Favorite Godfather Movie Moments (with voicemails from our colleagues!)

[00:00:00] This podcast is a production of Unfiltered Studios. If you would like to know more about joining Unfiltered Studios, please visit our website at unfpod.com for more information. All right, gang. So again, you're going to see all plenty of other Godfather stuff, stuff on just other Mario Buzi adaptations and similar stuff that has Coppola trying to replicate that genius first two movies.

[00:00:28] But here we're just going to get to the fun stuff. Just we're going to discuss our favorite moments from the overall discussions we had for this month. So enjoy. I'm sure one of your favorite moments is on here. We're also going to play clips as well, though, you know, so here's some fun stuff in the audio where she'll make you go. Oh, I know what badass moment you're quoting. Enjoy.

[00:00:52] Hey, y'all. Cam here with Cam Ray Semi Productions and Star Wars and Smile Godfather, a movie series I really love. Just cinematic gold, obviously. But I think in that one, kind of the opposite reasoning. But at the end of The Godfather, I think when you see Michael kind of escort his wife out or send her out because he's got work to do. And then you see the guy kissing his hand as he's like shutting the door. That along with the score, golly, what a good score.

[00:01:21] Just seeing that he went from, you know, his trajectory went from like, man, I don't that's my dad. That's his business. That's not what I do. And then you realize just the tragedy of it. It's like, wow. And there you are. You know, at the end, you are you are him now and you may even be worse. Anyway, I just I really love that for the opposite reasons of why I like the redemption in Star Wars. Now, obviously, there are a lot of visual scenes. It's so hard to just pick one out of any of these movies, like the horse head in the bed in The Godfather.

[00:01:51] That's like one of those things that just like it's seared in your brain for the rest of your life. And obviously with Star Wars, just all the different characters and the moments and the lines and the ships and lightsabers and lions and tigers and bears. But so anyway, that's that's probably the the scenes that come to mind, at least today. It's probably different every day. But thank you guys. And I hope you have a really jacked up day. And may the force be with you. Hello, this is Mike Gale. Now I'm going to talk about some of my favorite moments from the film The Godfather.

[00:02:20] The Godfather is one of my favorite movies. And I think one of the reasons I like it so much is because I didn't realize it at the time. But this film is the first gangster film to really expand the world of the characters in the film. And in this case, they expand the world by showing the Sicilian culture within their family. And even geographically, just having Michael go back to Sicily. I think that really helps the film. It makes it feel more like an epic.

[00:02:48] And just little moments like when they get the fish wrapped in newspaper and Sonny opens it up and says, What is it? What the hell is this supposed to be? And I believe it's Clemenza says, It's an old Sicilian message. It means Luca Brasi sleeps with the fishes. And there's little moments like that throughout the film. And it shows how these three sons who are being brought up in America are now being brought into this bigger world that consists of the old ways mixed with the new ways. It's really cool.

[00:03:16] Also, like I said, the way that they go back to Sicily. And then the second film is more with Sicily. All that stuff just makes the film much more expansive. Another great scene in the movie is when, after the Godfather has been shot, they're all kind of arguing about how they're going to fight back, how they're going to deal with the current situation. And everyone's kind of walking around arguing. Sonny's arguing with Tom Hagen. And in the midst of all this chaos, you can see Al Pacino sitting as Michael,

[00:03:46] sitting down in a chair. And he's completely still. And he's sitting in his chair like a king. And once he starts talking, he lays down exactly what the most logical course of action is going to be and how he's going to do it. And at that moment, all the other characters in the film turn to him. They don't turn to Sonny. They don't turn to Tom Hagen. They turn to Michael. And it's a great way of dramatizing how he takes power away from the rest of them and how he becomes the new leader of the family. He becomes the new Godfather. It's not the official moment that it happens,

[00:04:16] but it's the beginning of him cementing that power. And I think it's a great moment. Another great scene is when Michael is eating dinner with Sollozzo and Captain McCluskey. It's a legendary scene. And it actually, I believe it solidified, it protected Pacino's job because if that scene had not been shown to the producers, Pacino might have been fired. But the reason I love the scene so much is because, again, I didn't realize it until this time around. But before he goes to the dinner, I don't remember which character it was, but somebody says to him,

[00:04:46] when you come out of the bathroom, come out shooting because you want to get out of there fast. And I didn't realize until the last time I watched it that he is intending to come out. But I think when he comes out of the bathroom, he gets scared and he hesitates. So he slowly walks back over to the table. He sits down and he talks for another minute or two, just listens to them. And all the while his eyes are shifting back and forth. The camera is dollying in or trucking in because we know that what he's thinking, we know that he is just waiting for that moment to get up the courage,

[00:05:16] get up the courage to raise his gun and shoot them both, which of course he does. But the scene is masterclass in writing, acting, directing, even the sound design, everything about it is absolutely perfect. So those are my favorite scenes, although I could talk about it forever. There are some awkward moments in The Godfather, and I'm actually going to mention one of them that I again didn't notice until this time around, but it's when they go visit the movie mogul about giving the job to, I don't remember the character's name, the character was introduced in the first frame of the film.

[00:05:44] And there's this awkward transition where he says to Tom Hagen, oh, why didn't you mention, you know, you know, you know, you know, Vito Corleone or whatever he says. And it's clearly a fix done with an overdub where we have like an awkward transition to an establishing shot. And it's a very rare moment, I think in the first film where we can see a little bit of the story being saved in post-production, but otherwise it's a technically flawless film, right? But it just shows that Francis Ford Coppola was coming up from independent film.

[00:06:14] And so he still knew all those tricks of how to fix maybe continuity mistakes and stuff like that. But anyway, again, I could talk about this forever. It's one of my favorite films. And that's it. Thank you. Hi, this is Leslie Sawyer. The Godfather. Wow. What can I say about that movie? Well, I was lucky enough to go see that movie when it opened. I went with my grandmother and of course she was blown away and I was blown away. I was probably,

[00:06:42] I think about 14 when I saw the movie. And it's an outstanding movie, obviously. Really well made. I hope I don't offend anybody when I tell them that for whatever reason, I think my grandmother and I just have a very warped sense of humor. When we were watching the movie, we'd never seen anything like it in terms of the level of violence. When the director discovers

[00:07:11] the horse's head in his bed, oh my gosh, we both started laughing because it was just so over the top. And boy, did we get the glares from people that were in the audience. They're looking at us like we're off our rocker. But we couldn't help it. It was just, it was just so crazy. But the thing is, is that it really is a masterpiece.

