rate US five stars.
• 1:48:02
  Leave comments. You can tell us what movies you
• 1:48:05
  want to hear us do. There's a million movies that we
• 1:48:09
  have to do, you just gotta find the time to do them.
• 1:48:12
  Yeah, there's there's still a lot to come, still a lot of our
• 1:48:15
  favorite movies that have not been touched on.
• 1:48:17
  But that's the that's the podcast.
• 1:48:20
  That's it everybody. That's it.
• 1:48:21
  That's all folks. A man in my position can afford
• 1:48:25
  to be made to look ridiculous and Moe green.
• 1:48:29
  I made my bones when you were banging cheerleaders.
• 1:48:32
  Oh, you switch gears. Multiple personality guy.