![]() Don Fanucci watches a puppet show with knights battling and, ironically, says it's too violent for him and walks away. Vito walks along the rooftops, stalking Don Fanucci from above. As priests wade through the crowd and an effigy of the saint with dollars bills taped to it is carried through the street, Don Fanucci makes his rounds, greeting the people he so regularly extorts. Soon, we are in the middle of the San Rocco festa in the streets of Little Italy. Vito doesn't seem to take much pleasure from this. On his way out, he says Vito's done well. He says Vito has a lot of balls, and ends up praising him, telling Vito that if he ever needs anything to come see him. At first, Fanucci seems offended, but after Vito offers a half-hearted explanation for coming up short, Fanucci shows his impressed. Vito meets with Don Fanucci in a dark restaurant, and offers him $100. They mull their options and, ultimately, Vito says he'll reason with Don Fanucci and get him to take less, talking his friends into an agreement it seems like they don't quite understand.ĭuring morning celebrations at a big street festival, Vito meets with his friends to get their share of the money and assures them that he'll get Don Fanucci to agree to his deal. After Don Fanucci lays out the terms of the protection racket he's proposing for Vito, Vito goes and tells his friends. Cut to Vito driving a car as Don Fanucci hops in, demanding a cut of the money Vito and his friends are making off of stolen goods. We see empathy and worry in Vito's face, qualities that, we're starting to notice, are rare in Corleone men. ![]() Pick up a copy on newsstands now, or click here to order online.We fade from the distressed Michael reeling from Kay's miscarriage to a flashback of Vito watching the infant Fredo wailing out of pain with pneumonia. And Michael Corleone’s soul is lost forever.Įmpire's The Godfather 50th Anniversary issue is on sale now, with features including an interview with Francis Ford Coppola, some of the cast talking through iconic scenes, a tribute to John Cazale and lots of rarely seen BTS images. Then, as it becomes almost unbearable, he stands and he shoots. Italian, without subtitles, plays over the shot, making us feel as disorientated as Michael. And when he sits back down, a 30-second close-up of his face - eyes flickering from side to side, lizard-like, as he musters up courage to do what must be done - is augmented not by cliched suspenseful music, but by the rumble of an elevated train, a hellish industrial sound effect that reflects the horror churning in his stomach. He runs his hands through his hair, wracked with tension. ![]() When he heads to the WC, Coppola draws out the tension exquisitely - Michael fumbles for the gun, but can’t find it, until suddenly it’s there. It’s clear that Michael’s emotions are boiling over, yet he’s suppressing them just enough that his two dining companions don’t get wise. The subsequent sequence is a tour de force in every sense. Instead, this is where Michael Corleone is going to serve up street justice to go with the veal: according to the plan that’s been cooked up, midway through his tense dinner with rival mobster Sollozzo and corrupt cop McCluskey he’ll retrieve a gun that’s been stashed behind the loo, return to the table, then blast both men with bullets. You know, the box and chain thing.” Turns out, Tessio isn’t just very particular about how he goes to the commode. Louis Restaurant, a humble eatery located in The Bronx, is, according to Corleone lieutenant Salvatore Tessio (Abe Vigoda), “A small family place, good food. It begins with a Godfather version of a TripAdvisor review.
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