[00:07:40] And also, you know, the movie almost didn't even get made. Francis Ford Coppola, believe it or not, did not want to direct it. And believe it or not, Star Wars and the Godfather have something in common. They share George Lucas. George Lucas actually talked Francis into directing the movie. So there you go. But yeah, that I would say that for me,

[00:08:10] the scene that really stands out, there's actually a couple of scenes. The one where the director discovers the horse's head, there's all that blood. And then the part where James Caan gets killed, that was incredibly, incredibly violent at that toll booth. And then the end, I think, is very poignant where you just hear them all talking in another room. And that other room,

[00:08:40] you know, is just where Sonny is. Not Sonny. Oh gosh, isn't that terrible? All of a sudden, my mind went blank on his name. Al Pacino was sitting there. It's just, it's a very poignant moment because you know what's to come where there's that, sort of like that flashback when they're all, everybody's alive. Nobody's actually gotten killed yet. So, it's just, it is an amazing movie. And I, I just feel bad in a way that unfortunately,

[00:09:10] my grandmother and I, we just thought certain parts were just, because it was so over the top, we were just laughing. People definitely didn't understand why we were laughing. All right. Well, hey, there you go. That's my thoughts on The Godfather. Gazelle's character in Deer Hunter. Yeah. That's, that's one that people who watch Deer Hunter and focus on De Niro and the walk-in and the Russian roulette. Next time you see it, focus on Gazelle.

[00:09:39] He's fucking amazing. He stands on his own two feet as opposed to relying on the other guys interacting with him. You can tell he's doing some total method acting, but the right way. Yeah. And poor Gazelle, poor Gazelle, it's the second movie where his date at a wedding blatantly cuckolds him on the dance floor and he has to go nail her one. I never thought of that, but it's true. Godfather 2 as well. He's, oh,

[00:10:10] we're seeing that. It's true. So there you go. I'm the poor bastard in these movies. Yeah. That's a good point. Like he says, like he says, I think that's why I love Jim. Well, and that's kind of why I like these two movies the most, I think, because I am how there is a Godfather kind of mentality to it on how, I mean, kind of like when Michael enlists in the army and those movies, you're just seeing these guys. They're always fighting their own kind of battle, but now it's personal and seeing tragic figures.

[00:10:40] And like you say, they're protagonists. You can't call them heroes or villains at that point. Exactly. And mind you, Godfather was very Shakespearean about it all. Absolutely. And these movies are in a way too. I just, there's something about seeing, spotting the Capulet or the Juliet in the audience. Yeah. Roster of gallery of characters. Can I just tell you Shakespeare's Juliet got off way easier

[00:11:10] than Diane Keaton's air quotes Juliet from the Godfather films. There you go, man. She suffered her whole life. You got another thing coming. All right. So I got to ask you, do you guys have a favorite moment from the Godfather franchise? Oh, I'm probably the worst person you should ever ask. I haven't seen the same Godfather. You've seen all these other crime epics, but not the Godfather. Okay. Not the Godfather. Sorry. Mine's still gotta be leave the gun,

[00:11:40] take the cannoli. That's just all time classic. You heard it from Seishu. He just summed it up perfectly. It's just a classic. The opening two of the Godfather part one with at the wedding. I mean, that whole thing. That kind of conversation. What are they in the Stan's office for? Who fucked up? It's such a interesting hook. You know what I mean? The sex scene is way more graphic. Just detailed. He's like, oh my God. I have not read the book,

[00:12:10] but that is. The book is wild. And Clemenza, who you just quoted, take the cannoli. He's a bigger badass. Like, he is wiping streets of bad apples. I'm sure. And I've been meaning to finish up all the other Godfather books and they're just wild, but it's like, yeah. How many are there? They're coming out with a new one. A new one? Connie, and they're hoping to adapt it into a movie featuring Talia Shire's character. I'm like, oh, please don't. Oh my God. I'll read the book, but don't adapt that into a movie.

[00:12:39] But they did kind of a play on that when she appeared on Abbott Elementary recently as the one Italian broads. concerned Ma and I was geeking out and everyone's like, why? I'm like, that's Talia Shire from Rocky and Godfather. But yeah, no, I dug how they detailed the family. However, much like with Part 3, that's a perfect example of don't add too much detail. Now you're opening holes and finding out online stuff about people. Keep it vague. This is just like with Star Wars. Some stuff is meant to be vague.

[00:13:09] We'll like it naturally. It's do more showing rather than telling. It's so funny how Coppola hates gangster movies and he made two of the best ones. Sometimes you just got to do what you hate. Too close to the thing. Yeah, he doesn't like Sopranos type shows. I'm like, that's so funny. And even Scorsese doesn't like Sopranos. I'm like, dude, that's all you do. But if you look at Sopranos and compare it, see, I'll be frank, I have not seen the whole Sopranos, but from what I have seen, it's totally

[00:13:39] Godfather-esque. No, no, it is, but the aesthetic is not. It's New Jersey. It's very suburban. different setting. So this heading is quite interesting. A lot of New York type actors who've been in everything. A lot more animated. If anything, I've seen some people compared to Sidney LeMay, but like every movie borrows from like Dog Day Afternoon and Serpent Goal and Twelve Angry Men. But it's like, Sopranos went a little further by even having just like proper homages to Godfather.

[00:14:08] It's like, we're only going to show violence when we conclude each season. But yes, it's wild. They'll have all those visions and nightmares. And it's like, yeah, that's almost Frank Capra as they're showing a coming of age and they're showing midlife crisis and it happens to be the dawn of this organization. But yeah, I mean, I think Godfather just got me really into crime movies. I was like, see, this is how you do it. For sure. Because there's a lot of good Brazilian, Swedish, and Hong Kong

[00:14:38] crime epics, but those often insert action and mystery as well. And it's like, Godfather was just like, here's how you just make a plain good movie with philosophy. It's like, Michael's damned one way or another. If he leaves the family, you know, he's going to still have to go to Thanksgiving and meet all these other people who inherit it. But he's the first, you know, in the bloodline to get it. So I was like, yeah, it's like he was cursed when he was born to. Yeah. Damn if you don't.

[00:15:08] And then he, but that self-awareness like that was perfect and they knew how to and Pacino was so nervous about that because he was a nobody back then backstage actor. And the fact that they almost passed on him and wanted to cast Irish actors. You're like, they almost did. But then I think I think smartly they cast Pacino solely because he was inexperienced and kind of had a chip on his shoulder. That makes sense because he's basically doing amateur hour the whole time. He's getting mentored by the guys, but he doesn't show

[00:15:37] fear by the final chapter of the first movie. Then by movie two, he is a badass. He's like, you do not mess with my family. They can disown me all they want. They're I, if anything, I will kill them if I ever become a monster. And I'm a different kind of monster though, where I'm, you know, but I think I also liked how the Godfather didn't do the whole, it kind of had all these guys who were self aware that they were hiding behind the curtain instead

[00:16:06] of do what a lesser gangster movie does where they're like, I'm going to hide behind faith and someone else keeping me. I was like, no, no, no, that's just a cover. I could pray all day. I still know I'm a bad man. Right, right, right, right. I don't have to say it to make it make an impression. All right. Well, yeah, take the gun, take the cannoli. There is a cool making of documentary podcast miniseries based off that same book. I did recently buy the Godfather

[00:16:36] making of journal, which is a collector's item and it is amazing just hearing all their notes. That's awesome. Goes into the restroom and here's a gaffer and some other crew member who he never identified talking shit behind his back and he's in the stall hearing this. That's very funny. It is like if it was you or I, we'd be like, who the fuck said that? Come here. Fired. And it's like, no, he's getting his shit together. He's like, I got to go out there and kick some serious ass and get a lot of stuff, you know, in the dailies. So I don't

[00:17:05] get fired because I know Paramount wants to fire me and I know other people want me to fail and other people want to say this is unadaptable. I ain't going to be, you know, I'm going to take a big smoke and I'm going to get some shit done. I have immense respect for Coppola because he made a through point his whole career. He made montages and even as the best use of Michael Norris who's filmed all these other New York era movies. He's just like, yeah, he gets how to get moody stuff.

[00:17:34] He understands documentary style filmmaking better than Lucas, you know, incredibly. And then he made Megalopolis, one of the most entertaining films you'll ever see in your whole life. I still consider Goblin one of the best. He could do another bad movie like Jack. He can make whatever he wants, man. He's still, he'd still, he won't change the fact that he made The Godfather and Apocalypse now. He did so many sleeper movies

[00:18:04] before this. And the conversation. I'm actually a pretty big fan of Dracula adaptation as well. There you go. You did the Rainmaker, which is for his, you know, pretty good John Grisham movie. Pretty good John Grisham adaptation, even though it's kind of outside of his wheelhouse, I guess. Right? It's pretty much just a legal drama. You would love that one coming of age fantasy movie he did with Tom Roth, Tim Roth, one of my top favorite sci-fi fantasy movies

[00:18:34] of thousands. It was Youth Without Youth. Youth Without Youth. This old man who sacrificed everything, including the love of his life and bolt of lightning, reduces his age, magnifies his brainpower. And he basically, it's a time loop kind of movie. And it's like, it's so awesome seeing him go outside his, but he uses the same kind of stuff he does in all those earlier movies. It's like, life is precious and everything. He's like, man. And so that's a better use of his fantasy aspect. Yeah. Yeah. Love him.

[00:19:06] We missed. We loaded it. We edited it. Sometimes we get so deep into conversation that we have separate segments worthy of their own place in the sun. Here is a reshuffled mini episode.

[00:19:48] America's made my fortune. And I raised my daughter in American fashion. I gave her freedom, but I taught her neighbor what would dishonor her family. She found a boyfriend, not an Italian. She went to the movies with him. She stayed out late. I didn't protest. Two months ago, he took her for a drive with another boyfriend.

[00:20:17] They made her drink whiskey, and then they tried to take advantage of her. She resisted. She kept her honor, so they beat her like an animal. When I went to the hospital, her nose was broken. Her jaw was shattered, held together by wire.

[00:20:47] She couldn't even weep because of the pain. Why did I weep? She was the life of my life. Beautiful girl. Now she will never be beautiful again. Sorry. Sorry. I went to the police like a good American.

[00:21:17] These two boys were brought to trial. The judge sentenced them to three years in prison and suspended the sentence. Suspended the sentence? They went free that very day. I stood in the courtroom like a fool. And those two bastards, they smiled at me. Then I said to my wife for justice,

[00:21:46] we must go to Don Corleone. Why did you go to the police? Why didn't you come to me first? What do you want of me? Tell me anything but do what I beg you to do. What is that? That I cannot do. I'll give you anything you ask. We've known each other many years but this is the first time you ever came to me for counsel or for help. I can't remember

[00:22:15] the last time that you invited me to your house for a cup of coffee. Even though my wife is godmother to your only child. But let's be frank, you never wanted my friendship and you were afraid to be in my debt. I didn't want to get into trouble. I understand. You found paradise in America. You had a good trade, made a good

[00:22:45] living, police protected you and there were courts of law. You didn't need a friend like me. But now you come to me and you say Don Corleone give me justice. But you don't ask for respect. You don't offer friendship. You don't even think to call me godfather. You said you come into my house on the day my daughter is to be married and you ask me to do murder for money. They ask you for justice.

[00:23:14] That is not justice. Your daughter is still alive. Let them suffer then. As she suffers, how much shall I pay? Well, I'll say that. Well, I'll say that. Well, I'll say that. What have I ever done to make you treat me so disrespectfully? If you'd come to me in friendship,

[00:23:44] then the scum that ruined your daughter would be suffering this very day. And if by chance an honest man like yourself should make enemies then he would become my enemies. And then they would fear you. Be my friend? Someday, and that day may never come, I'll call upon you to do a service for me.

[00:24:16] Until that day, accept this justice as a gift on my daughter's wedding day. That's right. Great. Give this to Clemenza. I want reliable people, people that aren't going to be carried away. I mean, we're not murderers in spite of what this undertaker is.

[00:24:44] I love that dinner scene. You want to talk a good moment? Like, at that point it's not even about who's the next to kin to do this and that. It's just like, I love how Sonny's like, why are you running away from your family? He legit doesn't see the problem. It's like, you know, Pop got you at the farm and you don't have I want to go in I want to go in Sonny, I want to go in and, you know, and like, Fredo's like, yeah, and he slaps Fredo's hand away. And like, Tom's just sitting there going like, you know, shit. That dinner scene also established that Michael's character he's just going to do everything his way.

[00:25:15] Yes. Yeah. That's how it is. If Dad wants him to deferment, no, I'm going to the army. We would have no empathy for him if he just flat out was just like a sheep and just instantly joined. Yeah. We liked how he had integrity prior to getting eaten up by emotion and finally succumbing to the darkness. It's like, well, in his heart, especially when he

[00:25:46] coldly, you know, tells, you know, his wife, you know, away. He's like, I got business to attend to. Don't ask me about my business. Right. I'll talk about it this one time and then he lies. Don't ask me about my business. As you do. And I mean, if anything, these movies, after these movies come out, there is not a single montage that is ever the same again. Like you see stuff in this,

[00:26:15] like during the revenge scene at the end of Boys in the Hood, you see it with a lot of Barry Levinson's work, you know, it's like they have that documentary kind of look just cut and paste and, you know, Lucas uses it all also in his work, but it's just interesting. It's just like, yeah, it's pretty much never the same again. Like just seeing all the stuff get done and opera music while he's christening, you know, his kid. It's just, it's not even opera music. It's like this religious, like, yeah,

[00:26:45] biblical kind of music. Sorry. But what gets me is like you have a lot of the characters that are in the movie that like, you know, stick out in your head like, you know, I mean, my favorite is Clemenza. Clemenza's like, Clemenza's the guy I love. I love Clemenza and then the second one I love Johnny, Johnny Pentangeli. In fact, he's got more of a Frank Pentangeli. Frank Pentangeli. Frank Pentangeli. He's more of a mentor than the dad at times because like his job is not only to keep all the kids safe,

[00:27:15] but I like how he says a lot without saying very little. And I get shits and giggles also when I would see him in other movies and shows. I'm like, hey, that's Clemenza. He's the muscle. And Richard Castellano. Yeah. What did he win an award for? He was an actor. He was in a movie called Lovers and Other Strangers. Okay. And he worked with, he was in that movie, but his, his thing was like, he was in a show called The Super

[00:27:44] with Bruno Kirby and Bruno Kirby played Clemenza in Godfather 2. That's right. Yeah. So, but the thing I love the most is when he's like, he's talking to Michael when he's going to shoot the gun. He's like, what are you going to do now? He says, I'm going to sit down and he's like, hey, don't be a smart ass. You know? And he says, you know, he's like, he's like, you know, drop the gun, you're going to walk out. There's going to be a lot of nervous, nervous people there. So don't make any eye contact. He actually, he's telling them how, he's telling them how to be a killer. Yeah.

[00:28:13] Then he goes, you know, Mike, we're all proud for what you did, what you did in the, in the war there, especially your father. He's the last guy who's showing Michael how to be a badass, but he's actually, uh, appears in the novel version of The Sicilian as well as The Godfather Returns also. Like, he has more prominent roles there and they illustrate his, in the latter novel, his heart attack, which is only mentioned in, you know, that was no heart attack. Martini will move

[00:28:43] against you first. He'll set up a meeting with someone that you absolutely trust. Guaranteeing your safety. And at that meeting, you'll be assassinated. I like to drink wine more than I used to. Anyway, I'm drinking more. It's good for you, Bob. Your wife and children, are you happy with them?

[00:29:14] Very happy. I hope you don't mind the way I, I keep going over this Bassini business. No, not at all. It's an old habit. I spend my life trying out to be careless. Women and children can be careless, but not men. How's your boy? He's good. You know, he looks more like you every day. He's smarter than I am.

[00:29:44] Three years old, he can read the funny papers. Read the funny papers. Well, I want you to raise to have a telephone man. Check all the calls that go. I did it already, Bob. No, good being anyone. Bob, I took care of that. Oh, that's right. What's the matter? What's bothering you? I'll handle it.

[00:30:14] I told you I can handle it. I'll handle it. I knew that Santana was going to have to go through all this. I'm afraid, I'm afraid I was. I never, I never wanted this for you. I was surprised to see Abe Vigoda. I'd forgotten he was in it. Yeah. Abe Vigoda. I also like

[00:30:43] when Comanza tells, shows Michael how to cook for 20 guys. Yeah. You know, those are nice little details all they put in there. A chef values his kitchen and that makes sense why he's a killer. He, he's all about the detail. I could, I could do the scene verbatim. Mike, come here. Mikey, come here. I'm going to show you how to cook for 20 guys. All right? First off, you fry up some garlic, some olive oil. Then you put in your tomato paste. Then you put in your tomato sauce. Then you put all your sausage.

[00:31:13] Then you put your meatballs in. Hey, put a little wine, a little sugar. You're good. It's like, I was watching that. I was watching that scene. My father's going, my father, when we were watching it when I was little, because I saw it when I was about six, seven years old. Oh, geez. He hadn't watched it. Daddy, why did they shoot that guy at the tree? He didn't, he didn't give a shit. My father was like, let him watch it. You know, it's a classic. It's a classic. yeah. That's what it's like. It's a great movie. Jay, you should watch it. So my father, we're watching that scene.

[00:31:43] Cover your eyes. My father, my father, my father's going like, my father just turns and says, that's how you make sauce. That's how you make sauce. Wow. Oreo, when did you get introduced to it? Especially given how everything from video games like Grand Theft Auto to hood movies. Like, my introduction to it was I'd always seen the first one on AMC or TNT. And it was always

[00:32:12] when Sonny gets shot the fuck up. Every time. Every fucking time I was on TV it was always him getting shot the fuck up at the car. Yeah. For those who wonder how did they modify it for TV, pretty much like you see the bloodshed but you don't see like the getting shot in the eye or other or ass panning they did on that. It is funny. It's like, oh, imagine that they did that completely censored and he's just dancing at the car. It's like, what the fuck is he doing?

[00:32:42] And here's a fun fact. The way he gets shot up is the same way the three hoodlums die in Tales from the Hood. Yeah. Whoa. If you pay attention to how they're shaking themselves in the fire and shit it's the same fucking way setting them out. Wow. Same fucking way. Yep.

[00:34:02] Here's something I used to say when, you know, Opie and Anthony were in. If only Sonny Corleone had easy pass. Wow. Sorry, Sonny. You can't go to Baltimore tonight. It's also similar to the finale of Bonnie and Clyde, too. Yeah. That's a good point. I mean, or Butch Sundance and... Butch Sundance.

[00:34:33] They do a free stream, but you hear the gunshots. Yeah, you know, right? Fuego. The wild bunch. Yeah. Peck and point. That's a big Peck and point influence right there. Oh, we're going to go that way. We can go Wild Rebels. Wild Rebels. Yeah. Wild Rebels. Wow. It all comes back to Mr. Cypher. It could be Banjo for all we know, you know. We're going to segue into Side Hackers next.

[00:35:03] Oh, man. Yeah. Every biker movie is totally a high noon godfather. Here's what got me the most, though. That scene where he's like, when they're just about, they find out who the mole is for... Yes. Yeah, they find out who the mole is in the family and the first one is Pauly. And they do this also in the second one. They're like, someone here almost shot me and my wife in my bedroom. I know there's an inside guy. I'm going to find you. Michael, I almost died when I heard what happened.

[00:35:32] They shot my house up. They shot my thing where my wife and I sleep where my children play with their toys. And he's like, this house means a lot to me. I'm glad you kept it. When my father got it from Clemenza, my father gave it to Clemenza, you know, blah, blah, blah, blah. He's like, he's like, Michael, we got to get these guys and those Rosado brothers. We got to take care of them. And they're with that Jew, Hyman Roth. And I'm like, whoa, you know,

[00:36:01] when Frank Pete's being was talking about that. Tell us how you really feel. But the scene where they're taking Paulie out, they're driving her around, he's like, I gotta go take a leak. And he goes in, now in the extended version, he goes into a restaurant and he's eating pasta, right? Yeah. And he comes out and says, Jesus, that sonny could talk your goddamn ear off. So then they're driving and you hear the conversation. He says, we're gonna go to, we're gonna go to the mattresses on this one? Yeah, yeah, we gotta go to the mattresses. Yeah,

[00:36:31] we gotta get this exterminated. Hey, don't say exterminate around here, and he says, he says, pull over, I gotta take a leak. So he pulls over, takes the leak and he shoots, he shoots Paulie, you know, twice, bang, bang in here. All right, leave the gun, take the cannolis. That's just a great, great scene where it builds up to, and there's no, there's no music. It is one of those I had to rewatch, you know, after I saw it, I was like, wait, I felt like I missed somebody. What's that about? There's, there's no music. There's nothing. It's just,

[00:37:01] bang, bang, leave the gun, take the cannolis. It's cold. It's just business, yep. Brutal reality, and I think that's it. I think people who don't like this are people who just have seen lesser movies, rip this off, and it's like, well, when you see this, here's the thing, like you feel, again, like, like James is saying, you see a similar thing with this in the finale, finale of Heat. the music just flat out stops giving it a harsh reality. It's like,

[00:37:30] this is no longer a movie now. Now I'm seeing actual murder. Yeah, on screen. What happened to Paulie? You won't see him no more. Paulie, you won't see him no more. I mean, that line just, you know. This is a typical dark humored episode of The Sopranos in that one scene, basically. Yeah. Bada bing, bada boom. We'll return after these messages. All right, folks, we got a 90-minute weekly

[00:38:00] shack stop. It's growing all over the world. Find it at 2 p.m. and 10 p.m. Eastern Time on Mondays, then 3 p.m. on Wednesdays, then 7 p.m. on Thursdays. You can catch it on many more radio stations, 99.9 KERV, 1 p.m. Central Time, 2 p.m. Eastern on Mondays, then catch the Encore on Thursdays at 5 p.m. Central Time, 6 p.m. Eastern. Then catch it Wednesday mornings

[00:38:28] at 11 a.m. Eastern Time, 10 a.m. Central, on 1077 K Twins. Then hang out with us Wednesday afternoons on MXTR and House Shack Radio, 3 p.m. Eastern Time. Then Thursday, get up bright and early with us on 95.7 Web Radio at 6 a.m. Pacific Time, 9 a.m. Eastern. Of course, we've got your Friday covered as well. 12 p.m. Eastern Time on MXTR FM

[00:38:58] and 10 p.m. Eastern Time, 9 p.m. Central, 1077 K Twins. Find everything on HouseShack.com. Do you ever find yourself thinking about who would win in a fight between Goku and Superman? Hi, I'm James Gabsy, and on the Who Would Win Show, me and my co-host, Ray, ignore anything important happening in the outside world and debate fictional battles between characters from comics, movies, and video games. We got a new show every week,

[00:39:28] and almost always am I the winner. Yeah, not true, Ray. In the past, we've discussed such matches as Captain America versus Darth Vader, Solid Snake versus the Iron Giant, classic matchups like Robocop versus Terminator, and even the Muppets versus Sesame Street. That one was crazy. So if you're a fan of geek culture and love a spirited debate, check out the Who Would Win Show wherever you get your podcasts, or check us out at whowouldwinshow.com.

[00:39:57] I gotta say, though, it's always interesting when you see this on TV, but in part two, I love how the Nevada Senator Gary, or as they call him, Pat, I love how he's blackmailed by the family, and then as a betrayal, he decides to lead a Senate investigation against them, but I just love how he is doing business with Michael, and he just tells him how he really feels in that moment. He's just like, I hate your entire fucking family. Right at the very beginning of the film, yeah. He's just like,

[00:40:27] I don't like you or your entire fucking family being in this state. And he's like, well, my deal is this, nothing. You get nothing at all. Because he was trying to overprice them on stuff. Yeah. Yeah. And I was just we'll be in touch. He's a godfury man, and here he is. He's like, I hate Italians. I hate the lot of you. I hate this. I don't like it. If he was going to say Whopper Guinea, my father would have punched that frigging TV out.

[00:40:58] I mean, Jesus. Or Ginza. I love how they set him up because I don't know what happens with him. Do they kill the prostitute he's with? I thought the prostitute was to lure him out and then they were going to kill him, right? No. What they do is they drug him. I think supposedly they drug him and Al Neary kills her. And then it's like there's something about what happens where he's like, I don't know what I was going to do. I don't know. Like, you know, he's like,

[00:41:28] well, you're up shit creek now, Senator. You got to play by my rules because we could take we could expose this for everything you got, you know. You know, I don't know what the hell happens. It's just like this gory scene. You're just like, what the fuck happened here? And here's the other thing, too. Like, even while you're seeing all these killings, like there's still a lot of utter emotional stuff going in. Like the one mobster who's supposed to testify, you find him dead having slit his wrist in the tub. And it's like, Frank Fantangeli. Yeah. And I'm like, I had no idea

[00:41:58] about the whole blood code. I was like, he's talking to Hagen, Hagen about it. Hagen, yes. About committed suicide. And he does it. Yeah. They're talking about the whole Roman thing or something like that. We had some former family friends who had a big, giant, bear-looking dog whose name was Hagen. And I always wondered if it was after him. Probably. Well, the thing I love is, remember, Frank, when you were, when we, when we, this, all this started,

[00:42:27] you came up with the idea for basically, now what would happen if somebody were, there was a plot against the emperor? Well, they do this. They have a big party. They have drink a little wine, have a little food. And then they'd open up their veins and lead to death. And then he does it, yeah. He does it, you know, because it's foreshadowing what's going to happen. And what he does is, remember, what they do in the scene is they bring his brother over from Sicily and the brother's looking at

[00:42:57] him like, don't say a fucking word. There's no mafia, there's no family, what the hell are you talking about? Michael, what are we doing here in the C. L. L. drinking champagne cocktails? I got a question for Godfather 3. Was there any indication of him having an illegitimate son in previous movies? No. Michael, I think they created it for the movie. That's why

[00:43:27] that was kind of a formulaic part. That's why I like how Tom, he comes from being an abandoned orphaned kid from a foster home and he is the unofficial son of Vito. I love what Vito says about lawyers in general. A lawyer with his briefcase can steal more than 100 men with guns. Or in God's son, he's known as adopted lawyer's son. That was so funny. how Gil had to share the

[00:43:57] thumb parodies by Steve Odenkirk as the god thumb. That is a funny one. Actually, in Godfather 3, Andy Garcia is dating his sister, isn't he? No, he's dating his cousin. Oh, his cousin. He supposedly is Mancini, the one who Sonny nails at the wedding. Oh, that's right. Okay, I got you. Yeah, he was Michael's kid. Okay. He's supposedly Michael's

[00:44:27] illegitimate nephew, and then he falls in love with Sofia Coppola. But the thing I love is when they're at the wedding, Sandra, his son, his wife. I wonder what was that like filming? So, you're going to be on Garcia's level, right? Right? No? Fine. Fuck. Action. But the thing I love in the wedding is when she's at the wedding and she's taking the hands and she's going like this, this, then this, and she

[00:44:57] turns around and Sonny's gone. And you see him with, what's her face? Mancini, they're upstairs and he's doing the business to her. The business, baby. The business, yeah. And I had to be explaining. What are they doing in the closet? They're telling jokes, Jay. They're filling the cannolis. The cannolis, yeah. They're in the kitchen with China. He's stuffing a briefcase.

[00:45:27] I love the other line that Duvall says as Tom Hagen. He says, I have a special practice. I handle one client, not more than one at the time. One client. The thing we don't see. You never see him do his legal stuff, but you believe every word he says. Here's the thing. When we watch him go to Walls, the studio head, you've got to realize that there's a scene that's cut out of there where you find out Walls is actually a pedophile. Remember

[00:45:57] they had the birthday for the young girl at the studio? Oh, Jesus. Yeah, he keeps the young girl at his house. When there's a scene where he's walking out and he looks up and sees the young girl going into her bedroom with the mother. He's like, what the fuck is she doing in the house? We don't see anything. We just know Walls. Johnny Fontaine does not get that part. He's already very unlikable in the final cut. Oh, yeah.

[00:46:27] I heard he's based on Harry Cohen for some reason. Jesus. But yeah, the horse's head. I kid you not. Whenever I mention just that line, everyone instantly is like, like in the Godfather. And it's just, I used to even as a funny prank, my brother had that as his ringtone the whole start talking sent by a friend of Johnny Fontaine. His friend is my client. Give his undying friendship to Mr. Walsk. Mr.

[00:46:56] Walsk would grant us a small favor. All excuse me. Give Johnny the partner a new war film you're starting next week. And, uh, what favor would your friend grant, Mr. Walsk? You're going to have some union problems. My client could make them disappear. Also, one of your top stars has just moved from marijuana to heroin. Are you trying to muscle me? Absolutely not. To me,

[00:47:26] you smooth-talking son of a bitch. Let me lay it on the line for you and your boss, whoever he is. Johnny Fontaine will never get that movie. I don't care how many Dago Guinea Watt greaseball goombas come out of the woodwork. I'm German-Irish. Well, let me tell you something, my kraut mick friend. I'm going to make so much trouble for you, you won't know what hit you. Mr. Walsk, I'm a lawyer I have not threatened. I know almost every big lawyer in New York. Who the hell are you? I have a special practice. I handle one client. Now, you have my number, I'll wait for your call.

[00:47:55] I admire your pictures very much. Check him out. Just tell him he should ask me anything else. But this is one favor I can't give him. He never asks a second favor when he's been refused the first. Understood? You don't understand. Johnny Fontaine never gets that movie. That part is perfect for him. It'll make him a big star. Now,

[00:48:25] I'm going to run him out of the business. Let me tell you why. For five years, we had her under training, singing lessons, acting lessons, dancing lessons. I spent hundreds of thousands of dollars on her. I was going to make her a big star. And let me be even more frank. Just to show you that I'm not a hard-hearted man, that it's not all dollars and cents. She was beautiful. She was young. She was

[00:48:55] innocent. She was the greatest piece of ass I've ever had, and I've had them all over the world. And then Johnny Fontaine comes along with his olive oil voice and guinea charm. And she runs off. She threw it all away just to make me look ridiculous. And a man in my position can't afford to be made to look ridiculous. Now you get the hell out of here. And if that goomba tries any rough stuff, you tell him I ain't no bad leader. Yeah,

[00:49:25] I heard that story. Thank you for the dinner and a very pleasant evening. Maybe your car could take me to the airport. Mr. Corleone is a man who insists on hearing bad news immediately.

[00:49:58] I found out they were doing an interview with the guy, John, what do you call it? The guy who played Walls in the movie. John Marley? John Marley. John Marley was asking, was that a real horse? Yeah, it was. He was originally considered for veto. Yeah. Just like real corpses and poltergeists. Oh, my God. Right? No, they wanted a real horse's head. So what they did was they went to the, there was a dog food factory and they were making, you know,

[00:50:28] they made horses. Horses are made from dogs? No, dog food is made from Don't be a stonata, all right? Okay, so, yeah. You listen to me, you smooth talking, son of a bitch. They got this horse head, they put the thing, they put him in the bed, they got the horse head and they just basically, so what you see is his reaction to this horse head being put in his bed without him knowing it. And holy shit. The fear is legit. Yeah. Yeah. You know.

[00:51:00] I think it was never. It also inspired one of the greatest SNL moments of my life. John is on my ass about the horse. I think Lisa got a pony. She wakes up with a horse in bed and she screams. It was definitely a Simpsons moment. Yeah, they did like the outside of the house. I was definitely

[00:51:30] influenced by that scene. So many great. They did one with Alex Rocco, who played Mo Green. He's sleeping, he wakes up and there's like oil engine in the bed and the oil, the engines in the bed. He's going, ah, use STP motor oil for your car. And it was like, oh my God, that was I think I did hear about that ad. I just never saw it. But there's another great line by Tom. I'm sorry. I got a photo. He's my favorite dude. Mr. Carleone never asked a second

[00:51:59] favor once he's refused the first understood. I think the thing I love about that funeral scene in the Godfathers when he's like, he's just looking at everybody. And like Richard County shows up in Barzini. He's looking at him going like, I'm in power now. Michael's giving that look of like, yeah, right. Yeah, sure. Your ass is mine. And then he sees Tessio. He sees Tessio and he's like, he's like, okay, now I know what I need to do. You know? And, you know,

[00:52:29] Hagen is just like, and you know what's funny? Fredo is not in the funeral. If you look at the scene, Fredo's not in the funeral. That's a good point. Yeah. And I, I, I made the joke. I said, Fredo had a cold and he had to stay home that day. Oh, but, um, that's, you know, that's what gets me about, um, the guy who played Fredo. Uh, what was his John? Yeah. John Cazale. He only made like five or six movies and then that was it. And if you, I mean, you want to

[00:52:59] talk Godfather influence. When I watch parts of the deer hunter, I'm always, there's so many similar editing and staging that definitely feels reminiscent of the Godfather, but Cazale is wonderful in that he and John Savage are both kind of the wimps of the group and De Niro's, you know, the stone cold warrior who will kill at any cost. And I got a fun fact about that movie. Oh, uh, when Christopher Walken spits on De Niro, De Niro didn't know about that and he almost was improvised. Yeah.

[00:53:29] Yeah. He's like, Hey, I'm going to spit on you. You're going to spit on me. Why are you going to spit on me? I don't know why you're going to spit on me. And they showed the scene of it. I got this watch up my ass. Don't you know? But yeah, Cazale was sick during that movie. He was like going through chemo. And I remember, I know he's in like, and during Dog Day afternoon, was he still on his last Hills? I can't remember the doc. No, no, he wasn't not yet. It was, uh,

[00:53:59] it went Godfather, the conversation Godfather to uh, Dog Day afternoon. And then he did the deer hunter, but he was big on the, he was girlfriend. He was dating at the time was Meryl Streep. Oh, wow. Oh, and what happened was, was that he was, he was sick in, he was so sick. He couldn't do it. He was, he was supposed to do one more movie. And I think they, they kind of like, he kind of was like, he couldn't do it. And he was in bed and you know who paid for his

[00:54:29] chemo and everything? Al Pacino, Robert De Niro. They paid for his. Oh, that makes me like even more. I hadn't. Yeah. So I knew his life was cut short and I knew everyone was like, he's a, he's one of the best actors who we should have had two more decades of, you know, I love it. Dog Day afternoon. He says, where do you want to go? He says, Wyoming. Wyoming's not a country cell. Yeah. He's overthinking this, which shows that that's the other thing too. He is a, he's a villain, but I also take it as a

[00:54:58] tragic villain. He's ain't, he's mad that his dad died, but he's also not loyal. And so one minute you're going, you little sneaky shit. And then the next minute you're going, uh, you know, why do I feel bad that he's about to die? It's like he, I guess it's just, he does so good at playing the cowardice. You know, he already feels bad that his father got shot at and he did and he avoided death. But at the same time, he's also dropped the gun, right? He drops the gun, you know, he's going to shoot and, you know,

[00:55:28] he drops the freaking gun. You know, he's like, he's so jealous of his brother's success. And I'm like, well, because you, you're a fucking curmudgeon. Yeah, you're curmudgeon. You don't take action when the heat's on you. And the second movie, his girlfriend is such a lush, you know, she's like, yeah, yeah, you're fucking goddamn giddy. Yeah, that's where it becomes South Park level in that

[00:55:58] one scene. I'm sorry, I can't help myself. South Park invades every conversation we do here. All the boys in that family are like different, like Sonny's the passionate, hot-headed one. Tom is the logical, you know, let's think this out. Fredo is just, you know, Fredo's just like, I'm here, I'm gonna, you know, I'll act, I'll just go back and forth. anything to the conversations.

[00:56:27] He always looks like he just doesn't want to be there. He's the, he doesn't bring anything to the table. Oh, literally. Yeah, he's the ungrateful kid who talks shit about everybody and then just, like, nowadays, if you did a modern-day version of this, he'd be the shithead who won't put his phone down but is trying to get Instagram likes, you know? Stifler. Stifler, there you go. Michael is the one that knows how everything's gonna work because he's, he's stuck, remember, he's the one that figures out,

[00:56:57] you know, when he's gonna go after going after, you know, Salazzo and McCluskey. If you want, if you think about it, he could have run for a political office if he really wanted. That would have been interesting. Because he has the ambition, he has the street smarts, he also has the patience, and he doesn't, he rarely curses, he's all about, this is not gonna happen. But this is what he says, remember what he says, this is strictly business, not personal, strictly business.

[00:57:28] He says that line. realizes you have to be a sociopath at this whole line of work, you have to just put it to the side, you have to just be like. And he, he knows, he knows all the angles, like he tells, he knows why he's corrupted and he's not gonna apologize because he's so far in deep at it now. He knows how this works because he's, he's always saying, Tom, we've got people in the papers who can dig up on this guy, right? Yeah, okay. So all you need to do is, and then he, he basically, they construct the whole thing for him to go after

[00:57:58] McCluskey and Salato. And remember, he said, Tessio's the one that comes in, I know this great place, it has one of those pull chain toilets. Like Abe Vigoda's character was like every toilet in New York City and every restaurant. He might as well be a janitor, yeah. We gotta go take a shit, let's go to this one in Brooklyn. This is the best stall, yeah, before Bucky's was a gas station chain, he knew where the cleanliest toilets were. And the only thing I love reading about that Godfather, about the Godfather was he was reading his lines off of sandwich

[00:58:28] boards. Oh. You know, yeah, Brando would do that. So even before Apocalypse Now, he was still having to do shit like that. I knew about the cotton in the mouth and how he found the stray cat and said, let's have it be in the scene. I didn't. Yeah, I knew I forgot to do something. I was gonna stuff marshmallows in my mouth beginning of this. It is one of those two. I see someone talking awkwardly. I'm like, come on, that was the worst Vito impression I've seen you do. Yeah. I'll do you one better. There was a

[00:58:57] scene in a mini documentary about the band Rush and they do a they shoot him at a at a hunting lodge kind of place and they're having dinner and Geddy gives little souvenirs to the guys and immediately the guitarist Alex puts both the little guitar replicas in his mouth and he starts talking like Marlon Brando. Oh my God. Wow. You ask me justice

[00:59:27] which I cannot give. Not once have you had me over your house or a cup of coffee or a piece of cake or maybe something. I don't know. Just think about it. But this I will give you. Give me over Clemenza and he'll take care of it. He'll do what he used to do. Oh God. Oh geez. And when we. I gotta take a shit.

[00:59:56] In our podcast promo for this show I did ask the editor to incorporate a Vito Carleone line saying never tell anyone what you're thanking. Yeah. Oh yeah. Unfortunately he mixed it pretty quietly so it's very hard to hear. That scene where they're talking to to Lazo and they're trying to convince Vito to go into narcotics and Sonny says never never tell me what to do.

[01:00:26] I'm sorry I'm sorry pop. He says no no it's alright. Because Vito knows that if they get into narcotics it's gonna be a dirty business. Right. And he wants to just stay in racketeering gambling and all that shit. You know but I think the thing I love about Solazzo is Solazzo thinks he's such a punk that he can take on the Corleones. You gotta say it in Pacino level. What are you talking to punk? I know I know that I could take care of Solazzo in my class.

[01:00:57] I know that. I'm going to Osiris. Now just give me a gun and I'll shoot them both and maybe 30 years later I'll start talking with a grump voice. Start talking like this the whole time. Overacting making my eyes pull down my head. Pacino Trace Trace Trace remember that one? Frank Caliendo did a wonderful Pacino and De Niro thing. Everyone frowns on montages but see there's

[01:01:27] just so many other ways you can show a passage of time instead of this establishing shot has to be this way it's like no no that doesn't tell the story you gotta just it's called meson scene. It's basically it builds up to a point that's the one thing if you have meson scene which is something I loved when I was in film school so the teacher was like what's your favorite meson scene? I said it's the godfather one. For those who don't know the

[01:01:57] arrangement of scenery so yeah the arrangement of a scene to build it to a certain dramatic point so it's the godfather one where Michael's in the Italian restaurant with McCluskey and Sollozzo and it just goes you know it's like it's like he's Sollozzo's talking to him it cuts to Michael you see Michael's face he's just like what do I you know I'm gonna do something drastic it goes to him going to the bathroom that's the whole thing there's no music

[01:02:27] the only thing you in the godfather 2 where he's gonna kill Don Fannucci the whole scene is basically just A&B shot and you hear the band playing you know for the you know they're carrying the Madonna through the streets and you hear that there's no there's no music by

[01:02:57] you know I that you just hear you just hear like you know this you know this marching band playing and it's Don Fannucci is walking on the street and Vito knows where his house is and he goes in he goes bang bang bang you

[01:03:33] game time the conflict is real it's going down the protagonist is getting even because at this case is like they already got an outside distraction where this is the proper time to strike back and just like Michael's got you know waiting for the early morning train to shield his crime same thing here Vito is like I'm young Vito is like I'm gonna go after this punk yeah he's in

[01:04:03] trouble yeah the thing is with that scene with Michael is that you know the train is like this it's all this psychological stuff going is

[01:04:33] without without gun without any like these next key minutes this could all go to shit and yeah beside my death warrant was like no I planted this trap I'm already in the process of like you say going to the dark side

[01:05:25] spend time with this family can never be a real man come on you look terrible I want you to eat I want you to rest well and a month from now this Hollywood big shot is going to give you what you want too late they start shooting in a week I'm going to make him an offer he can't refuse enjoy yourself and watch and leave all to me on

[01:06:11] the web on Facebook Twitter and Instagram the podcast is available on Podbean Spotify iHeartRadio Anchor Apple and anywhere else podcasts are available feel free to review our show and leave comments on any of those sites thanks a million for listening it's a jacked up review show